All language subtitles for The.Beatles.Get.Back.S01E02.BDRip.x265-ION265

- [Crew 1] Run it.
- [Footsteps]

- Cut.
- [Footsteps]

Again. No, cut.

- Ready?
- Okay.

[Crew members chattering]

[Chattering continues]

- [Crew 1] Turn over.
- [Crew 2] Turn over, lads. Thank you.

[Crew 3] Turn over.

- [Michael] Sit down over here...
- [Ringo] Shall we sit over here?

Yeah.

[Ringo] J“ you're my world
you are my only lo ve j“

How was the meeting?

The meeting was fine.

A lot of good things,
but then, you know...

They all sort of fell apart in the end.

[Michael] I just spoke to Neil, who's
calling a couple of your colleagues

to see if they're also gonna come.

[Ringo] Couple of colleagues
told me last night

that they would be there the same time.
[Chuckles]

[Michael] Neil expressed an opinion
that no one was coming.

[Ringo] Well, phone Neil
and tell him I'm here for lunch.

[All chuckling]

Have you got enough
for a good documentary?

[Michael]
It depends how liquid the situation is.

Use it all.

Well, in other words,
if we tell it like it is,

then we've got a very good documentary.

But if—-

we're hiding.

[Michael] If we're hiding, then we don't
have much of a documentary.

We just have a couple of days
when things didn't work out, that's it.

[Delivery man] Mr. Harrison?

- Yeah.
- [Laughing]

Yeah, I'll take it.

- [Ringo] I'll take them for him.
- Okay.

[Delivery man] I had strict instructions
to bring them on the set.

Yeah, okay.

Who are they from?

- Oh, hare krishna, yeah, those people.
- Harry who?

Hare krishna.

Do you like India?

No, not really.

[Chattering]

[Coughing]

[Chattering continues]

[Glyn] Did I tell you
my wife's definitely confirmed pregnant?

- [Tony] Oh, good.
- Yeah.

- Congratulations.
- Well pleased, yes.

[Tony] I wouldn't mind knocking one out.

- I really love kids.
- [Glyn] "Knocking one out."

- Morning, morning, morning.
- Morning, morning.

- Hello.
- Hello.

- [Ringo] Morning, Linda.
- [Linda] Morning.

- It's...
- From the circus.

- [Ringo] Here we are.
- [Michael] Neil spoke to me and he said...

He, a, said he'd call me back at 11:15.

He said he didn't think
anyone was gonna show.

Then when I arrived back r8 was here.

[Paul] And pm was on his way.

[Michael] Pm was on his way. And, uh...

- [Paul] Jl was in bed.
- Jl was in bed.

Morning, Neil.

Good morning, glyn.

[Neil aspinall] So what's happening?

- [Ringo] Did you get in touch with John?
- I couldn't get him.

[Michael] Is he joining us?

- I don't know.
- I haven't spoken to him.

Mal couldn't get him either.
You can only get the machine.

[Neil] There's one phone,
there's no machine on it

and no one's answering it.

[Linda] I have a feeling that half
the stuff yoko said yesterday isn't...

She was talking for John.

And I don't think he really
believed any of that, you know?

No, so, it's...

John didn't talk,
so yoko talked for John.

[Michael] Did George stay?

In the middle of all that, actually,
George went.

He said, "I'll see you".

See, but their point is
that they're trying to,

like, be as near together as they can.

They wanna stay together, those two.

So it's all right.
Let the young lovers stay together.

But it's not that bad, you know.

We got a lot out of Beatles,
so that if... I think John's thing now...

If it came to a push between
yoko and the Beatles, it's yoko.

- [Chattering]
- All right.

Are we running?

J“ I/I/h y do you build me up j“

j“ build me up
buttercup baby, just... j“

[Michael] Yeah.

Funny enough,
the other day when we were talking,

John had said that he really
did not want not to be a beatle.

Yes.

[Michael] Were you writing together
much more before she came around?

- Oh, yeah. Sure.
- Are you...

We'd cooled it
because we were not playing together.

'Cause we lived together
when we played together.

We were in the same hotel,

up at the same time
every morning, all day.

As long as you're this close all day,
so something grows.

And then when you're not this close,
just physically, something goes.

Right.

[Paul] Actually, musically,

we can play better
than we've ever been able to play.

You know, we're all right on that.

It's just that being together thing.

It's difficult starting
right from scratch with yoko there.

'Cause I start out writing songs
about white walls.

- [Laughing]
- Just 'cause I...

You know, just 'cause
I think John and yoko would like that.

And they wouldn't.

[Paul] She's great,
she really is all right.

They just want to be near each other.

So, I just think
it's just silly of me or anyone

to try and say to 'em, "no, you can't."

It's like...
It's like that we're striking

'cause work conditions aren't right.

But it shouldn't be.

"Can't operate under these conditions,
boy. We're coming out."

It's like they're going overboard
about it.

But John always does, you know.

You can't go saying,
"be sensible about it

and don't bring her to meetings."

It's his decision, that.

It's none of our business,
like, interfering in that.

[Neil] But there's still
got to be that little bit of compromise.

Well, I think for them
to be able to compromise,

I have to be able to compromise first.

Then they'll be able to.

But it's silly,
neither of us compromising.

We probably do need...

Really, sort of a central daddy figure

to say, you know, "nine o'clock,
leave your girls at home, lads."

You know, we're all...

But it's gonna be such an incredible
sort of comical thing,

like, in 50 years' time.

"They broke up
'cause yoko sat on an amp."

- [Chattering]
- Just something like that. "What?"

"You see,
John kept bringing this girl along."

What?

It's not as though there's any sort
of earth-splitting rows or anything.

[Paul] Do you want to try and ring John?

[Neil] Mal was trying to ring,
but it was permanently engaged.

[Paul] Permanently engaged?

[Ringo] Send a telegram.

[Whistling]

[Michael] Lid on the parrot's cage.

[Whistling continues]

[Michael]
Uh, if we were gonna take a ship's pool

on what our communal life is gonna be

in the next two weeks,
what are we all betting?

We should cancel that 18th day.

'Cause it should definitely be the 19th.

I mean, already,
'cause we're gonna lose today.

I think we see the end of this week out

and something will have happened,
definitely.

[Michael] Even if it's only nothing?

I was talking to Neil last night about
an idea I thought of for a TV show.

We should get, like, say,
the editor of the daily mirror,

a real hard-news nut, rehearsing a team
of really hard, incredible newsmen.

So that on the night of the show,
in between all our songs is news,

but the fastest and the hottest
from every corner of the earth.

"We just heard there's been
an earthquake“... filming it.

So it's like a red-hot news program.

And at the end, the final bulletin is
that the Beatles have broken up.

[Michael] But do you think
if you put any pressure on him,

that he'd go your way a bit more?

I don't know.

And then there were two.

Do you want to speak to John?

- Speak to John? Yeah, okay.
- [Linda] Hey, you know, it's that thing...

The world's dying to see them.
That's the thing.

And if I were there,
I'd be staring at them.

Yeah, not only them, you know,
and they were 40 miles away.

But the audience, the screams,
the lights...

Look, we looked at help!
The other night again

and, like, a hard day's night,
and that was them playing.

Right. But it was them
over an hour and a half...

It was them. Just...

I'm speaking like a fan. I really am.

[Michael] Me too.
And I'm a bigger fan than you are.

- Oh, okay. Should we fight about that?
- Yeah.

[Neil] Did you take a photograph?

- [Linda] I was gonna say there are...
- [Michael] What's new?

[Paul] He's coming in.

- [Linda] So is he lighting his, uh...
- [Paul] Lighting up a players.

[Neil] And jumping on his hands.

[Michael] You see, Paul, I was saying
to Linda when you were out

that I can do it any way,

except I gotta keep saying you're wrong
when I think you're wrong.

Yeah. Sure. Great.

I'll just keep saying I'm right
when I think I'm right.

[Michael] Yeah, of course.

Because otherwise I abdicate
both my fanship and also my, uh...

Oh, not another strike.

[All laugh]

"Look, fellas, I'm off the show
if you don't do it my way".

No, I thought the other day
I might leave.

But then I thought, they won't notice.

[Laughing]

It's just,
I'm against Africa these days.

It could be Brighton beach.
Africa's got nothing to do with it.

[Linda] Yeah,
Brighton beach would be all right.

No, come on. You stay out of this, yoko.

[Linda laughs]

- [Michael] When is John expected?
- He'll be in about an hour, I think.

- [Chattering]
- [Dishes clattering]

[Guitar, bass playing]

[Crew, indistinct]

And you're right.

Let's go now then, shall we?

Let's go see George.

[Ringo] I was going anyway.

Maybe we should phone
and see if he's there?

- [John] You got any pep pills?
- Okay, mal.

Could I have a couple?

[Paul] We've got an hour.

Yeah, none of that, I reckon.

Do an hour, just so, uh...

[Linda] I just knew it has to be...

[Ringo] He's gone to liverpool.

Has he?

[Ringo] He's due back Wednesday.

[Yoko] Well then,
Wednesday's the day we see him, right?

Yeah. I think 'til then...

[Ringo] Shall we rehearse the numbers?

Yup.

Okay. Sweet Loretta marsh.

J“ sweet Loretta marsh, she thought... j“

marsh isn't nice, is it? Marsh is too...

J“ Loretta /I/lare j“

j“ sweet Loretta /I/lare
thought she was... j“

Loretta Mary...
I mean, it's gotta be a name...

J“ sweet Loretta Mary
thought she was a woman... j“

j“ but she was another man j“

[mal] What's that one?

Marsh.

Uh, but we're not sure about that,
but put it in.

It's gotta be, like, one of those hard,
"night," "bite," "right."

J“ sweet Loretta /I/lare... /i/lare... j“

j“ sweet Loretta /I/larety
thought she was a woman j“

j“ but she was another man j“

Leave that verse, eh, 'cause it's...
It could be all right, that verse.

It sings all right.

- Okay, the next verse.
- Jo Jo Jackson.

[Groans]

J“ Jo Jo Jackson
left his home in Arizona j“

- "left his home in Arizona," is it?
- That's all right.

- Yeah, "home in Arizona."
- "But he knew it couldn't last."

No, that's not good.
"But he knew it couldn't last."

J“ Jo Jo Jackson
left his home in Arizona j“

[indistinct]

J“ Jo Jo left his home
in nuh-nuh, Arizona j“

[mumbles]

J“ Jo Jo left his home
in Tucson, ar/zona j“

[grunts]
“Jo left his home in Tucson, Arizona."

- Is Tucson in Arizona?
- Yeah. It is, yeah.

It's where they make "high chaparral".

J“ Jo Jo left his home
in Tucson, ar/zona j“

j“ thought it's gonna be a... j“

I can make sense of it.

Jo Jo left his home,
hoping it would be a blast.

Pretty soon he found that
he'd have to be a loner

with some California grass in america.

You make that make sense,
but it doesn't sing good.

-J“ Jo Jo left his j“
-[John] Is it Jo Jo?

J“ ...In Tucson, Arizona
but he thought it couldn't last j“

looking for a what? What is it?

J“ looking for a home to last j“

[John] No, looking for a...

[Ringo]
J“ looking for a blast from the past j“

[Paul] One, two, three.

J“ Jo Jo left his home in Tucson, Arizona
but he knew it couldn't last j“

[indistinct]

J“ thought he was a lonerj“

j“ for some California grass j“

j“ get back get back j“

j“ get back to where you once belonged j“

- [playing stops]
- [Paul] Okay. Can we go home now?

[Michael] I think at some point we
should talk conceptually about the show.

[Paul] Okay, we have to be flexible,

but we're gonna have to be
very flexible now.

Which is like, the 18th today
has changed to the 19th.

'Cause we lost a day today.

Tomorrow it will change to the 20th.

- Day after, it will change to the 21st.
- Why don't we put it back a full week?

[Paul] Well, exactly.
If George comes back, yeah.

Put it back a full week, yeah.

[Michael] Put it back a full week.

But book it for a full week
and then cancel it next week.

Not to say changeable.

Why don't I leave
my favorite guitar here as a sign?

That's something.
Well, you'll be back tomorrow.

Or you'll send for it.

Look, what greater faith could man have
than to leave his list?

"Baby's in black,"
"if I needed," "tripper."

[John]
I mean, that's how flexible we can get.

[Paul] "I feel fine,"
"yesterday," "I wanna be,"

"nowhere man," "paperback," "long tall."

- [Michael] What's it from?
- [John] That's from the old shows.

[Paul] And, like, lot of old tunes
had just set chord patterns.

'Cause that's the great thing. Once...

Once you start trying to find out
chord patterns, you really suss

what people are doing,
what musicians are doing.

And they really, it's...

[Playing chord]

- You know, it's like... [vocalizing]
-

[Piano stops]

Like, old tunes, you know,
they had just a certain way of going.

And they hardly ever varied from that.

I don't really know it, you know?
My dad knows that better.

The great thing about a piano
is that, there it all is.

There's all the music ever.
That's it, you know?

All this that's ever been written
is all there.

[Playing "Martha my dear"]

[Vocalizing]

See, it's still basically
only one, two, three, four...

[Paul bond] Yeah.

You know, okay, so that's getting
more complicated than the three,

- but it's still only...
- Yeah, sure.

- Used the same way, presumably?
- Yeah.

And from there, you know, like,
there's no...

Unless you stop yourself,
there's no stopping yourself.

- No.
- [Paul bond] I must get myself a piano.

- Yeah.
- [Paul bond chuckles]

And then there was one.

J“ eee, by gummy-o j“

[Ringo] Good! I'm glad to hear that.

- Morning, Paul!
- Good morning, rich!

- How are you this morning?
- Okay!

[Playing boogie-woogie blues piano]

It's fine, thanks.

J“ well, lbought a piano the other dayj“

j“ ldidn'tknow... j“

j“ you had to play the goddamn thing j“

r on, babyj“

use two hands.

[Song ends]

[All chuckling]

[Ringo] Well, that's me finished.

[Paul] At least we're keeping together.

[Piano playing]

- [Ringo vocalizing]
- [Paul] J“ woman, do you love me? J“

j“ woman, if you need me then j“

j“ believe me I need you j“

j“ to be my woman j“

I wonder if Peter's still got
the original thing of that.

First time we did it, it was little.
It was great, you know. It was really...

- (J“ woman, do you love me?)
- [Playing piano]

J“ woman, do you need me? J“

j“ woman, if you need me then j“

that is the great bit Gordon did.

J“ if you need me then
believe me I need you j“

[imitating Gordon waller]
J“ to be my woman j“

Gordon couldn't get the high notes,
and he would sort of...

And he'd just let them go and do it
again. But they did it the next time.

It was a mammoth
Peter and Gordon treatment.

That's right. Yeah.

[Vocalizing]

[Paul bond] Do you write your songs
at the piano, or on the guitar?

[Paul] Whatever I'm around, you know?

[Paul bond] They don't just, sort of,
come in to your head, kind of thing?

[Paul] Yeah, sure.

In fact, I had one this morning.

-J“ we were just busy driving j“
-[Playing piano]

J“ driving in the back seat of m y car j“

j“ ooh j“

j“ honey, I'm busy riding j“

j“ sitting in the back seat of m y car j“

- [vocalizing]
- [Laughing]

J“ it's just for you j“

j“ 7'hat / sing a song of spring j“

j“ and every time the raindrops fall j“

j“ / think of summer j“

- [piano stops]
- J“ it's just for you j“

- [resumes]
- [Chuckles]

J“ 7'hat / sing a song of love j“

j“ sing a song of love j“

j“ sing a song of love j“

[holds note]

- [Piano stops]
- It's just for you.

