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The Beatles - A Hard Days Night Script Lyrics

A Hard Day’s Night (Script) Lyrics1. EXTERIOR STREETS OUTSIDE RAILWAY TERMINAL DAY

The film opens with crowds of girls, shot in a sequence of CLOSE-UPS, chasing after GEORGE, JOHN and RINGO. The boys hare off just ahead of them. They take a turn down a back alley way and the crowds of screaming girls are after them.

2. EXT. TERMINAL

They rush on through the narrow cobbled passageway and into the main station, quickly show their tickets at the barrier for the London train, and get onto the platform as hordes of yelling and screaming girls reach the closed gates.

3. EXT. TERMINAL PLATFORM

We see the fans rushing to the few platform ticket machines, and endless pennies being dropped and tickets torn out in their haste to get onto the platform to see the boys.

NORM has been waiting for the boys and he hurries them to where all their baggage, instruments and the drums are waiting, piled up to be put into the guards' van. The boys turn and see the oncoming stream of girls pushing through the barriers and descending on them with yells and shouts. They grab their instruments, RINGO makes for the drums. NORM plugs into a handy transformer and using their instruments like a gun volley to stop the onrush of females, the boys blast fire into a number and start to sing. This stops the girls in their tracks and they settle down on whatever they can to listen to them playing.

As the boys are playing, we CUT BACK into the crowds. In the centre we see PAUL struggling and pulling to fight his way through the girls to join the other boys. He is dragging a very reluctant old man behind him. The old man seems most disgruntled and we can see by his gestures how unwilling he is to be pulled and pushed forward through all the girls.

At last PAUL reaches the other boys. He sits the old man down on a pile of cases and joins in the number to the squeals of delight from the fans. The old man sits aloof and proud ignoring the whole proceedings. JOHN, GEORGE and RINGO look enquiringly at PAUL who gives a noncommittal shrug of the shoulders as if to say, "it's not my fault" and the number proceeds.

SHOT of sudden horror on JOHN's face. PAUL follows his eye line only to see the old man has doffed his cap and is busily collecting money from a disconcerted crowd. PAUL dives hastily into the crowd, and with suitable apologies extracts the old man and with a long suffering sigh drags him back to the group. GEORGE and PAUL hold him firmly as they finish the number, the old man standing there between them.

As the number finishes and the girls scream and shout with delight, the guard blows his whistle. NORM and SHAKE grab the instruments and the drums, and with the rest piles the lot into the guards' van. The BOYS head into their reserved compartment pursued by the fans but the train moves off. They have successfully repelled all extra boarders.

THE BOYS stand and wave to the fans until out of sight line ... the girls running along to the end of the platform waving and calling out.

4. INTERIOR RESERVED COMPARTMENT IN THE TRAIN

The boys relax, sitting down on one side of the compartment. They are about to settle down and make themselves at home when first RINGO nudges GEORGE who in turn nudges JOHN. Opposite them is sitting the LITTLE OLD MAN. He is holding himself stiff, erect and very aloof.

The three boys look at him enquiringly but with an elaborate sniff he looks away from them and out of the window.

PAUL catches his eye and winks at the LITTLE OLD MAN. He winks back at PAUL, scowls at the other three then looks firmly out of the window again.

The boys turn on PAUL crowding around him.

JOHN
Eh ... pardon me for asking but who's that little old man?

PAUL
What little old man?

JOHN
(pointing)
That little old man.

PAUL
Oh, that one. That's me Grandfather.

GEORGE
That's not your Grandfather.

PAUL
It is, y'know.

GEORGE
But your Grandfather lives in your house. I've seen him.

PAUL
Oh, that's me other Grandfather, but this one's me Grandfather and all.

JOHN
How d'you reckon that one out?

PAUL
Well ... everyone's entitled to two, aren't they, and this is me other one.

JOHN
(long suffering)
Well we know that but what's he doing here?

PAUL
Well, me mother thought the trip 'ud do him good.

RINGO
How's that?

PAUL
Oh ... he's nursing a broken heart.

The lads all look intently at the GRANDFATHER.

JOHN
Aah ... the poor old thing.

He leans across to GRANDFATHER.

JOHN
Eh, Mister... are you nursing a broken heart then?

The GRANDFATHER nods soulfully glares at him, in a way that indicates yes.

PAUL
(whispering)
You see, he was going to get married but she threw him over for a butcher.

GEORGE
A butcher?

PAUL
Yeah, she was fickle.

JOHN
Aye and fond of fresh meat and all.