[Michael] Nice.

Thank you, Michael Lindsay-hogg.

Director of this epic.

[Michael] That's the first thing
you ever said to me.

[Ringo] What?

[Michael] At chiswick park, years ago,
when we did something,

you said, "what kind of tree is that?"
And I said, "it's a yew." And you said,

- "no, it's not. It's a me."
- Did I really?

- I thought, "Beatles humor."
- Yeah.

[Mal] I see the sets
are arriving, fellas.

- [Paul] Yeah, the sets are coming in.
- [Michael] Yeah, nice.

Hey, should we
shoot the train coming in, chug-chug.

- [Tony] No, no, no.
- Why not?

[Mal] It's copyrighted.

Well, it's a documentary.

Just turn your lights around.

But it's a good shot
for the part of the atmosphere.

- Oh, come on, Tony. Oh, fuck. Oh, no.
- [Paul] Jean-Luc godard?

We could make a film, you know?

Just get a script and all that,

and really not waste
all this camera time.

- Do a little sort of film.
- [Mal] Yeah, right.

[Michael] Yeah,
we can make train movies.

[Mal] We've got a spare
few thousand feet, haven't we?

We've got a spare few thousand feet.
We won't tell denis we're doing it.

- Let's make a silent movie.
- Yeah.

Slow so it's speeded up
when we play it back,

'cause they're always funny to watch.

[Michael] Yeah.

[Paul] Can we have it in a club?
You know, the atmosphere is a club, and...

That's it. We're in a band.

We're in a band who sell drugs.

- Do you want to be a goody then, glyn?
- Uh...

[Paul] Come on.
Now, you're sulking, aren't you?

- [Laughter]
- Wants to be a goody.

- [Ringo] The roughneck that changes.
- [Paul] Yeah.

- [Glyn] Bit of sentimentality.
- [Paul] The hard drug-peddling yob...

- [Ringo] With a good heart.
- [Paul] ...Who turned to religion.

[Laughter]

Ringo's the teacher...
The schoolteacher who goes to see him.

- [Ringo] Mal's the policeman gone wrong.
- [Laughter]

[Mal] They'll never get anything
out of me, unless they use a pump.

[Paul] We shouldn't waste
all this camera time.

Tony can shoot it.
We can do a movie today.

[Paul] No, Tony's in it. He's the fence.

- [Michael] Can I be in it?
- [Ringo] You can be a traffic sign.

Just so long as I look thin,
Tony, I don't care.

- [Paul] Then go through there?
- No.

No, if you do it that way,
it's like hanging yourself by your arse.

[Laughter]

[Groaning]

- [Kevin] Help, no legs.
- [Chuckles]

[Paul]
Seen the good, the bad and the ugly?

- [Ringo] No.
- That's great.

[Chains rattling]

[Paul] That's the trouble.
You get the panic about halfway up.

[Ringo] When you realize
you can't stand heights.

[Paul]
J“ those were the days, my friend j“

j“ we thought they'd... j“ [yelps]

- There's no business like show business.
- [Laughter]

What is it?
Straight up to the top and back?

In the old days, boys,
you used to be able to...

Chelsea supporters would be up there,
all day, like nobody's business.

In the old days... that was me!

[Mal] Any minute now, it gets dangerous.

- [Ringo] Well, good night.
- [Laughter]

Mbawmp -[Laughter]

Well, that's all
for this evening. [Hums]

Funny you should've said that...
[Indistinct]

Very good. I think...
It was nice when the camera came up.

- I think they got...
- What you said.

- Exactly what you mean.
- All right.

Well, it's a chance to speak.

I know.
It's the only chance we get. We...

There's only cliff doing his bit,
really, and...

Well, I left the clergy about '59,
you know.

I thought I better get in with the kids.

It all started with Rosie.

- Well, a lot of us did.
- She was in the congregation.

- A lot of us started with Rosie.
- [Laughs]

- [Chuckles]
- It was rehearsal rooms.

Also leaving for the midem song festival
is John rowles.

- Oh, he's not?
- [Paul chuckles]

- [Paul] He's flying out.
- [Coughs]

[John]
See you've given up smoking, Richie.

Yes, I have.

[John] Now, we were going
to discuss this afternoon

what religion meant to a pop star.

And the pop star we've chosen

is tumble starker, who's sitting here.

I feel ill, actually.

[Michael] Tony, denis is gonna worry
about the footage again.

Don't tell him you're shooting.

- [John] How are you?
- [Peter sellers] All right.

- Welcome to panorama.
- [Peter] Hello.

How are you? Pleased to meet you.

- [Chattering]
- We've been lucky enough this evening

to secure the, uh, talents
of Mr. Peter sellers here

who is going to give us number three.

[Peter] Yes.

Number three, folks, number three.

- Number three.
- How about that, folks?

That was number three
from Peter sellers.

- Now on to the next round.
- Number three.

[John] Well,
if we ask him really nicely,

- he'll probably do a number five.
- [Peter] Yes, I might.

[Chuckles]

[John] Long, tall Sally, pretty sweet.

She got everything uncle John need.
Oh, boy. Baby.

Your chance to win a fab, free beatle.

- [Paul chuckles]
- Send in 39 disk tops.

- [Paul] Wake up, Lennon.
- [John] Wake up, Lennon.

It's about time.

What, uh... what are we discussing
at this moment? What's the, uh...

- [Paul] The film.
- [Yoko] Issue. [Chuckles]

This is the impromptu mic.

It's a documentary
of how the Beatles work.

[Michael] It's a spontaneous...
A spontaneous documentary.

'Cause we feel we shouldn't
keep it all to ourselves.

We should spread it out, you know?

We want to share
with the world what we have, Peter.

- And... and this is what we have.
- [Yoko] Or what we haven't. [Chuckles]

[Peter] Ah.

[Paul] Well, this is...
We just sort of sit here

and allow ourselves to be embarrassed

- about this time every day.
- [Chuckles]

- [John] Oh, yes.
- [Paul] Number nine.

You're talking to the ninth-best-dressed
male pop singer in the world, you know?

- No mean city. Yes.
- [Paul] And Judy garland.

Look out, Tom Jones, I say.

- [Chuckles]
- Over to you, Peter.

[Mal] Who wants tea?

Very kind of you, but I... I must be off.

Mm-hmm.

Well, nice to have met you, fellas.

Other guys.

- See you.
- [John] Bye-bye.

- Bye.
- [Paul] Too much, Pete.

- Bye-bye.
- [Chuckles]

- Way out.
- All right.

- [Peter] All right. Way out.
- [Joe] Exit.

- It's that way.
- Yeah, wrong way.

It's that way. [Chuckles]

- [All chuckling]
- All right.

[John] Just don't leave the needles
lying around.

We've got a bad reputation now
with John getting busted and that.

- [Peter, indistinct]
- [Yoko chuckles]

- [Michael] Do you really not feel well?
- No, I just feel a bit...

I don't feel well, but I can't say,
'cause I'm the captain of the ship.

[John]
Nowadays, the captain gets off first.

No, I'd go down with the ship.

[Paul] If we hang around a bit longer,
we'll get Ringo being sick.

[John] See you missed me this morning.
I did it for CBS.

Leapt off
in the middle of the interview.

Actually I'm just recovering
from the day, you know?

[Yoko] From the night.

[John] No reason at all,
except that I'm mistreating my body.

Yes. I just was up late, you know.

I was sort of stoned and high
and watching films.

And I wouldn't have made it anyway.

Is there any need to do this in public,
Mr. Lennon?

[Michael]
At the moment you're a guest for lunch.

Yeah. But it's not good.

If I'm gonna come at 10:00,
I should come at 10:00.

[Paul] Up with the dawn,
down with the sun.

Ringo ever, Eric never.

Okay.

Shall we knock off early today, or not?

[Paul] Probably, yeah.

[Michael]
Shall we knock on early tomorrow?

Yes, I'll do that.

Yeah.

[John] "When I was younger,
so much younger than today,

I never needed anybody's help
in any way.

But now my life has changed
in oh so many ways."

A wop-bop-a-loo-ma. Ba-iim-bam-boo.

We can't
carry on like this indefinitely.

- [Ringo] We seem to be.
- [Paul] Doing this.

We seem to, but we can't.

See, what you need
is a serious program of work.

Not an aimless rambling
amongst the canyons of your mind.

An aim in life.

Trip upon that golden ship of shores.

We all together, boy.

To wander aimlessly is very UN-swinging.

Unhip.

Well, "when I touch you,
I feel happy inside.

I can't hide. I can't hide."

-"Ask me why, I'll say I love you.“
-What you need is a schedule.

Achieve something every day.

- [Yoko] It's so hard, right?
- It's rather hard to live up to, Paul.

[Mal] How many numbers
will you be doing?

[John] I'm planning on 11.

[Paul] It's 12 to 14, mal.

[John] It's a choice of six.

Some ready to wear
and some made to measure.

[Clears throat]

Ringo could put in
a long drum break, couldn't he?

An hour and a half.

[Michael] We were talking earlier.

About the space between us?

[Michael] About the gap between us.

But about also the documentary, which
is grinding to a halt. How do we do it?

Grinding to a halt?
I think it's taking off.

Exactly. Here we go.

"Loop de loop,"
as Frankie Vaughan once said.

The one-legged wonder.

[All chuckling]

Ringo said that he thought
we ought to just tell it like it is.

I think we are.

[John] Once upon a tarmac,

there lived a small baggage who suffered
incredible distortion on his right leg.

He took it to all the doctors,
and they said...

But one day...

Happy ever after.

[Yoko chuckles]

- [Phone rings]
- Ah!

- [Chuckles]
- Sir Joseph.

[Laughs]

It's about this deal with FBI.

I need another million...

And the written acclamation
of dick James.

I know it's hard. I know it's hard.

They died that we might wank.

[All laughing]

[Yoko] What are they laughing about?

I'm talking about the boy scouts
who aren't allowed to masturbate.

It's very tempting
when you're wearing shorts.

If they only wore long trousers,
maybe they'd stand a chance, you know?

But I can tell you, you don't go blind
but very shortsighted.

[All laughing]

[Yoko] Are you talking from experience
then, John?

- [Song playing]
- [John] J“ ll/lean /I/lister /I/lustard j“

j“ sleeps in the park
shaves in the dark j“

j“ trying to save paperj“

j“ he sleeps in a hole in the road j“

j“ he keeps a ten-Bob note up his nose j“

j“ he's saving up to buy some clothes j“

j“ he's such a mean old man j“

- [song fades]
- [John] Right. Guitars?

- I thought that's what they do.
- That is what they do, but you can't...

Could even sing you
half a song I was writing.

- [Music playing]
- [Paul] Come on.

[John] J“ don't you know that there's a
madman-a-comin ' gonna do you no harm j“

j“ he's wearin ' pink pajamas
'cause he comes from a farm j“

j“ he's got to get somewhere
to go and be so happy on his own j“

j“ but every place you go is low j“

j“ every place you go is low j“

j“ the place you go is lowj“

- [song fades]
- Well, it's been lots of fun.

[Michael] We ought to figure out, like,
do you wanna go on rehearsing?

Or do you want to move into emi
and just maybe do an album?

[John] Well, it all rests
on when we see...

I think we stop filming now.
As a matter of policy.

- [Michael] I mean, I know...
- But...

- [Paul] That's a wrap for you, lads.
- [Crew] Let's take it home, Jim.

[Paul] You see, the thing is,
George is in liverpool now

and he's supposed to come back tomorrow.

[John] So tomorrow
we go and see him, you think?

- [Paul] Yeah.
- [Chattering]

[Crew chattering]

- [Michael] You right, lads?
- Yeah.

- [{beep]
- Running up here.

- [Michael] Running. Running. Ready.
- Speed.

[Crew 2] Pretty sure we're going.

[Tony] Switch off your two green, Steve.

- [Michael] And just here.
- [Glyn] Hold on. Hold on, everybody.

[Playing piano]

[With reverb] J“ oh, darlingj“

[volume increases]

J“ please believe me j“

please believe me, darling.

J“ I'i/ never do you no harm j“

j“ believe me when lte/I you
whoo j“

j“ I'i/ never do you no harm j“

Oh, darling.

Please believe me.

Yes, sirree.

I'll never do you no harm.

J“ when you told me
when you told me j“

j“ you didn't need me anymore j“

j“ well, you knowj“

j“ lnear/y broke down and cried j“

j“ when you told me j“

j“ you didn't need me anymore j“

j“ you know / nearly broke down
and died j“

j“ oh, darlingj“

j“ please believe me j“

j“ I'i/ never do you j“

j“ I'i/ never do you no harm j“

[George Martin over distorted speaker,
indistinct]

One, two, three, four, five, six,
seven, eight, nine, ten.

One, two, three, four, five, six,
seven, eight, nine, ten.

[Engineer] This...
This is not controlled.

- [George Martin] If somebody is up...
- [Magic Alex] No, we don't have control.

We've got to know how to record.
Listen to that.

One, two, three, four, five, six, seven.

- [Chattering]
- [Feed back]

[George Martin]
Dave, why don't we use this one?

[Continues, indistinct]

[Dave, indistinct]

We can't record without doing it.

[George Martin] In the meantime,
can we have...

[Dave] Yes. [Indistinct]

- [Engineer] Cheers, man.
- [George Martin] Thank you.

[George Martin] Now, Dave,
can you control it in there?

[Dave] Yes.

[Indistinct]

[Tony] We've been doing this film
for the last, sort of, two weeks,

and we've noticed you every day
at twickenham studios and also here.

You stand outside all day long.
Can you tell us why?

We just want to see 'em, that's why.

What do you think of John Lennon
and the relationship with Yoko Ono?

I don't know. It's okay.
But it's his choice, in'it?

- It doesn't worry you at all?
- No.

It's got nothing to do
with anybody else really, has it?

Not really. That's a good answer.

And you've obviously read in the papers
about the possible split of the Beatles.

I mean,
how does that sort of affect you?

I don't want 'em to break up,

but I don't,
sort of, come for all of 'em.

It's just Paul I come for,
so it doesn't really matter.

As long as I can see him it's all right.

What would you like
to see the Beatles do now?

- God, what a question.
- A show.

Yeah. A live show.

- Any show.
- Yeah.

[Piano playing]

[Ringo] It was lovely walking in here
yesterday after twickenham.

It really was.

[Michael]
In retrospect, I'm glad we got out.

Something queer about twickenham,
I don't know what it was.

- [Ringo] Too big.
- Too big?

[Ringo] For what we were doing,
you know.

And this is nicer.

[Both chuckling]

I'm on a special diet as of today.

- What are you on?
- No food.

Oh, poor, why?

I just feel a little heavy.

When you get out the bath

and find you're not admiring yourself
in the mirror.

[Ringo] Too much to admire.

You going to do everything in here?
Rather than go to emi in future?

- Unless you mean big orchestrations.
- [Ringo] Don't know till we hear it.

George was saying good thing
you have to fight certain things at emi,

so it's much better
when it hits the record.

- Aye.
- Mmm.

It's a much more real sound,
what the customer buys.

[Ringo] It's just better
'cause we're our own government.

Have you said good morning to Fred?

You'll be able to get rid
of these things once we get set up.

- [Ringo] What things?
- The boom mics.

This is for intimate,
unobserved conversation

in the middle of the room, though.

[Chuckles] Unobserved conversation?

[All chuckling]

We should get really underway today,
I think.

We really got underway yesterday.
It was a good day yesterday.

Yeah. From your point of view.
I'm talking about from my point of view.

Oh, yeah, you should get on with it.

[Michael]
How late did you work last night?

[Ringo] About twenty past seven.

It's just that.
But it could have gone longer too.

[Ringo] Mmm. You get me a small...

- [George] Morning.
- [All] Morning, George.

- [George] You're looking very...
- [Michael] Pink.

- Yes, very clean and in order.
- [Michael] And even washed and in order.

- I hear yesterday was good?
- Mmm.

- Work-wise.
- Yeah.

[Michael] Good.

- Good vibes, man.
- Yeah.

[Michael] Morning, glyn. How are you?

- Morning, glyn.
- Morning, glyn.

- [Glyn] Morning, George.
- [George Martin] What are we doing?

What are all these people doing?

[George Martin]
They've come to look at you, John.

Now, who can we find
to switch off this ventilation? Mal?

It's so freezing in here.

[Ringo] I was listening to...
I've told everybody.

You know the around the Beatles thing?

- [Glyn] Oh, yeah.
- You did the sound. Great sound.

I just heard it over the weekend.
And we were great as well, you know?

- You were, actually. Yes.
- [Chattering]

[Ringo] The acetate's great, 'cause we
got all the sort of rockers first half,

and all, you know, "love me dos"
and "please please me" the second half.

The rockers are so great,
all the kids screaming.

But the sound was great.

[Michael]
I love when you play rock and roll.

Oh, George, before I forget it.
Where do you...

Where do you buy classic scores?

Classical records?

No, no, no. Scores, you know, like...

Piano scores.

[George Martin] Ah, well, any good music
shop. There are a couple near here.

Like chappell's?

Chappell's will have it, yeah.

[Guitar playing]

[Michael] But I think, you see,
we ought to get together.

See if we're gonna have it out of doors,
whether people just turn up.

[George] Uh, are you still
trying to do it with all people,

audience, all in one go?

Yes. Shall we say
we'll do it this weekend week?

[Michael] Because I think
we ought to set us a time.

[George Martin]
The problem with glyn, I'd like him...

You know, if he's starting the thing,
I'd like him to finish it.

It's silly, really,
to change horses midstream.

[John] I know.

[Tony]
"Drugs, divorce and a slipping image."

And it says,
"but it wasn't the first time

they've traded a few punches."

[John] Yeah.

[All chuckling]

[John] There's only one guy
I'd like to get, and that's housego.

[Glyn] It's really extraordinary,
the last week's press, isn't it?

[George] Because there's nothing to it
except that it's a lie.

[John] Hope it doesn't come out
about me beating up maharishi.

No doubt Derek will have read it
before it got in there

and has sent them their telegrams
and things.

[John] Congratulating them.

[John] Morning, denis.

See Michael housego today?

- Don't you think it's suable?
- No.

- What about the fisticuffs?
- [George] Yeah, none of that.

He said it didn't take place, right?

- He said it did.
- No.

- [John] Oh, crumbs.
- [George] Yes, he did.

[Ringo] He said "might have."

[John] Yes. In the past,
well, that's false too.

It's never got to that, except for
a plate of dinner in Hamburg.

The picture's great, yeah.

George Harrison,
the sane one, speaks out.

I read it before the riddles.

J“ you are my sunshine
m y only sunshine j“

j“ you make me happy
when skies are gray j“

[George] J“ you'll neverknow, dear
how much / love you j“

j“ please don't take my sunshine away j“

[Michael] We saw the rough-cut
last night of "the circus".

Would you like to do the link
into the stones for the circus?

- Or would you not like to?
- What's that?

[Michael] We've found we haven't shot
anybody announcing the rolling stones.

[John] Oh, I see.

- Well, what kind of...
- It would just be, uh...

"Now, ladies and gentlemen, your host
for this evening, the rolling stones,"

or words to that effect.

- If it's straight, then I'll do it.
- Yeah, it's straight.

And now, your host this evening,
rolling stones.

[Ringo chuckles]

- [Ringo] Did you see hancock?
- Yeah.

[Chuckles]

[Crew] I'm playing it right.

[Michael] That's Keith moon.

[Vocalizing]

See that? With the sound on, I...

[John] Turn me on, man, will you?

[Michael] Can you juggle?

- It's the one thing I really...
- Watch.

Mmmmm

[Michael, chuckling] So uncoordinated.

[John] No, I can'tjuggle.

[Michael] Can you juggle, rs?

[John]
While he juggled, I knifed up the wall.

[Ringo] Ready for three.

[John]
J“ m y rock and roll finger is bleeding j“

j“ ll/ly rock and roll finger is hurt j“

[John] "Beatle George Harrison, above,
is due in court here today

to answer assault charges.

If he does not appear, he will be given
an immediate jail sentence.

Harrison is accused
of assaulting a photographer last may,

as he and beatle Ringo starr
left a nightclub."

[Glyn] Does the pa come before
or after the limiters?

After, isn't it?

[Glyn] Can you move the speakers
behind Paul a little bit further round?

[Paul] Glyn?

When will you be set up
to tape something?

[George] Haven't they got it plugged up?

[John] Are we not in that situation yet?

[Chuckles] No answer.

It's all right. Not yet, you mean?

What's that?

[Mal] It's been made up by Alex.

How do you tune it?

And this is the mock-up
of the two-sided bass/rhythm model.

What?

[John] It looks like he's...

[George]
Let's give him half a million quid.

It looks a good idea.

- Yeah!
- Two-sided bass/rhythm...

[John]
And let's give it him just for this!

I'll put it on show.

[All chuckling]

He might have something in that though.

You never...

He'd have to just have less sides.

[George] There it is now.

- Yeah, two sides.
- Two sides and one...

[George] You're gonna get
all your strings rubbing on your hand.

[John] Tell him to build a prototype.

[George] Better be good!

- Glyn, can you look into the pa thing?
- Let's think in terms of...

We still haven't had
a really good pa sound yet.

You know? If we're gonna do it here,
let's try and get one in this room.

'Cause we still haven't had that, where
we're knocked out with what we hear yet.

[John] I think it's time to...
If we can record some as well,

'cause we've got all this arrangement.

- I say it now so we can get on with it.
- No idea.

[Paul] It's like when we played at
the top ten in Hamburg.

The thing is, it sounded so great.

[Paul shouting in German]

[German continues]

J“ yeah, yeah j“

-j“ / said, hey now, child!“
-J“ yeah, yeah j“

j“ c'mon everybody, take a tr/p with me j“

[Paul] All right!

J“ oh, way downtown j“

j“ way down there j“

j“ / got a girl who's such a girl I

j“ well, she's my queen j“

j“ and you know what / mean j“

j“ heyj“

j“ oh, yeah j“

[John] J“ in a tiny house j“

j“ by a tiny stream j“

j“ lived a little girl j“

drop me off tonight?

Will you drop me off tonight?

J“ had a little dream j“

it's on your way, is it?

J“ and the dream came true j“

j“ so unexpectedly!“

j“ in gil/y gil/y ossenfeffer
katzene/len bogen by the sea j“

[John]
J“ hula, hula, hula, hula 40 days j“

a-ruff!

J“ oh, they say they had satisfaction j“

j“ I'm gonna take it
to the united nation j“

[Paul] Okay.

- Do something for them.
- [John] Okay, boys.

[Paul, imitating Elvis Presley]
Okay, boys.

Let's cool it for once
and get it real going for a change.

Hold it now and don't move.

[Babbling]

[John] Another lennon/mccartney original
entitled...

[Paul] J“ too bad about sorrow j“

j“ too bad about love j“

([together] J“ there'll be no tomorrow)

J“ for all of your lo ve j“

-j“ ah, ah, ah, ooh j“
-j“ ooh, ooh j“

[Paul] Kevin, did you get that list?

- [Kevin] Yeah. Okay.
- [Paul] Thank you.

"All I want is you,"
"the long and winding road,"

"bathroom window," "let it be."

- "Bathroom window"?
- "Across the universe,"

"get back to where you once belonged,"
"two of us on our way home,"

"Maxwell's silver hammer, “
"I got a feeling, “

“sunrise," "I me mine."

- [John] "Sunrise"?
- [George] "Sunrise"?

Uh, "sun"... "All things shall pass."

- Oh, my...
- [Paul] They mean...

You threw me there.

I thought, I was away a day,
they learned a fucking tune.

They learned a fucking tune.

[Crew] Over there.

[John] Over there.

[George]
If we're just trying to make the album,

I think we should just start it
straightaway.

I think we're just gonna sing them live
to the camera.

So we'll probably just do
about half an hour.

I” /, a, h/, h/, a, h/, hij"

-j“ d/g a ponyj“ -[Feed back]

J“ well, you can celebrate
anything you wantj“

j“ yes, you can celebrate
anything you wantj“

j " oh, /, a, h/, h/, a, h/, hi j"

j“ take a skyl/ght j“

j“ well, you can penetrate
any place you go j“

[feedback continues]

J“ whoo hoo hoo, ooh j“

it's not me, is it?

-J“ ooh, oohj“ -is it me?

[Paul]
It seems to be this mic feeding back.

- [George, indistinct]
- [Paul] J“ a ha ha, ooh j“

it stops when I talk on this mic, so...

[Glyn] Can you not turn down the bass?

- Can you turn?
- [Paul] Sure.

[John] I'm going to have
road hog instead of skylight,

however pretty it may be.

I keep telling you not to,
and you won't listen to what I say.

- You're right.
- I know.

What is it?

[Paul] A fragile Leslie.

I con a Lowrey, but it didn't sing well.

- [Michael] Yeah.
- [John] J“ con a Lowrey... j“

there wasn't... so I changed it to Paul's
"dog a boney."

[George]
"Cadge a Leslie," you had as well.

[John] Yeah, "cadge a Leslie," that.

It's gotta be ds and bs, you know?

[Feed back]

- Are they ready to take any yet?
- [Feedback continues]

[Paul] I don't know!

[John] Can they hear us in there?

Glyn can hear us. Can't you, glyn?

In fact, he's coming out.

Yes, glyn?

There's lots missing yet.
This afternoon, late...

[John] It's got to the point where we
don't know what anything's like there.

[Glyn] In fact...

While you're at lunch
we'll finish getting set up.

[Ringo] I'm going
for a medical at half three.

- [John] Oh, no, you're not!
- Oh, yes, I am!

J“ well, since my baby left me
never said a word j“

j“ was it something that / done j“

j“ or something that she heard? J“

j“ you know, she left!“

j“ yeah, left me j“

j“ so she even left me j“

j“ never saying a word j“

j“ put on your hi-heel sneakers j“

j“ 'cause we 're going out ton/ght j“

J“ better take your shotgun j“

j“ in case some fool m/ght wanna fight j“

j“ every morning when the sun comes up j“

j“ said that old milk cow j“

j“ the lazy way she walks j“

j“ you know, the moo... j“

j“ that old milk cow j“

J“ yeah, that old milk cow... j“

j“ don't hurt me j“

j“ ooh, ah j“

J“ / woke up this morning j“

j“ and / looked out my door j“

j“ / can tell that old milk cow j“

j“ I can tell the way she walks j“

j“ she's gonna leave j“

[Paul]
J“ ”the end of a beautiful friendsh/p”j“

j“ by Michael house-go-home j“

"the awful tension of being locked
in each other's arms

snapped last night at a TV rehearsal.

And Beatles John, George,
Paul and Harold, at very least...

A few vicious phrases took place.

He, the mystical one
who lost so much of the Beatles' magic.

She, the nudie.

It's only the suddenness
of their decline

from the status of 'boys next door'

to the category of 'weirdies'
that has left most people agog."

[Denis] I heard he just played that.

"It would be about the middle of 1960

that the personal luster of the Beatles

began to show a few spots of rust.

I will deliberately
leave Ringo out of it,

because he has never
developed an inclination

towards the bizarre.

Lennon was married, happily.

McCartney was going steady,
and George Harrison was about to marry.

Everything in the beatle garden
was rosy.

But that was a long time ago.

They went their own private ways,
found their own friends

and became less reliant on each other
for guidance and comradeship."

J“ early in the morning
I'm a-giving you the warning j“

- "where did it all lead to?"
- J“ ...Step on my blue suede shoes j“

"I suppose it is fair to say
that it led pretty close to disaster

at one time or another.

Today all of them
find acute embarrassment

at the stories of one another's

odd-ball adventures and conduct.

Harrison's escapades
with his favorite mystic from India

- left Paul and Ringo aghast..."
- J“ I'm a-giving you the warning j“

j“ don't you step
on my blue suede shoes j“

"and both felt obliged to try him out

to see if they were missing anything."

J“ nothing to lose, and hey j“

"drugs, divorce and a slipping image

played desperately on their minds
and it appeared to them all

that the public was being encouraged

to hate them."

J“ you don't need no rhythm and blues j“

j“ / got nothing to lose j“

j“ early in the morning
I'm a-giving you the warning j“

j“ don't you step
on my blue suede shoes j“

"but that still doesn't amount
to a complete break-up of the group.

Whatever talent they have
as individuals,

and who can deny it,

their capacity to earn
is largely tied up

in their performances as a group.

And until they are either
rich enough for that not to matter

or are fed up enough

they'll stay together
because of the economic necessity.

But I can't say definitely that,
as the friendly foursome

tied irrevocably
to each other's pigtails,

it's all over.

They will never be
exactly the same again."

J“ e verybody's rockin' ton/ght j“

- [Paul] Okay.
- [John] Okay.

- [Paul] Okay then.
- [John] Are you ready, George?

[Paul] Here we go, glyn.

Coming, ready or not.

- [John] Glyn.
- [Glyn] You're on.

- Okay, boys and girls.
- [Paul] Okay.

"All I want is you."

Take one.

And now, your hosts for this evening,
the bottles.

Pohj"

I” /, a, h/, h/, a, h/, hij"

j“ roll a stoneyj“

j“ whoa j“

[John]
J“ you can imitate everyone you knowj“

j“ yes,
you can imitate everyone you know j“

j“ lto/d you so j“

j“ a/// want is you j“

j“ everything has got to be
just like you want it to j“

j“ because j“

J " oh, /, a, h/, h/, a, h/, hi j"

j“ feel the wind love j“

j“ well, you can indicate
anything you see j“

j“ yes, you can indicate
anything you see j“

j " oh, /, a, h/, h/, a, h/, hi j"

j“ dug a bony!“

j“ well, you can syndicate
any boat you row j“

j“ yes, you can syndicate
any boat you row j“

j“ lto/d you so j“

j“ a/// want is you j“

[Paul] R g/f/j“

[John] J“ you're gonna shag that girl j“

j“ shag j“

j“ everybody shag now
everybody shag j“

[Paul] J“ ll/lo ve a little bit harder now
/I/lo ve a little bit softer now j“

[Paul] Come on, let's go in and listen.

[Ringo] Gonna hear that.

- What, where?
- There.

- Go in there?
- In there.

Sure. Why not?

- [John] No, no, don't...
- Oh, no, no, no, John.

Please don't put the mockers on it.

([George] J“ oh, no, no, no)

["Dig a pony" playback]

J“ because j“

[playback continues]

J“ a/// want is you j“

[John] It sounds just about the same
as it sounds out there.

[George] That sounds very nice, really.

[Glyn] I'm really pleased
with the sound.

I thought, "well, fuck me. If they
don't like that, what do they want?"

[John] It's just like we sound.

J“ lodge Sam wrapper
is the place you gotta go j“

and now, our hosts for this evening,
the bony rolls.

"I dig a pygmy"
by Charles hawtrey and the deaf-aids!

[Laughing]

Phase one, in which Doris gets her oats.

Ringo!

[Coughing] Richie!

Scab head! Come in!

One more.

[Paul, posh accent] Glyn would like us
to do it one more time.

Shall we oblige him?

[John, American accent] Okay.

I think we could
still take it a little quieter.

[Paul, American accent] I think I agree.

[John, normal voice] And when I go,
"oh," I want you to go, "oh."

[Paul] Got it!

Pohj"

[both] R or; R

[playing "dig a pony"]

J“ a/// want is you j“

I” /, a, h/, h/, a, h/, hil”

I d/g a ponyl

I well, you can celebrate
anything you wantl

after we got to "a wind love,"
I went berserk.

[Laughing]

[Paul] Like the wind, he blew away.

- His thoughts scattered...
- I blew a windstorm.

[Paul] ...Tumbling like a paper cup.

"Blew a road hog." That's better.

Blew a road hog.

[Paul] Slither wildly like a blind dog.

As it creeps away across my underpants.

[Paul laughs]

- [John] I'm a lyricist in my own right.
- [Paul] He is, you know.

[Paul] Yes, Richard Rodgers
has got nothing on this boy.

- [All chattering]
- [John] I oh, Paul, sometimes... I

[Paul]
I aye, sometimes, John, ldon'tknow... I

[John]
That tongue will be the death of you!

"I feel a wind love"?

Yeah, I've changed it
to "wind love" now.

- I just make it up as I go along.
- [Paul] Oh, is that how you do it?

[Playback]

See, I want it so that it goes...

[Imitates drums]

The bass is going that bit.

Try doing it so you're almost playing
four in a bar. So you go...

[Imitates drums]

On those bits.

[Ringo] Well, that's the beginning
of the verses, isn't it?

Yeah. I ld/gaponyl

[Ringo] That's what I'm doing now.

This one isn't going...

High or heavy. You can hear the...

There's none for that one.
Only the bass is doing that.

[George]
We haven't got the double bass drum.

The other bass drum.

[John] So what would that be, Paul?
Would that be four in the bar?

- Are you using high hats?
- [Ringo] Mmm.

- [John humming]
- Don't know, maybe a...

If you did...
Are you doing the big cymbal on that?

[Imitates drums]

- That's the way I'm doing it.
- [John] Yeah.

I after 40 years in the desert
he couldn't find his balls I

[mal] What time are you working till?

- [Ringo] What time is it?
- [Mal] Seven o'clock.

[Ringo] That's time enough.

[John] I well, don't you know
that there's a madman a-comin'i

I gonna do you no harm I

I he's wearin ' pink pajamas
and he lives on a farm I

I he's got to get somewhere
so that he can be on his own I

I / got a feeling
a feeling deep inside I

I oh, yeah I

-I oh, yeahl -[John] I oh, yeahl

I / got a feeling
a feeling / can't hide I

I oh, no I

-I oh, no I -i oh, no I

-I oh, yeah I -i oh, yeah I

[Paul] I oh, nol

- [song continues on playback]
- I yeah, yeah, / gota fee/ingl

I don't let me down I

I don't let me down I

one, two, five, six!

[Paul]
Sounds all right in here, doesn't it?

Doesn't really make much difference.

[Glyn] Oh, yeah. But with everything
being so close-mic'ed,

you don't notice it on the tapes much.

This is really good for strings
or anything... you'd mic more distanced.

- [Paul] Is it?
- Know what I mean?

[John] Imagine if we could have
played like this at the cavern.

It would've been great.

Eh, we were there, weren't we?

[George] Got another toy.

[Paul] See, would you have piano on it?

[John] Yeah, but how do we do that?

'Cause then it just leaves one guitar,
doesn't it?

- We need somebody else.
- [Paul] Yeah.

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

That one that plays with the stones.

- Or anybody. Yeah.
- [Paul] Nicky Hopkins.

[John] If Beethoven was alive today,

he'd have a deaf-aid
and an electric piano.

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

[deep voice]
I don't let me down I

plop, plop, plop. Plop. Plop.

[Normal voice] Don't let me down, baby!

[Paul babbling]

I I'm in love for the first time I

I a wop-bop-a-loo-bop, oh I

I it's a love that has no past I

[scatting] I don't let me down I

I I'm in love for the first time I

-I dicky ll/lurdoch I
-["Don't let me down" continues]

I dicky, dicky, dicky doo I

I dicky, dicky, dicky, dicky
dicky, dicky, dicky ll/lurdoch I

I dicky, dicky, dicky doo I

[blows raspberry]

[Paul] "She came in through
the bathroom window."

[John] No idea.

[Paul] A... "Diana" chords in a.

- [John] I'm on piano for this one.
- Yeah.

It's a great piano.

- It's the best one here.
- Oh, yeah. But you had one.

- I know, but it wasn't like...
- Your Fender.

Nicky Hopkins has just got one of these.

[John] I've had one about two years
at home, but it's not as good as this.

Must've been the prototype, you know?
It's all buzzy like the old one.

I by the banks of her own... I

just like that. [Vocalizing]

[Paul] I but she could not Rob I

I didn't anybody tell her? I

[George vocalizing]

On the chorus...
Just need it to be a bit more solid.

So, like...

Sing on the top of it.

I didn't anybody tell her? I

yes, they're all like that.
They're all like that.

I didn't anybody tell her? I

I didn't anybody I

it should be like three-part,
and very close, very tight.

And with a sort of...

I she could steal
but she could not Rob I

I didn't anybody tell her? I

just very, sort of...
In the background, it should be...

[Imitates beat] Very plain.

I didn't anybody tell her? I

I didn't anybody see? I

I Sunday's on the phone
to ll/londa y I

[John] We've got to start on
all them other ones we've learned now.

- Yeah, little bits...
- And start doing them.

Well, shall we do it tomorrow?
The harmonies?

I didn't anybody tell her? I

[John] We must be able to have it so
that we can play with an electric piano.

I mean, look,
other groups play on stage with 'em.

I mean, I've seen people on telly
playing them, you know?

[George] We just need
one more in the group.

[John] That's what it is.

Come along.

- Oh, yeah.
- Come on. Get home.

We're going with Ringo.

Goodbye, goodbye. See you tomorrow.

[Michael] Okay.
What time are you coming?

At 11:00 on the nose.

Or one o'clock.

But on the nose.

I had a good idea for the TV show.

The only way we ever did them...

- Harmony? You're right.
- You're right, John.

Riffs on guitar, Paul. Harmony on piano.

I'd like to... what we did today,
it was the same story.

- Same story.
- Same story exactly.

- For the voices, you mean?
- Yeah.

- Sure.
- We gotta get those voices cleaned up.

Well, let's get 'em all
into the riff stage.

'Cause I do like the riff stage,
you know?

Yeah.

- Okay, see you tomorrow.
- Yes. Good night.

- Yeah.
- At eleven o'clock.

[Michael] Good night.

[Chattering]

Ta-ta. Good night.

[Chattering]

[John] "'So be it, '
says George Harrison."

[Yoko] Is that Michael housego?

- Have you seen that?
- [George] No.

In the mail, there's a picture of you
inside the next page.

And you said about France,

"'so be it, '
says beatle George Harrison,

who smashed, ruined the fellow's
evening suit and his cameras, and"...

[Glyn] Had seven stitches in his knee.

[George] "Harrison has already agreed
to pay bebert £425 compensation."

It's amazing the way it goes on
without even

- anything to do with you.
- Yeah.

[George] It's like, as if you can just
give 'em a plastic dummy of you

to, you know,
to push around and play with.

Morning. Morning, everybody.
Another bright day. Morning, camera.

And now, your host for this evening,
the rolling stones.

[Glyn] Lovely warm air coming
through here. It's great.

[Glyn] The studio
looks like a pig-sty already.

[Paul] Neil thinks they'll want to
print their own in america.

[Derek] Yeah. Well, they will.

[Paul] It's like...
I don't like that thing

where it goes cheap
when it goes to america

- and they do the reprint.
- [Derek] I know what you mean.

Because the album's
gonna be called postcard

[Derek Taylor] By Mary hopkin?

[Paul] By Mary hopkin.

So we're just getting Valentine's,
the people who make postcards,

to put one of them
on the cover of the lp.

- There's no, sort of, sleeve notes...
- And a picture of her.

[Paul] Yeah. And just a few pictures
of her in it all.

- Postcard?
- Yes.

- [George] Next of hopkin.
- [Glyn] Can you hear me?

- Does this work?
- Yeah.

[Glyn] Goodness me.

- Should be a good day.
- [Laughs]

[George] Bring your tambourine
next time you come.

All right.

- [John] Is that old toast that you had...
- Yeah.

- They're bringing some more.
- [George] With a bit of marmalade, kev?

[John] I has taken my love away from me
oh, nowl

I some other guy now I

John, could you give us an e?

- Yes.
- [Plays note on piano]

Wow, that's great.

[John] Michael, do you want this?

- [Michael] Those walls?
- Yeah.

- We don't have to have them anymore.
- They're reflecting it all back on us.

- [Paul] The heat?
- Yeah.

- You're so right.
- Oh, Paul, I...

I know you've probably lived
in a glass house.

[John] I've majored in science.

[Vocalizing]

[Michael] Paul, what I'd like to do now

is go and talk to Neil
about seeing if primrose hill is free.

Can I do that?

[Paul]
It would be nice almost not to tell 'em.

[Michael]
That's why I wanted to do it in Africa.

You just start playing, and one by one
they come, one by one, ten by ten...

[Paul] Well, to me that's okay.
Primrose hill. And I dig it.

And then if it lasts for two days,
it will be very good,

because we'll all be forced
into a time thing

and we won't have another go at it.

[Michael] Right, I agree.
I think the second day, in fact

will be the one that will make it.

[Paul] And I bet that would, sort of,
magically then give us the show.

[Michael] So, but just roughly,
timewise, you'd say in about a week?

[Paul] Yeah.

[John] Mal, could you buy
some cooling fans? Just loose ones.

- [Mal] The engineer's coming over.
- [Ringo] We need the blowers.

[Glyn] Paul, have you changed
the sound of the bass

on the bass itself, since last night?

[John] Oh, yeah.

See, we're never gonna be the same
two days running, you know?

- It's impossible to remember.
- [Glyn] Sure.

The amp...
The amp, I'm not bothered about at all.

It's just the bass itself.

[John] Did you see fleetwood Mac
on late n/ght live?

- They were so sweet, man.
- Were they?

[John] And the lead singer's great.
You know, looks great.

And he just, sort of,
sings very quiet as well.

He's not a shouter.

- And they were just like... [hums]
- [George, indistinct]

[Paul] It's a bit like canned heat.

[John] Yeah,
but better than canned heat.

There was only four of them
last night, wasn't there?

Yeah, they're really good though.

It's just that sweeter,
just the guitar hanging.

[Paul] I well, the more we ran
won't be back again I

that's like the canned heat one.
I love that one.

I well, I'm going down the countryl

I down the country way I

I going down the countryl

I don'thave what to... I

I and / won't be back I

I for a while with all the loving here I

okay, glynis.

- Shall we do it?
- Okay.

Okay. Let's try it now.

Give up canned heat.
We're the Beatles now.

- Do it like the Beatles.
- [Glyn] Running.

I lto/d you so I

I all/ want is you I

I everything has got to be I

I just like you want it to, because I

I all/ want is you I

[glyn] Ah, you even got the end right.

- '[George] It certainly...
- We improve with time.

You're not talking to
Ricky and the red streaks, you know?

[Paul] Like a fine wine, really.

[John] Ooh, it's a strain of a song.

It's such a heavy one
to go through all these times.

Yeah. There's no time for a breath.

I'm trying it all different ways.

Okay, let's change the format.

- Let's run through "I've got a feeling."
- Okay.

I wandering around
wondering how come nobody told me I

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

I ooh I

we go to d.

I just had a Harmony.
It just came, just like...

-[Paul] I that everybody knows I
-[Glyn] John?

Could you take
a little bit of bass off your guitar?

[Paul] More.

Let me tell you about
the feeling I've got.

[Paul] Bit more.

I everybody had a hard year
everybody had a good time I

see, it's not as good, man,
as when it was bassy.

What's the matter with you?

- I can't hear you.
- [Glyn] Be bassy.

- What?
- Be bassy!

You know, 'cause I get a drone going
without being loud, you know?

Right.

- [Glyn] Ringo?
- Yeah? What?

Is there a damper on your floor Tom-Tom?

- A damper? No.
- Yeah.

The only damper
around here is you, glyn Johns!

- [Ringo] You want one?
- [Glyn] Yeah.

- [Paul] It should do that.
- [George vocalizing]

[Paul] At the eight.

[John] Yes! Yes!

- Yeah, okay.
- Okay.

[John] Let's take the song and hear it.

-I everybody had a hard yearl
-[Paul] I I have a dream I

I everybody had a soft shine I

I everybody had a wet dream
every... I

sing, Paul!

-[Paul] I oh, yeahl
-i everybody had a hard yearl

-I oh, yeah I
-[John] I everybody had a wet dream I

-I I've got a feeling I
-[John] I everybody had a... I

-[Paul] I that keeps me on my toes I
-i everybody put their foot down I

[both] I oh, yeah I

- [Paul] I have a dream...
- I had a dream this afternoon.

Yeah, I had a dream.

[John] I had a dream this afternoon.

- Yeah, I had a dream.
- Great, wasn't it?

When all people...

- Shall be united.
- [John] Did you hear Martin Luther King?

- [George] No.
- [John] Fantastic.

[Imitating Martin Luther King junior]
I had a dream this afternoon, children.

I dreamed the black and the white kids
are gonna be together.

[Paul] Walk together, hand in hand.

[John, normal voice]
Like a big poem, it was.

He would have been president, you know.

- Yeah.
- Just like a poet.

- [Michael] And his voice...
- Just like Tennyson on that whole thing.

"I had a dream this afternoon."

[Music starts]

I yeah I

I oh, I've got a feeling
ooh, ooh 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

[John] Have we taped any of these
that we can hear back, glynis?

- Did you tape the last one?
- Yes.

[Screeching]

I'd just like to say...

- [Paul] It's all right, this studio.
- [George] It's gonna be a good studio.

[George] It's only been a couple of days

and all this is temporary equipment
because we rushed in

before we should have done.

- [Person] What's this?
- [George] It's only the decorators...

[John] I'm gonna say,
"I wanna hold your hand. Disk 1932."

[Chuckling]

[George] Gold discs!
Yeah, we should do that,

make a montage out of
all our gold discs on the wall.

[John] If you can
get 'em off Mimi's wall.

-I all/ want is you I
-it just doesn't happen.

I mean, he's not going...
[Imitates drums]

To the end one.

I think maybe you could do...

Yeah, well, now we've got...
You can alternate through 'em.

Alternate everything now.

You know, uh, really fill it out a bit.

And on the "all I need, all I want,
everything has got to be," he can go...

[Imitates drums]

- That one.
- It's like where we are now.

We normally record it, put it down like
that, just get that sort of a bit okay.

Then do all the voices,

- then finish it off.
- Then start laying on...

And then make it into a record.

And then you think, "yeah, we should
have played it a bit more like that."

- Yes.
- And it's like that really.

- It's just trying to jump ahead.
- Yeah.

Yeah. I think this will do, might do it.

I've just gotta be
sort of different on the rhythm.

It's gotta be either one thing... it's
neither one thing nor the other now.

And there's something we need for the...

How you doing? How are you?
How you doing, baby?

- Good to see you. Hi.
- Hi. Good to see you.

[George] He was this big last time.

- Hello.
- How you doing, Ringo? Good to see you.

- You too.
- Yeah.

Out of sight, man.

Every number's got a piano part, or a...

And normally we overdub it.

But this time we wanna do it live.

Yeah. That'd be nice.

- I mean, just live to ourselves...
- Yeah.

Straight off,
one number after the other.

And that means having somebody in on it.

If you'd like to do that

- you're welcome.
- Sure. Beautiful.

- Right. And then you'd be on the album.
- You're kidding. [Chuckles]

Well, that's good then.

We've taped a few. The thing is to get
some tapes made of what we've done,

and let him have a listen,
take 'em home at night.

He'll probably pick them up much quicker
hearing us play 'em.

[Paul] Yeah, just rehearsing them.

- [John] Have you met Billy, George?
- How do you do, Billy?

That's George Martin, our a&r man.
That's Billy.

We played with him in Hamburg.
He was backing little Richard.

- Did you...
- In Hamburg.

[George] Yes.

[Paul] In the old days.

I a taste of honeyl

[vocalizing] I ll/luch sweeterl

The piano behind here.

[George] Who's controlling the pa?

- Hello?
- [George] And this one isn't on.

- Is that one on?
- [Ringo] One isn't on, glyn.

[George] You got all them chords?

And now, your hosts for this evening,
the rolling stones.

[Paul] I no, no, nol

I yeah I

iohl

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

I I've got a feeling I

[John] Yes, you have.

I that keeps me on my toes I

[John] On your what?

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

I I've got a feeling / think that I

[both] I everybody knows I

I oh, yeah I

[both] I oh, yeah I

I oh, yeah I

I woo, woo-oo, woo-oo I

I woo, woo-oo, woo-oo I

[John] You're in the group!

- All right.
- Yes.

[George]
Electric piano has such a great sound.

It's only...
Is there a speaker facing you as well?

[Billy] Yeah,
I'm getting it played back.

Okay.

Do a nice, big... [imitates cymbal crash]

For me, you know, to give me
the courage to come screaming in.

[Ringo] Okay.

I don't let me down I

I don't let me down I

[John] It's great!

- You're giving us a lift, bill!
- All right.

We've been doing this for days,
you know.

Weeks.

- Just choking.
- Years.

My voice is choking.

I just wish I had yesterday's voice
but today's backing.

I was swinging yesterday.

Voice-wise, that is.
I've just gone over the top.

-I don't let me down I -i 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, she done me good I

[George] Some tea and sandwiches came.

- Yeah.
- [John] Sandwiches?

[John, Paul]
I and if somebody ever really loved me I

I like she love me I

I yes, she does I

all right, glynis. We're off again.

I don't let me down I

I don't let me down I

[John] Take it, Billy!

Can you dig it?

I ooh, ooh I

[John] I had a dream this afternoon.

Don't let me down.

Well, ladies and gentlemen, we'd like
to change up the tempo a little.

Okay. Let's do the next song then.

- You right? I'm doing my intro.
- Sorry.

Do you mind?

I'm getting a bit dafter
with every song. This...

- Come on, son. Now try your hardest.
- It's getting... look at them.

I don't...

- [George] Was he taping them?
- [John] Yeah.

We'll do "dig a pony"
straight into "I've got a fever."

[Glyn] Actually, I have to change tapes
in that case. So, stay tuned.

Piss on your boots.

I you can dance I

I every dance with the guy
holding you t/ght I

I let him hold you t/ght I

I you can dance I

[indistinct] I in the pale moonl/ght I

I but don't forget
who's takin ' you home I

I and in whose arms you want to stayl

I oh, dar/in ' I

I save the last dance for me I

I back when I loved a lo very girl I

I and / lived on as / lived on I

I every time / wanna... I

I just on and on and put me down I

I with a cupcake, baby
chocolate, yeah, yeah 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

I all/ want is you I

[glyn] Do you want to hear either
of those two back? Or can I erase them?

[John] No, keep 'em.

I mean, what,
was something wrong with 'em?

[Paul] There's nothing to keep.

[John] They've improved on this morning,
haventthey?

Haven't you got three now?

[Glyn] You're talking about...

Do you have "don't let me down" as well?
The three.

Yeah, you got the last three
with two takes of "I've got a feeling."

[Glyn] Oh, yeah.

We want to hear what we've done to 'em.
The waltzes and bits. So keep 'em.

- What, have you got no more tape?
- [Glyn] Yeah.

Well, we don't need to record any more,
so keep 'em.

Can we hear "don't let me down"?
I wanna hear that.

[Glyn] That's really what I'm trying
to do now, give you a rough thing

of what it will sound like in stereo.

You heard the drums are on two tracks.
So, like, when he goes...

[Imitates drumming]
It goes right across the room.

Sweet, man.

[George] You know, when he asked
for four speakers, the emi guy said,

“what do you want four for?
You've only got two ears."

[All chuckling]

I nobody ever loved me like she does I

I ooh, she does 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

- Can you play violin?
- No.

- [Beel0]
- [Crew] 2-9-0.

- [Paul] What time is it?
- [John, George Martin] Five past 6:00.

- Thank you.
- We work to the clock.

[Chuckles]

It's good all his fills on the...

I don't let me down
doo doo doo doo doo doo doo I

- [Michael] I had a word with Neil.
- [John] Yeah.

What he indicates is that we'll
do something early next week.

[John] And it'll be great.
Soon as we got them off...

We almost know three numbers, actually.

I mean, we'll get it.
And the thing is we've got Billy now.

- [Michael] Is he going to stay with you?
- Yeah, well, sure. He's the guy.

And that solves a lot.

Paul was saying we do
the whole show once here

and then maybe
go up primrose hill, or something.

[Michael] I think do it here
and then, like, take a week...

Or we could do half of the lp here

and the other half outside.

It will be fantastic
with this whole build up

with bits of paper, and twickenham,
and all that scene.

And it will be a movie,
you know, not a TV show.

- It will be the third Beatles movie.
- [Michael] If it's good enough, yeah.

It's good enough now.

[George] When you record, you know,
you settle on something,

and you say, "okay,
that's how it's gonna be for now."

But when you're on the road, say, doing
it all the time, it slowly changes.

So, I mean, that means we may go on
rehearsing forever. [Chuckles]

Yeah.

- [Indistinct]
- [Yoko] Oh, yes.

The thing is that, um...

[Bluesy instrumental music playing]

- I've spoken with Mr. Klein.
- Oh, yeah.

He's coming in Friday.

So, I don't think he'll be here
until the end of the day.

So, about six o'clock on Friday.

I think... weren't we
doing something on Friday night?

[Yoko] Friday night, yes.

- He's not coming for a day, is he?
- No.

- Can I see him on Monday night?
- Yeah, ok.

- Tell him we'll go for dinner.
- [Yoko] Who's this?

Allen klein.

[John] Monday night.

[Drums playing]

[Yoko vocalizing]

[Vocalizing stops]

- [Laughing]
- [George] The lights are working.

[John] You missed it!

[George] Yeah, I felt it
as I left the second floor.

[John] It was great.

Yoko, John and Paul and Billy
were doing their freak-out.

- [Michael] The Beatles, yeah.
- [John] No, no.

[Michael] Yes, go on.

- [Yoko chuckles]
- [John] Billy, yoko, John and Paul.

- [John] Is it all on film?
- [Crew] Yeah.

[John] What a great bit of film!

- The whole place was zooming.
- It was. It was beautiful.

I'd like it to be part of her new lp.
[Chuckles]

- [Michael] Glyn!
- Or our new lp.

[Yoko chuckles]

[Paul]
I think you're nuts, the pair of you.

[All chuckling]

[Michael] Well, the current thought

is that we'll try to do it
at the end of next week, maybe.

[Ringo] You know,
if we did ten days straight from now...

[George Martin] Well,
you're working so well together now.

- [John] Yes.
- Let's keep it going.

- [John] Well, you know, I won't say no.
- [Michael] Mightn't be able to speak.

[Ringo] You know,
I'd rather work the weekend

than make it last out
an extra week or so.

[Michael] I think the thing is
we'll aim for Thursday,

'cause if we don't make Thursday,
just as a...

[Ringo]
Then we won't get outside, will we?

[John] Michael was talking
in terms of next Thursday.

[Paul] Yes.

- [John] And working over the weekend.
- [Indistinct]

[John] So, it's gonna be stupid.

[Paul, indistinct]

Yeah, let's work Saturday,
but not Sunday. Just to have one day.

- 'Cause it does help next week...
- [John] Oh, yeah.

If you get one day.

[John] I'm so tired though.
It's amazing.

Could we have some more tea, mal,
like a pot, you know?

I oh, well, I've gota girl
with a record machine I

I when it comes to rockin'
she's the queen I

I we love to dance on a Saturday n/ght I

I all alone where / can hold her t/ght I

I but she lives
on the twentieth floor uptown I

I the e/e vator's broken down I

I sol walked one, two fl/ght
three fl/ght, fourl

I five, six, fl/ght seven
fl/ght, more I

I by the twelfth, I'm ready to drag I

I fifteenth floor
I'm a-startin' to sag I

[Paul] For this show, though, we should
all have our hair greased back.

[John] Yeah, like rockers!

[George] Way back in the '50s.

'Course,
you probably don't remember the '50s.

When the great names were around.

Eddie Cochran, gene Burke.

- George Hemingway, Frida starr.
- Foster Dulles.

[George] Mal?

Can you send somebody to buy me a...
You know those lace bow ties?

- [John] Like a cowboy?
- [George] A black one.

- A cowboy one?
- [Mal] A string tie?

Yeah, but they get 'em.
They just clip on under your collar.

So what should we do that's fun?

Besides work?

- [George] Are we doing that one?
- [Paul] Yeah.

- "Across the universe"?
- No, no. 'Cause it's going out on an ep.

There's always mal's instrument.

Anvil in the middle of the room.

I bang, bang, ll/laxwe/I's silver hammerl

it's just a reminder to remind you about
"Maxwell's silver hammer" all the time.

[John] I'd like to do a song today
that I don't have to sing so much,

- 'cause it's really stupid, that.
- Yes.

I oh, darlingl

I please believe me I

I oh, yeah I

I hi never do you no harm I

I believe me when lte/I you I

I hi never do you no harm I

I oh, when you told me I

I you didn't need me anymore I

I you know / nearly broke down
and cried I

I when you told me I

- did you know that?
- [Paul] It's very interesting.

With the twin reverb amp, Paul,
I find myself satisfied completely.

And now your hosts for this evening,
the rolling stones.

Whoo!

Yeah.

I get back to where you once belonged I

how many verses are there?

[Paul] Well, see... see,
it started off as a protest song...

But, you know...

I think it works okay
with just the two verses

about sweet Loretta Martin,
the first verse...

- [John] Just have two for now.
- Yeah.

[George] But, I mean...
I don't mean really how many verses...

- Okay, I'll sing it through.
- How many times will you do a verse?

I'll sing it through and shout
where I think it should go,

and then if you don't agree,
remember it and we'll change it.

Well, maybe if we had an intro,
a verse, a chorus,

of "get back,"
and then there's a bit with...

[Paul] Solo. Yes, solo. Get back, Jo.

Then there's a bit of chorus
on the end of that solo though.

Yeah. And then the doo-dah-dum.
Then the next verse,

the next chorus,
the next solo, the next chorus.

Well, let's have one guitar solo
and one piano solo then.

'Cause I'm only gonna be
able to work one out.

[Paul] Who do you wanna be,
Jo Jo or Loretta?

Get back to sweet Loretta.

He's waiting for you. [Chuckles]

This old drag queen back on the ranch.

Tucson.

Wearing his high-heeled shoes.

I Jo Jo left his home
in Tucson, ar/zona I

-I looking for California grass I
-[Chattering]

I on California grass I

I Jo Jo left his home
in Tucson, ar/zona I

I for some California grass I

I oh, get back I

I oh, get back I

get back, Jo Jo.

- [Paul] One, two, three.
- Two.

[Paul] Sorry. One, two, three, four.

It's like on "reach out.“
Do you remember?

You know, "reach out," where
everything stops, and you just have...

- That beat going da, da, da, da.
- [Paul] Whoo-hoo!

I oh, get back I

[Paul] Get back, Jo Jo!

[Vocalizing]

That's what the song needs.

It needs a catchy riff.

Iahl

I get back I

I with a love... I

-[George] I ah I
-[Paul] I get backl

[John] So you do the beginning,
then my solo, then you and me singing,

and then he comes in,
does his break and a solo,

then you sing a verse,
and one last, long "get back" and out.

- A match, ring...
- [Paul] Okay. So...

But that break...

[John] It's almost natural, like,
rock and roll, except for the break.

It's just a break before...

[Paul] See, that's it.
If we make too much of a break,

we start getting it into, like,
an arranged song.

[John] Yeah, it just should go...

[Paul] It's betterjust to have,
like, a rock and roll song.

[John] But, I mean,
they did have breaks in the old days.

[Paul] That's what I mean, yeah.

[John] Okay. Well, for now I'll vamp.

[George]
The arrangement is only enough to know.

One, two, three, four.

- It just, like, resolves the thing.
- Yeah.

I do like...

It'd be nice,
for the bit going into the solo,

the last verse before the solo,

if we stop that thing we're doing
and maybe you just keep doing that.

- Yeah.
- You do... and Ringo and I. Just that...

Go ahead. Do it.

Just sing a verse...

[Paul] Yeah, great.

I get back I

I get back I

I get back to where you once belonged I

I get back I

- about there we should have the thing.
- Yeah.

- Before we go into the second verse.
- [John] Are we having two solos?

Yeah, see, we should just have
a real formula, you know?

Just like a beginning. Da, da, da.

- [John] Beginning, verse, chorus, solo.
- Into the verse then the chorus.

Da... "Back." Da...
"Back to where you once belonged."

"Get back." Dum.

Then the low one.

"Get back. Get back.
Back to where you once belonged.

Get back.
Back to where you once belonged."

-I get back I -i get back I

I back to where you once belonged I

I get back I

I get back I

I get back to where you once belonged I

so then it's like
it's more in the register we're in.

I back to where
you once belonged I

[vocalizes]

[George] Why don't we have...

Weren't we gonna have, like,
a verse, chorus, then solo,

- then verse, chorus, and then the solo?
- [Paul] Yeah. Well, see...

We are trying to just get a break,
weren't we, after the solo?

- Yeah.
- Trying to get a break to separate.

Yeah, but we've got, like,
a bit of a break and another solo now.

- So there's gonna be three solos?
- [John] No, two?

- 'Cause it would be nice just to...
- Three?

Like the bit we were starting to have.

[Paul] I like solos.

[John] So do I, but I've only got one.

- The bit that we were...
- I was thinking of you doing two.

And Billy doing one in the middle of it.

You doing the both, "get back, Jo Jo."

[John] Just do the same one twice?

- [George] Oh, yeah, you could.
- [John] Do that and rock and roll a bit.

- [Paul] Okay, so...
- Okay.

[John] So, I'm... I'm lost now.
Do you want to start writing it down?

Just write it down. Verse, solo, verse.

I get back to where you once belonged I

[John] What did I do? Uh...

I get back I

[Paul] The trouble is, you're on
a Harmony, then you go to the melody.

- [John] Yes.
- So, you should really go...

I get back I

I get back I

I get back I

I back to where you once belonged I

if you could give us that chord that we...

[Vocalizes] Yeah.

At the end of John's solo, so it goes...

I doo-doo-doo-doo-doo-doo-doo I

at the end of his solo.

[Vocalizes]

There. [Vocalizes]

I get back I

so I'll pick it up off you then.

So, I'll just keep doing it,
and I'll join in when I can.

But presume that's the verse
where I come in.

End the solo not in a flurry.

'Cause then, you know,

"I gotta get all my notes in
before the end of the solo,"

but don't, you know, just end it just...

[John] Well, I have to work it out.

[Paul] Or even
don't go right to the end.

- [Paul] No, just do...
- I get back I

- yeah.
- I can do it if I go...

You were well in time. That's the thing.

- Oh, was I?
- Yeah. Oh, plenty...

- You got hours if you finish there.
- [John] I see.

[Paul]
In fact, we'd have to fill that a bit.

- It's just that singing one throws me.
- [Glyn] We're going to scrub out.

- [Paul] Okay.
- [Glyn] I'll give you a shout.

I wish I could just not have
to sing that bit.

No, you've got to sing.

- Okay.
- Don't worry about it.

It's just nice to be a guitarist
for a change...

- Yeah, I know.
- And not think about vocals.

Well, you're a guitarist until there,
that one little line.

I back to where you once belonged I

I get back I

I back to where you once belonged I

[John] No, on the bit... "Belonged."

Maybe for the "get back" bits,
we should do it twice,

- the going to a.
- I'm sorry! I'm sorry!

[John] I thought I was playing the tune.

[Paul] I'm getting a bit confused

- with all the little bits now.
- [John] Yeah.

What are you calling this, Paul?

- [Paul] Shit.
- [John] "Shit back."

- "Shit," take one.
- Thank you.

"Get back."

I said she got it coming
but she get it while she can I

I get back I

I get back I

[John] I don't feel as bad as yesterday.

- It was really throbbing.
- [Ringo] I'm really tired today.

Yesterday was the worst for me.

- Just aching.
- Just that screaming all day.

- [Yoko chuckles] Poor John.
- Yes, it's so terrible.

I get back I

- Paul?
- [Paul] Yes, glyn?

[Glyn] Can you try putting
a bit more bass on the guitar?

- No, no, no.
- [Glyn] What?

[Paul] It's a funny guitar this.
You don't know what adds bass.

- Oh, I see.
- [George] Where's your rickenbacker?

Isn't that much better?

I like this one.
It's lighter. [Chuckles]

- Okay.
- Are you sure you're gonna do that?

- One, two, three, four.
- So the answer's no.

I get back I

I get back to where I

I get back to where you once belonged I

okay, now, one time.
A bit cooler this time.

- One, two...
- Take?

- Yes.
- Yeah.

- Here we go.
- Just a sec.

- A second, you mean?
- One sec.

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

[vocalizes]

[John] It doesn't matter for the last
one, I don't have to come in singing.

- Yeah, but there's still...
- You know, I can go...

Yeah, but it means that you're going on
to d when we're still on a.

That's all right.

It's only the one
when I've gotta come in singing.

No, well, I thought
you'd do two solos twice, don't you?

- What?
- Slightly varied second time.

Oh, second time. Yes. I rather...

[Guitar playing]

Now I remember why
I stopped getting solos.

'Cause this would happen all the time.

Just...

Oh, yeah/

- oh, remember those shows?
- [John] Just no sense of timing.

Those tours where we just
would miss out half the song.

[All chuckling]

[Paul] That one with jimmie nicol.

A one, two.

A one, two.

[Paul] On "she loves you", in Sweden.

In Sweden, yeah.

[Paul] The first time we'd ever had
this new drummer 'cause Ringo was sick

and he was sitting up on this rostrum,
but he was just eyeing up all the women.

- [All chuckling]
- And we just went, "one, two!"

[All chuckling]

And we'd have to start.

Then he'd just go...

[All chuckling]

[John] It's so much fun,
that it's over before it's begun.

- I keep missing that d bit.
- Okay. Yeah.

- I'll shout when it's the end.
- Three, four.

Let's build up.

- Yeah.
- Two, three, four...

[Cooing, trilling]

I imagine I'm in love with you I

I it's easy... I

- I think I'm getting Hong Kong flu.
- [John] Are you?

- Take drugs.
- [Michael] Are you really?

We're gonna do it through one more time,

and it's just gonna be
the greatest ever.

- We should have, like...
- [Plays guitar]

When you take your solo,
you stand up, and, uh...

- Okay.
- Yeah?

You've convinced me.

- [Chuckles]
- The boys are ready for action.

The boys is ready.

- I can't play standing up.
- I can't either.

- [Yoko chuckles]
- I can't.

Hello.

No, you gotta...

- Yeah.
- Okay, Barney.

One, two.

One, two, three, four.

Go on, al.

What? You what?

[Glyn]
I just said, "go on, al." That's all.

Don't interrupt stars
when they're recording.

- Hey. Hey.
- We're bloody stars, you know?

Look, fuckface.

- Don't comment.
- Fucking cheek.

Well, thank you very much.

I I've got a feeling I

I rocks me off m y bones
oh, yeah I

whoo!

I when / was younger
so much younger than today I

I / never needed an ybody's help in any I

I but now these days are gone
I'm not so self-assured I

-I I'm not so self-assured I
-i self-assured I

I now / find I've changed my mind I

I I've opened up the doorl

-I help! I
-i help me if you can I

I down/ I

I need! I

I round! I

I last n/ght / said these words to I

I last n/ght / said these words to I

I my girl I

[vocalizing]

- We'll have to do it sitting down...
- Oh, yeah.

- Or we get too excited.
- [All chuckling]

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, ar/zona I

I for some California grass I

I get back I

I get back I

I get back
to where you once belonged, Jo Jo I

I get back I

I get back I

I get back to where you once belonged I

I get back, Jo Jo I

I 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 get back to where you once belonged I

I 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
they said she got it coming I

I but she get it while she can I

it'd be nice to just put it out
as a single.

- Yeah.
- Just do a single of it now.

- Okay.
- Let's knock it off for a single maybe.

- Let's finish it off...
- Just make it now

and have it as a single,
put it out next week.

- Oh, yeah?
- It's easy.

Just take it in there,
cut it in the master.

You have the master back tomorrow.

Master.

[George] We'll finish it in half an hour.

- I'm easy, lads.
- [All chuckling]

What was the last one we had?

"Hey Jude".

[Paul] And then on the show
we'd be doing the...

[John and Ringo] Single.

And we'd have film of it
to send out as well.

It's great.
Remember how we used to have it?

One record would be coming out,
and we'd put another one out.

- Like in the old hustling days.
- Yeah.

- [Chuckles]
- It'd be great. "Get back" in time.

I doo doo doo doo doo doo doo doo doo I

[denis] Never save a good idea, do it!

[Paul]
Well, I'm going home now. Knocking off.

- All right, Paul. Right.
- [Paul] Put this on.

- Okay.
- I'm coming in tomorrow.

Let's do some instrumentals,
you know, to do the...

You know, for the album, like.

Hey, you look
like a victorian miner now, you know?

- [All chuckling]
- It's true.

- Aye?
- A dh Lawrence.

All right, well, I can't afford
to mess around here, you know?

I I'm a golden garterl

[John] Did you hear about the book idea?

- [Paul] Yeah.
- [John] They're great. Really great.

It'll be a book of the film.

They can have it out
almost simultaneously.

The book of the film,
the book of the... all that.

- The package is great.
- It's good.

They'll have slides, you know.

And I'll talk to John kosh on Monday.

'Cause I think
he'd be a nice guy to design it.

Will you have any new ones today?

[Yoko] I'm trying without
the marmalade today, you know?

- [John] Very good.
- [Yoko] Ah.

[John] You see what happens?

They're gonna concentrate
on our legs and toast today.

It'll be great.
"Get back" will be coming out.

Are we gonna do a single?

I don't know, you know?
I'm just sort of still rehearsing.

- Yeah.
- And if we hit one, great.

The thing is,

this is the first song we've really
sort of got into that we dig.

But there's a...

I dig "don't let me down"
and "I dig a pony,"

personally speaking.

Well, yeah. I mean...

I still haven't done "don't let me down"
satisfactorily for myself yet.

Oh, yeah? Well, we're all great on it,

so just get yourself together, will you?

Did you tell Paul
we've got Billy a contract?

- No, not yet.
- We've got him off capitol.

Just like that.

And George will produce him.

I was just talking to him about that.

I said, “what did you do
after Hamburg and that?"

He said, "well, I saw you guys go,
sort of, 'voomph' to the moon".

And he sort of had
a couple groups together.

- But he's never done his thing.
- [John] Yes.

The main thing,
Billy just really is so knocked out,

so thrilled doing it.

And also he sees
it's his great opportunity.

[John] Yeah, and produce him.

[Paul] Then he puts his name and
the Beatles. Like, it's Billy Preston!

[George] I didn't think about it.

- We'll have to decide about paying him.
- Yeah, right.

'Cause, if we were having
Nicky Hopkins playing,

we'd have to pay him
session musician rates.

- [John] Yeah.
- Which will be...

This is, like,
to be in the film and that.

Yeah, we'll just say to Ron,
"look, will you talk to Billy?"

On the film it happened so great.

[John] I mean, I'd just like him
in our band, actually.

I'd like a fifth beatle.

At twickenham, suddenly,
there was three, now there's four of us,

then there's five!

[Laughter]

We can do that, as well.

[George] You know,
I asked Dylan to join the Beatles...

And he would, as well, you know,
and we get 'em all in here!

Yeah, but they don't need to join
the Beatles.

We'd call it the Beatles & co.
That'll be our band.

I mean, it's sergeant pepper's
lonely hearts club band, innit?

- Yeah.
- We could get 'em all.

[Paul] I just don't,
because it's just bad enough with four.

[All chuckling]

- Okay.
- [John] Mal, can we have...

We haven't got the pa.
Do they know that?

- Pa is not on.
- [John] Hello...

Okay. What should we do, Paul?

[Michael] Do you have anything more
that you're writing?

[George Martin] You're writing
all the time, aren't you, John?

[John] Sure I am.

I'd do "on the road to Marrakesh,"
which is a sweet number, baby.

- [Michael] Sweet number?
- Sweet number.

I was gonna do a big '30s orchestra bit.

[Strumming on instruments]

I on the road to ll/larrakesh I

I I was dreaming more or less I

I and the dream lhad was you I

I and the dream lhad was you I

I I'm just a child of nature I

- [instruments stop]
- Forget where we end.

- [Glyn] Paul?
- [Paul] Yes?

[Glyn] What's the possibility
of you using another bass?

You wanna try the bass on its own?

[Glyn] Try a different bass.

Oh, yeah.

Uh-huh.

[Guitar plays]

I hail, hail, rock and rol/I

[vocalization]

I long live rock and roll I

the only trouble is the strings slip
off this, 'cause it's left-handed,

and the nut is for right-handed,
you know?

- So, you know, I'm not as keen on it.
- Well, I'll try that.

I oh, oh, oh, oh stand I

I stand by me I

-I stand by me I -i oh I

I stand by me I

-I stand by me I
-i stand by me I

-I stand by me I
-i stand by me, darling, darling I

- so I'll get that fixed.
- Proper drag, yeah.

Yeah, but I will get it fixed.

I'd like to hear more bass still.

[Laughs]

See, I just don't know
what these knobs do, actually.

We seem to be at a loss without Billy.

What should we do?

[Paul] Just ones we don't know.

- Yes.
- [Paul, indistinct]

Let's try to get "two of us."

- [John] Okay. Am I still singing it?
- Yeah.

[John] Yeah? Okay.

[Paul] Now, what kind of thing was it?

[John] I don't know, it's just...
We're all very stiff, like...

I two of us riding nowhere I

I spending someone's hard-earned pay... I

[John] When I heard Stevie wonder...

I don't know what his backing would be,
but then you'd sing it looser.

But I can't...

I two of us riding nowhere I

maybe it's just soft.

I two of us riding nowhere I

you know what I mean?

Mal, have you got my acoustic?

Martin?

[George] And a packet of ciggys, mal.

And a packet of ciggys, mal.

See, I'd like not to be playing bass
on these ones, 'cause it's just silly.

It's silly, 'cause I wrote it
on my own guitar, you know?

And it's just...

A bit like "Peggy sue."

[John] Well,
I can't play bass and sing, you see?

Let's all stay on guitar
until we have to have bass.

And then I'll get back on it.

Bass is, uh...

It's a bit of a drag, bass, isn't it?

Bass is a drag when there's no bass.

But, you know, uh...

That's it. Play.

- [Strums guitar]
- [Drums playing]

See, I quite like those ones
where there isn't bass.

I've never heard one.

- We've done a few.
- What?

"I'll follow the sun."
They've all tended to be that kind.

But they're nice.

They lose a big bottom.

But they gain a... slim, lithe look.

[John] Okay.

["Two of us" playing]

I Desmond had a bar I

I oh, oh I

iohl

I we 're on our way home I

I we 're on our way home I

I we 're going home I

- whoo!
- Yeah!

I writing postcards I

[indistinct]

I on my wal/I

I you and the pta I

I the Harper bazaar I

I won't let go I

I 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

[George] Yeah! I like that.

[John] But, I mean, even if
we do it live with it only half on.

After we can stick it on
to go through the whole song.

- [Glyn] It's cheating, it's cheating.
- [John] Well, I'm a cheat.

[Mal chuckles] "I'm a cheat."

[John] Because, I mean, if we'd
recorded it then tried to do it onstage,

we'd have to modify it,
like we always did, you know?

[Paul] What do you want for lunch?
Take one.

- [Mal] Yeah, what's your order?
- [Ringo] And just some steak.

Sparrow on toast.

[Paul] Boiled testicle.

- Uh, mal?
- Yes?

So I'll just...
We'll have whatever the vegetables are.

If they've got any cheese sauce
for the cauliflower...

- Let's have a mushroom omelet then.
- Cauliflower.

[Ringo] Mashed potato.

Don't do it, Richie. Don't do it.

He used to eat chips.

[Inaudible]

It's like after "get back."

- "We're on our way home."
- Yeah.

So there's a story.

And there's another one,
"don't let me down."

I oh, darling
I'i/ never let you down I

- yeah. It's like you and me are lovers.
- Yeah.

We shall have to
camp it up for those two.

[George] Thanks, mal.

[John] Oh, isn't that pretty?

Didn't have a black one?

I'd like one like the purple one
in black.

Yeah.

It's lovely.

[John] They're nice things, dicky bows.

- Purple dicky bow.
- [Yoko] It's very nice.

I need a black one to go with my suit.

[Paul] It just changes
the whole thing with a dicky bow.

[Glyn] Shall I take one?

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

[George] "Funky pudding," take one.

- Are you on?
- [Glyn] Okay.

["Two of us" playing]

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

- [George] It sounds lovely that now.
- Yeah.

After all the anguish
we went through with it.

-I yes, very nice I
-well, it's part of the pudding.

Oh, yeah.

Shall we hear it?

- Come on, let's hear it.
- Track it. Put the violins on. Let's go.

- [George] Put it on the b-side.
- Just release it.

[John] Release it in Italy only.

Let's just make a different single
for every country.

I wearing raincoats
standing solo I

I in the sun I

[John] Phyllis Lindsay-hogg.

Instead of mal picking us up,

on one day, should be all
from each of our houses for this.

You should get, each day,
one of us coming straight from home,

even right into the bedroom, you know.
Let's make it...

[Michael] I don't know what story
I'm telling anymore.

[Ringo] You're telling the autobiography
of the Beatles, aren't you?

[Michael] Yeah.
At the moment, we've got a movie about

smokers, nose pickers and nail biters.

[Chuckling]

Well, we are rather uncouth.

We're not your elite, you know.

I you should see polythene Pam I

I she's not good looking
but she looks like a man I

I you should see her in drag
dressed in her polythene bag I

I yes, you should see polythene Pam I

I see poly... I

I see... I

I see polythene Pam I

[indistinct]

I dressed in her polythene bag
yes, you should see polythene Pam I

I see poly... I

I polythene Pam I

I see...I

I see polythene Pam I

I yesl

I well, you should see herl

I should see her when she's... I

[John] What is it?

Mal, what about the Hawaiian?

[John] No, it's not like that.

I might have a little stand, you know.

See, one goes into the amplifier,

the other goes to the foot pedal.

A lead from the guitar
to a foot pedal to the amp.

- [George] Take it to Alex, and he...
- [John] Get some fucking wires, man.

["Her majesty" playing]

I her majesty's a pretty nice girl
but she changes from day to day I

that's the cheapest one, actually.

But if he gets any good on it
we'll give him a good one.

I / wanna tell her
7'hat / love her a lot I

I but / gotta get a belly full of wine I

I her majesty's a pretty nice girl
someday I'm gonna make her mine I

I yeah, someday
I'm gonna make her mine I

["Teddy boy" playing]

[Indistinct]
I tell her he'd be twice as good I

I and he knew he could I

I 'cause in his head
he said... I

I ”ll/lomm y, don't worry
now Teddy boy's here I

I taking good care of you I

I ll/lomm y, don't worry
your Teddy Bo y's here I

I Teddy's gonna see you through ”I

I and she said, ”teddy, don't worry
now ll/lomm y is here I

I taking good care of you I

I Teddy, don't worry
now your mama is here I

I ll/lama's gonna see you through ”I

I and he said, ”ll/lomm y, don't worry
'cause Teddy Bo y's here I

I taking good care of you I

I ll/lomm y, don't worry now
Teddy Bo y's here I

I Teddy's gonna see us through ”I

I take your partners
and do-si-do I

I hold them t/ght
and don't let go I

I when you got it jump up I

I take your partners
and do-si-do I

I and when you've got it
let it go I

I hold them t/ght and... I

I oh, dirty ll/laggie ll/lae I

I they ha ve taken her away I

I and she 7! Never walk down
lime street anymore I

I well, the judge, he guilty found herl

I of robbin' the home ward bounder I

I that dirty, no good
robbin' ll/laggie ll/lae I

I '7'is the part of liverpool I

[indistinct]

I and two pound ten a week
that was my pa y I

[singing indistinctly]

I that dirty, no good
robbin' ll/laggie ll/lae I

I oh, dirty ll/laggie ll/lae I

I they ha ve taken her away I

I and she 7! Never walk down
lime street anymore I

I oh, the judge, he guilty found herl

I of robbin' the home ward bounder I

I that dirty, no good
no good ll/laggie ll/lae I

[Paul] Take it, Maggie!

["Fancy me chances with you" playing]

I oh, lfancy me chances with you I

I lfancy me chances with you I

I lfancy me chances
fancy me chances I

I oh, fancy me chances with you I

I fancy me chances at the lock I

I fancy me chances with your frock I

I fancy me chances
fancy me chances I

I fancy me chances with you I

I lfancy me chances with you I

I lfancy me chances with you I

I oh, fancy me chances
I fancy me chances I

I lfancy me chances with you I

[song ends]

Yeah!

[Chattering]

Yeah.

- You know...
- What?

No one's asked you
if you mind coming every day.

[Billy Preston] Oh, no, it's a groove.
I had nothing else on.

I just thought you never know.

Like, coming along every day and saying,
"when am I getting paid?"

["Dig it" playing]

I well, can you d/g it now? I

-I oh, can you d/g it? Yeah I
-i yeah I

I well, can you d/g it now? I

I well, can you d/g it right now? I

I yeah I

I well, you can d/g it every morning I

I d/g it every evening I

I d/g it every time of day I

I d/g it every time of day I

[inaudible]

[In high voice] That was
"can you dig it?" By Georgie wood.

And now we'd like to do
"hark, the angels come."

- How long you had the camera?
- Nearly six months.

They're fantastic, those things.

[George Martin] What do you do? You
put it on a replay, which is plugged...

[Chattering]

- [George] Magnetic tape?
- [Ringo] Yeah, it's a videotape.

[George Martin] I feel like a drink.
Shall we go to a nearby pub?

- [Glyn] There is a boozer.
- There is? Lead me to it.

[George] How's your studio
and business and everything going?

[George Martin] Fine, thank you, George.

I've had to abandon
the place I originally planned on.

[George] Hasn't gone sour on you then?

[Paul] You mean your apple
hasn't gone rotten?

[George] It hasn't disintegrated
like ours?

[George Martin] You're working
so well together.

You're looking at each other,
you're seeing each other.

It's happening, isn't it?

[Paul] I life is happening every dayl

[John] It's all right. I'll sit on this.

- ["Dehra dun" playing]
- [Guitar playing]

I ll/lan y roads can take you there
ll/lan y different ways I

I one direction takes you years I

I another takes you days I

been to India, have you?

- Oh, yeah. I've been there.
- I looked at mine last night,

next to me peppersuit.

[Chuckles]

- [Ringo] I've still got this shirt.
- [John] Me too.

- ["Within you without you" playing]
- [George] I ga, ma, pa, ni I

I ni dha, ga, pa I

I be, pa, ll/la, ga I

I ga, ma, pa, ni I [fades]

- [Paul] I saw the film last night.
- [John] What?

Of us at the maharishi's.
I've got all the film of it.

The opening is great.
It's just incredible.

It opens with cyn...

And pattie,

Jane.

You know. And it goes through
all sorts of changes and stuff.

It's all the people who were there.

Jeffrey. Uh, the little American girl.

You know, it's all of them.

And they're just all the same shot
and against the sky.

And it changes to someone else.

And it's a great opening. It's like,

"the cast for this evening is..."
And then...

- [John] Yeah, a cast of millions.
- [Paul] But then it goes...

Then there's a big, sort of,
white flare out thing,

'cause it's change of reel.

It's great, that. It really works.

Then the soundtrack should start with a...

[George] I flew in from Miami beach,
b. O.A.C. I

yeah, it is like that,
because Mike love comes on,

and he's... you know, and he's...

And then he's just sitting
with cyn and Jane, waving.

Mike love and cyn.

And you just sort of see us,
what we're doing. It's unbelievable.

[George] What were we doing?

- [John] Yes, what were we doing?
- [Paul] We, uh...

I don't really know, you know?

But it's like we totally, sort of,
put our own personalities under,

for the sake of it.

And you can really see, you know,
we're all...

[John] Who's writing all them songs?

- That was probably when we did...
- [John] In your room.

Yeah. Right.

I remember, yeah.

But just sort of... there's a...

[George] Do you regret
having gone there?

No, no. Oh, no.

[John] I don't regret anything... ever.

[Paul] I just think, what we did there,
we weren't really very truthful there.

You know, things like sneaking
behind his back and sort of saying,

"it's a bit like school, isn't it?"

But you can see on the film
that it is very like school.

You want to call it
what we did on our holidays?

But it is very like that.

There's a long shot of you, sort of,
walking with him.

And it's just not you, you know?

It's just... yeah. Yeah. [Chuckles]

[Chattering]

- [Paul] It's got a great opening.
- [John] Yeah.

[Paul] Incredible.

[John] I've got a couple of reels
if you want some more.

The helicopter one, up in the sky.

[Paul] I noticed you taking it,
so I thought, "I'll get that."

Well, that was the idea.
'Cause you said you were making a film.

I want "by John Lennon productions"
written on those two reels.

But each of my reels have got
"by John Lennon" all through 'em,

- like subtitles.
- [Paul] Yeah.

[John] "John Lennon's reel."

[Paul] "Shot by..."

And if! Remember I'll bring 'em in.

And Linda remembered
that thing you said the other night

about when you went up
in the helicopter with him.

You just thought he might
slip you the answer.

I thought he might fly home.

[Paul] Sort of, “oh, tell me, o master."

Tell me, old master.

- "Hey, hey, John. By the way, John..."
- [Chuckling]

"I've been meaning to tell you."

"I've been meaning to tell you, son."

"The word is 'bagheera'."

[All laugh]

I wouldn't mind having...

Wouldn't mind having his money.

[Laughs]

I wouldn't mind having...

Two months out of every four months...

In a place like that though.

Linda was saying, sitting up on his roof

and looking at that view, didn't you
ever really feel like going out in it?

- [Guitar playing]
- Well, we were out in it, weren't we?

Yeah, but I mean
the bit in the villages and stuff.

The bit that everyone else,
95% of them, were doing around there,

except for the converts on the hill.

You know?

It's incredible stuff.

[Guitar continues]

Uh. And then, uh, then the next scene
burns out white again.

And the next scene is just this monkey,

just comes up
and humps this other monkey.

I people will be watching us
why don't we do it in the road? I

[Paul] And then they just jump off.

Then they just start picking each other.

It's great stuff.

And then there's a great one of you.

It's like you come up
and wander onto the roof,

and you walk up, and you look
like a student of philosophy

with your tape recorder.

And then...

- [Guitar playing]
- Yeah, I've got all the soundtracks too.

[Guitar playing]

[Drums playing]

It's that thing,
we probably should have sort of just...

- Been ourselves.
- Yeah, a lot more. Yeah.

[Chattering]

[Instruments continue playing]

That is the biggestjoke,
to be yourselves.

'Cause that was
the purpose of going there,

to try and find who yourself really is.

[John]
Yes. We found out, didn't we?

And if you were really yourself,
you wouldn't be any of who we are now.

[John] All act naturally then.

["Act naturally" playing on guitar]

[John] I if you're gonna put me
in the mo vies I

I the y're gonna make a b/g star
out of me I

[glyn] Is Billy coming today?

[George] No, he's doing a TV show.

- [John] All day?
- [George] Yeah.

[John] I bye-bye, love I

I bye-bye, happiness I

I hello, loneliness I

I / think I'm a-gonna die I

[Paul, John] I bye, my/ove, goodbyel

I I'm through with romance
I'm through with love I

I and through with counting
the stars above I

I and here's the reason
why I'm so free I

I my loving baby
is through with me I

I bye-bye, love I

I bye-bye, happiness I

I hello, loneliness I

I / think I'm a-gonna cry I

I bye, my love, goodbye I

okay. Four of us on our way home.

[Paul] Right.

I you and I have memories I

[Paul, John] I long before the road
7'hat stretches out ahead I

I out ahead I

I you and I have memories I

[Paul, John] I long before the road
7'hat stretches... I

[Paul] Take it slowly.

I long... longer than I

I longer than the road that stretches... I

you just... you're underneath it.

[Paul, John] I longer than the road I

I that stretches... I

[Paul] It's funny.

I road that stretches out ahead I

that's mine.

I longer than... I

I longer than the road that stretches
out ahead I

just keep it down for that bit.

[George, John] I longer than the road
7'hat stretches out ahead I

[vocalizing]

[John, Paul]
I two of us wearing raincoats I

I standing solo in the sun I

-[John] I you and / chasing paperl
-[Paul] I you and me chasing paperl

[John, Paul] I getting nowherel

I on our way back home I

I we 're on our way home
we 're on our way home I

I we are going home I

[vocalizing]

[John, Paul]
I two of us wearing raincoats I

I standing solo in the sun I

[John] You're doing well.

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
we 're on our way home I

I we 're going home I

-I you and I have memories, yeah I
-[John vocalizes]

[Paul] I longer than the road
7'hat stretches out ahead I

- [John vocalizes]
- [Paul] I out ahead I

[John, Paul]
I two of us wearing raincoats I

I standing solo in the sun I

[John] I the moon I

[John, Paul]
I you and me chasing paper I

I getting nowhere I

I on our way back home I

I home I

I we 're on our way home
we 're on our way home I

I we 're going home I

I you and I have memories I

I longer than the road
7'hat stretches out ahead I

I we 're gwan home I

oh, yes, now.

[John, Paul]
I two of us wearing raincoats I

I standing solo in the sun I

yes, boy.

[John, Paul]
I you and me chasing paper I

I getting nowhere
on our way back home I

I we 're on our way home I

we are, yes.

I we on our way home I

I we going home I

[glyn] What we could do is

get one number done, right?
Ready for... do it.

Film it and do it, right?

And then move on to the next one,
get that one ready, finish it, do it.

Starting now, you mean?

[Glyn] Starting whenever, yeah.

Have we got to have
this album recorded by Tuesday then?

[Coughs]

Is that the idea? We're just gonna
record them all

until we've got them all before Tuesday
when glyn goes?

Is that it?

[Glyn] I'll now go on Thursday, in fact.

[George] I see. So we'll have time...

- So Wednesday night, we've recorded...
- [John] Yeah, do them all.

I've gotta mix...
I'd like to mix 'em before I go too...

- [George] Doing the show.
- Somehow.

Are we still doing the show?

I don't know, really.

[John] Say we did eight or nine,

he'll come back
after about a week or something.

That's if we don't get 14 done
by Tuesday.

- [Guitar plays]
- Okay. Uh...

The piano.

It'd be nice to make the piano, like,
one of those bad pianos.

[Paul] Yes.

'Cause it...

Glyn, how can we make the piano like one
of those very bad old honky-Tonks?

Rather than like a bliithner grand.

[Piano playing]

[Piano playing]

[Michael]
What does the paper do to the piano?

- Just make it tinnier?
- [George] Tinny the sound.

- Yeah, just tinnier.
- [George] More like, yeah, honky-tonk.

[George Martin]
Less like a bliithner, in short.

- [Michael] What?
- [George Martin] Less like a bliithner.

[Michael] Less like a bliithner,
in short.

[Glyn] A fucked-up bliithner.

[Chuckles]

[George] The main thing with this,
in my head it's like,

influenced by those old fellas,

you know,
where nothing was professional at all.

So it's really just like
a one-take wonder.

But we may have a four-take wonder.

["For you blue" playing]

I lfee/ it now
lhope you feel it too I

I because you're sweet and lovely
I/o ve you I

I because you're sweet and lovely, girl
I do I

I I'm living every moment, girl
for you I

- that's all.
- [Song ends]

Personally, I was a phenomenon.

Another slug of whiskey, mama.

Does this guitar sound in tune, glyn?

- [Guitar tunes]
- [Glyn] Good enough for skiffle.

- [Piano plays]
- Yeah, was it all right?

- [Yoko chuckles]
- I mean, me solo was out of this world.

- What's it like, glyn?
- [Glyn] All right.

- Should we keep it and do another?
- [Glyn, indistinct]

Yeah. George?

How are you?

Should we keep that and do another?

[George] Maybe we do one and just try...

- [Paul] Right back.
- [John] Okay.

'Cause I'm gonna go
over me peak in a minute. [Chuckles]

I think I'm hitting me best now.

Okay!

["For you blue" playing]

Start again, hey.

Just don't talk
when he's playing there, gang.

["For you blue" continues]

I because you're sweet and lovely, girl
I/o ve you I

I because you're sweet and lovely, girl
it's true I

I llo ve you more than ever, girl
I do I

I / want you in the morning, girl
I/o ve you I

so let's keep that and do one more.

[Glyn chuckles]

- What for? What for?
- Next time, please.

So he can do the guitar
like he wants it.

I / want you at the moment / feel blue I

I I'm living every moment, girl,
for you I

[George] But I think, uh...

I think we're getting
a good sound in apple studios.

- Yeah.
- Yeah. I think we are too.

[George Martin] Glyn, do you see that?
It's nothing else but apple.

[Paul] We're taking our...

Bloody good studios, apple studios!

[Paul] Produced by apple.

Engineered by apple.

[Chattering]

[George]
Okay, can you play us the other one?

I'll just take this after the first one
and just bring it on after "I love you."

- Yeah, you just...
- And leave it in there.

[Paul] That's a good idea.

Yeah, I'm full of ideas like that.

- I'm famous for 'em.
- [Paul] Yeah.

- [John] Literary beatle, you know?
- [George] Hail to the captain.

This is one that Alex
at apple electronics has brought out.

- There isn't another one in the world.
- It's a mixer!

- Yeah.
- It's a 20-channel mixer.

Or a radar screen,
or a tail of an aeroplane.

- [George Martin laughs] Aeroplane.
- Or...

[George Martin] Just as uncomfortable
as the rest of 'em.

- [Imitating airplane]
- [Tape rewinding]

Originally, it was a show and an album.

A live album recorded when the show
was actually live on the spot.

And what I think is lacking
at the moment, is the show.

- I would dig to play onstage, you know?
- [Paul] Yeah.

I mean, if it was all... everything was
all right and there was no messing

and we're just gonna play onstage.

You know,
that's why I said yes to the TV show.

I didn't want the hell of doing it,

but nobody else wants to go on the stage
or do a TV show.

You know, that's what it's about.
Nobody wants to get out there. You know?

I suppose that's true, you know?

I think so, you know?
I'm only going by what's happened.

Yeah, yeah.

What are you trying
to make a show out of now?

- I can't answer it, you know?
- I know.

I know that
there's no sort of answer for it, but...

The things that have worked out
best ever for us

haven't really been planned
any more than this has.

It's just, you know, it's like you just
go into something and it does it itself.

You know, whatever it's gonna be,
it becomes that, you know?

[John] See, it's turned out
it's not what Paul wants.

It's like if it's...
Say it's his number, this whole show.

It's actually turned into our number
more than his number.

That's all. And, uh...

It's just that, really.

Yeah, I know,
it is majority decisions and all. Yeah.

We're presuming that we are gonna make
this lp anyway as one whole piece,

like as if the cameras aren't here.

But it might be an idea
to sort of face 'em...

[Paul] Mmm.

[John] ...For the singing.

The point of doing it all in one go
is that we're aware of the camera.

So we should look at the camera.

And we sing it straight to 'em.
You know?

- Yeah.
- [John] And...

The finale'd just be us
doing the numbers well.

What do you think?

The main thing is to do the change

from the acoustic numbers
to the electric numbers.

I mean, if we're doing a stage show,
we'd have to...

"Hold on a sec, ladies and gentlemen,

George just
getting on his rickenbacker."

As far as I'm concerned, I would need
one run-through on each number

to get the balance set for it,
'cause it's all... everything's changing.

We'll know that better
as soon as we've got an order.

Soon as we've got a story.

It's all right, but I'd meant to sort of

put the songs
to some other framework this time.

That's what I'd sort of thought.

That we'd just keep to the same
environment, totally... always, you know?

We don't ever attempt
to break out of it.

We... we're in a recording studio again

in London
making another album, you know?

I think this is the nicest place
I've been for a long time, this studio.

- Yeah, it is.
- [George] No, really, you know, I mean.

And also we've played...

This is the most I've ever played
by playing every day.

And I can just feel meself getting...
Me fingers getting loose a bit.

Yeah.

Because we don't get the chance
to do that.

- But really I just want to play.
- [John] That's what it was about.

What we've got
is you all playing live in one room.

That in itself is a fresh thing
for the Beatles.

Mmm.

Are you gonna just stay around
in a circle?

Unless we felt like standing up
'cause it was a shouter, you know?

[Michael] No matter what we do,

it's still gonna look like you're
sitting in a room making the album.

- It's not per se a show.
- [George playing guitar]

All we've got is us and the documentary,
where we happen to be singing.

I mean, you see what happens
when we're just grooving to the music.

- The whole place changes.
- [Paul] Yeah, that's true.

And that...
If we're doing them well on the day,

without anything...

It should come over.
We've gotta do it, you know?

[Michael] And also, remember,
the original idea was a TV show

and then a documentary about it.

And now it's changed to being a movie.

It's like, really,
if we're gonna do a film for cinema,

it should've been done
on 35 millimeters,

which is just the best quality.

We shot this on 16
because it's a television thing.

Just the still photos
would make a ua movie

with soundtrack on it, you know?

I think we should blow it up to 35
and if they don't take it,

- they're fucking fools.
- [Paul] Yeah.

[Laughing] Because they're not gonna get
anything else, are they?

Unless we've got
incredible quality on this,

16 blown to 35 is a mess.

- [George] No, it's not.
- Generally.

There's a certain stock
that blows up better.

Ektachrome 500.

Yeah, this will blow up all right,
this film.

Yeah?

I don't know what it is that I'm moaning
about, but it's just sort of...

I must admit I can't really
see it either, because it's...

It just seems the last two days
everything's gone so ridiculously well.

- He's right, you know.
- It is good. It's going great.

It really is something.

- [Yoko] It's true though.
- Mmm.

I just have a feeling that we...
It's all right, you know?

It's nothing to complain about, but...

But it's just funny to sort of
realize that after this is all over,

you'll be off in a black bag somewhere
on the Albert hall, you know?

Yeah.

What you're moaning about
is there's no payoff.

I think all I wanna do is, like, uh...

I probably, you know,
having got it together,

I probably just wanna go
and have fun with it.

Rather than just, sort of,
finish off exactly as we started.

And I'd like to sort of do a...
[Exclaims] ...For the finish.

- Mmm.
- And we just get out in the open,

change of scene,

and go and do it somewhere else,
do it on a live show, do it on a stage.

You know, I'd like to light a rocket

and really sort of
take off for the end of it.

And, uh, you know...

But that's going a bit, like, overboard,
isuppose.

[Michael] Still could do that.

But that's me, you know?
I always do that.

[John] I / woke up late this morning I

I my head was in a whirl I

I yes, it was I

I it was only then lreal/zed I

[chattering]

I /'d lost my little girl I

I yes, lhad
that very last evening, Friday n/ght I

I / woke up late this morning I

I my head was in a whirl I

I only then / real/zed I

I lost my little girl
ladies and gentlemen I

I is there a doctor in the house?
Yeah I

I / want you to tell me I

[vehicles passing]

[Vehicle honks]

[Paul] Yeah. Or maybe
we don't have to do it on a...

You'd get the week people,
the mothers and...

[Michael] Yeah, great.

The only thing is
we've got to get some permission, Paul.

Yes, yes, yes.

So the cops don't come
and throw us off, that's all.

What happens
if we go on top of the other roof?

If it's somebody else's roof,

then we can get had not only
for disturbing the peace and the noise,

but also for trespassing.

Now, um, good.

So, but just roughly timewise,
so I can look into gear...

[Paul] Yeah. So, okay, look, if we say
like on Friday or something.

- You know?
- [Michael] Right.

["Mean Mr. Mustard" playing]

[John] I shaves in the dark
trying to save paperl

I sleeps in a hole in the road I

I saving up to buy some clothes I

I keeps a ten-Bob note up his nose I

I such a mean old man I

[John, Paul] I mean o/dman I

John?

That's a bit powerful, man.

I think the thing is
we'll aim for Thursday.

[George] Are we gonna do it
all here now?

I think you should aim
for a little earlier than Thursday.

'Cause if you aim for Thursday,
it's not gonna be Thursday.

[Paul] See, we have to give them
a chance to get their other cameras in.

- [Michael] Aim for Wednesday.
- [Ringo] Aim for Wednesday.

[Paul] It'll be pretty quick, but
it'll still give us some time to do it.

[Chattering]

[John] I his sister, Shirley
works in the shop I

I she never stops
she's a go-getter I

I she takes him out
to look at the queen I

I it's the only place
that he's ever been I

I he always shouts out
something obscene I

I he's such a mean old man I

I he's such a dirty old man I

I oh, ll/lean ll/lister ll/lustard I

- okay, Paul.
- [Playing piano]

- [George] How does it start?
- [Paul] Yeah, I don't really see...

- How does it start?
- [John] Any order will be all right.

- [George] How does it start?
- [John] The longer the better.

- Okay.
- All right then.

- Um...
- [George] Go on.

- [Playing "let it be"]
- [Vocalizing]

- So just straight into the first verse?
- Well, that's... yeah.

Or an intro.

- Well, I'll probably do...
- [Continues playing piano]

I when lfl'nd myself
in times of trouble I

I mother Mary comes to me I

I speaking words of wisdom I

I let/tbel”

- [laughter]
- All right.

Come on,
I only get two notes in this song.

[Laughter]

["Let it be" continues playing]

I let it be let it be I

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

[coughs]

[Imitating popping sound]

[Vocalizing "let it be"]

[Laughter]

I well, when all
the broken-hearted people I

I living in the world agree I

I there will be an answerl

I let/tbel”

I for though they may be parted I

I there is still a chance
that they will see I

I there will be an answerl

I let/tbel”

-I oh, let it be, let it be I
-[John, George] I oohl

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

I there will be an answerl

I let/tbel”

I ah, here's to Robert fraserl

I there's still a chance
for them to see I

I there will be an answerl

[imitating popping sound]

After two then. One, two.

["Let it be" continues playing]

[Vocalizing]

[George] And if it was that length,
it would be okay.

[Paul] Yes, right. You were right
about another verse.

- He's right, you know.
- [Paul] He is right.

[George] "Captain marvel comes to me."

- [Laughter]
- [Exhales]

[Chattering]

Yeah.

[Paul] Come on, now.
Back to the drudgery. Thank you.

[John]
It's you that's making it like this.

It's you that's bloody making it
like this.

[Paul] The real meaning of Christmas.

Come on.

Come on.

Okay.

- [John] "Bloody Mary comes to me."
- [Laughter]

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

-I let it be I -i ooh I

- glyn said it's happening too quickly.
- [John] Yeah.

- Yeah. We're very excitable.
- It is in a way.

No, you're right.
It's coming in all too soon.

Okay, do it exactly then.

As we... as was.

- Oh?
- [John] I like the solo...

- Isn't it as it was?
- [John] I don't know.

[Paul] But, I mean, that's the end
of the song, as much as I know.

[John] Think what Vera Lynn
would do to it, Paul.

[Laughing] Let's see, yeah.

[Paul] Glyn?

Why is this microphone very quiet?

[Paul] See, there's only
those two verses... watch me.

[John] We'll write some more, should we?

That's a possibility, I suppose.

[John] Have we had "hour of darkness"?

- Yeah.
- [John] Oh. I thought it came quick.

[Microphone feedback]

Goddamn you, little microphone.

[John screams]

[Paul] Okay, you watch us.
We're gonna do this now.

- [John] You just watch us.
- [Paul] Okay, boys. Come on.

- Pull yourselves together.
- [John] Ha!

- Talking to me?
- That's it.

Talking to me?

He's the most together man in garston.

[Laughter]

[Chattering]

Yeah, let it develop.

-I yeah, let it be, let it be I
-[John, George] I oohl

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

[John] We've gone off.

Are you doing it like we rehearsed it
at twickenham? Or are you changing it?

[Paul] I'm not sure. I can't remember.

I'm just doing the whole thing twice,
which is, like, two verses.

"Can you dig it?"

- Take this one then.
- [John] Yeah, take it home.

This'ii...
This is gonna knock you out, boy.

["Let it be" playing]

[Indistinct]

I and you know that it was meant to be I

I there's a word of wisdom
let it be I

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

-I let it be I -i ooh I

[Paul] I sing it, children
let it be I

[John] Especially like to thank you
for all the birthday presents.

[Paul] I when / findmyse/fl

all moody.

I trouble... I

I when lfl'nd myself
in times of trouble I

[sings faster] I when / find myself
in times of trouble I

I mother Mary comes to me I

I speaking words of wisdom
let it be I

[John] Okay, this is your last chance.

[Paul] Now look, boys. Now, come on.
Enthuse a little.

I can't. I don't even get up to my bit,
you keep finishing.

[Laughter]

[John] Shut up, will you?

I'll have you banned from bloody apple
if you don't shut up.

I let/tbel”

I let it be, let it be I

I yeah I

I oh-oh-oh I

-[John] I let it be, let it bel
-i let it be I

[John vocalizing]

I couldn't, you see?
I've got to force it. [Vocalizes]

[John] After all that,
I came in too soon.

[Exhales]

[Paul] Can we carry this on tomorrow?

- I feel a bit tired now.
- Yes, all right.

[Paul] Darling. [Chuckles]

No, you don't mind
if we finish now, do you?

I'm just trying to get the group
working, you know, like every day...

I know, but office hours. [Chuckles]

Yes, Paul, you have to be strict.
Some discipline.

Get a shave, get your fucking hair cut,
you know?

- [Yoko laughs]
- Live, man.

- Are we coming tomorrow?
- What?

- [George] Are we coming in tomorrow?
- Yeah.

- [John] Can we come too?
- [Chattering]

- [John] Yeah, sure.
- Okay. Bye.

Okay. Got it.

[Chattering continues]

[Instruments playing]

["Blues jam" playing]

[Ends]

- ["The walk" playing]
- [Paul] I then you wa/kl

I then you wa/kl

I yeah, you wa/kl

I yeah, you wa/kl

I and you talk I

I boy, you will... I [indistinct]

I no, I can't give you
what / gotta give I

[mock growling]

I / can't give you what / got I

I you can't get me that way j”

- [singing, indistinct]
- [Ends]

Yeah. [Chuckles]

["Without a song" playing]

[Billy] I that field ofcorn I

I whoa, would never see a plow I

I that field of com I

I whoa, whoa
would be deserted now I

I a man is born I

I whoa, he ain't got no friends no how I

I no howl

I unless he has a song I

I no, no, no, no, no, no, no I

I yeah I

[indistinct]

[Song continues]

I a man is born I

I he ain't got no friends no how I

I whoa I

I unless he has a song I

I whoa I

[Laughing]

[Song continues]

I whoa I

I huhl

I / said a man don't I

I whoa, he ain't got no friends I

I nowhere, nowhere I

I unless he has a song I

[vocalizing]

[Indistinct]

I a songl

I yeah, yeah I

[vocalizing]

I whoa I [chuckles]

[Song ends]

["Love me do" playing]

[John, Paul] I love, love me do I

I you know / love you I

I ll! Always be true I

I so please I

- [John scatting]
- [Paul] I love me do I

I love, love me do, yeah I

I you know / love you I

I ll! Always be true I

I so please I

I love me do I

I someone to love I

I somebody new I

I someone to love I

I someone like you I

I love, love me do I

I you know / love you I

I ll! Always be true I

I so please I

I love me do I

[Paul] Okay.

I love me do, love me do I

[song ends]