PAUL
(seriously)
No ... it was his sweetbreads. She was dead kinky for sweetbreads. Anyroad, me mother thought it'ud give him a change of scenery, like.

JOHN
Oh, I see.

He inspects GRANDFATHER carefully.

JOHN
(to PAUL)
Eh, he's a nice old man, isn't he?

PAUL
Oh yeah, he's very clean, y'know.

They all agree with PAUL.

JOHN has been examining GRANDFATHER. He now leans forward to him.

JOHN
(in an over-friendly voice)
Hello, Grandfather!

GRANDFATHER
Hello.

JOHN
(delightedly)
He can talk then?

PAUL
(indignantly)
Course he can talk. He's a human being, like. Isn't he?

RINGO
(grinning)
Well ... if he's your Grandfather, who knows?

The lads all laugh.

JOHN
And we're looking after him, are we?

GRANDFATHER
I'll look after meself.

PAUL
Aye, that's what I'm afraid of!

JOHN
He's got you worried, then?

PAUL
Him, he costs you a fortune in breach-of-promise cases. He's a villain and a right mixer as well.

GEORGE
(disbelieving)
Gerron.

PAUL
No, straight up.

GRANDFATHER
The lad's given you the simple truth. I'm cursed wid irresistible charm, I'm too attractive to be let loose.

At this moment, SHAKE, a tall man who works with the BOYS, pulls open the door of the compartment.

SHAKE
You got on all right then?

BOYS
Hi, Shake.

SHAKE
We're here. Norm'll be along in a mo' with the tickets.

He sees GRANDFATHER.

SHAKE
Morning!
(whispers)
Who's that little old man?

GEORGE
It's Paul's grandfather.

SHAKE
Oh aye, but I thought ...

JOHN
(cutting in)
No, that's his other one.

SHAKE
That's all right then.

JOHN
(displaying Grandfather)
Clean though, isn't he?

SHAKE
Oh yes, he's clean all right.

NORM the road manager appears behind SHAKE.

NORM
Morning, lads.

BOYS
Morning ... Hi, Norm.

NORM
(checking them quickly)
Well, thank God you're all got here. Now, listen, I've had this marvellous idea ... now just for a change, let's all behave like ordinary responsible citizens. Let's not cause any trouble, pull any strokes or do anything I'm going to be sorry for, especially tomorrow at the television theatre, because ...

He looks sharply at JOHN who is polishing his nails.

NORM
Are you listening to me, Lennon?

JOHN
(off-hand)
You're a swine, isn't he George?

GEORGE
(disinterested)
Yeah ... a swine.

NORM
(just as indifferent)
Thanks...

He sees the GRANDFATHER.

NORM
Eh ... .

BOYS IN CHORUS
... Who's that little old man?

NORM
Well, who is he?

RINGO
He belongs to Paul.

NORM
(accepting the situation)
Ah well, there you go. Look, I'm going down the diner for a cup of coffee, are you coming?

PAUL
We'll follow you down.

GRANDFATHER rises.

GRANDFATHER
I want me coffee.

NORM
He can come with Shake and me if you like.

PAUL
Well, look after him. I don't want to find you've lost him.

NORM
Don't be cheeky, I'll bind him to me with promises. Come on, Grandad.

GRANDFATHER joins SHAKE and NORM.

NORM
(over Grandfather's head)
He's very clean, isn't he?

SHAKE and NORM collect GRANDFATHER and are in the process of leaving the compartment when a fat upper class city Englishman, JOHNSON, attempts to enter. There is a bit of confusion and they get tangled up with each other.

JOHNSON
Make up your minds, will you!

At last SHAKE, NORM and GRANDFATHER sort themselves out and JOHNSON enters with his case. The other three go to coffee.

JOHNSON puts his case up on the luggage rack, then sits down. All his movements are disgruntled ... he finally picks up his copy of the Financial Times and burying himself behind it, starts to read. After a moment he looks up, notices the compartment window is open. He gets up and without so much as a "by your leave" he closes it, glares at the BOYS and sits down again.

The boys exchange looks as if to say ... "Hello, Saucy!!"

PAUL
(politely)
Do you mind if we have it opened?

JOHNSON
(briefly)
Yes, I do.

JOHN
Yeah, but there are four of us, like, and we'd like it open, if it's all the same to you, that is.

JOHNSON
(rudely)
Well, it isn't. I travel on this train regularly twice a week, so I suppose I've some rights.

RINGO
Aye, well, so have we.

He disappears behind his paper before the BOYS can say another word.

RINGO pulls a face at the raised paper and switches on his portable radio. A pop number is playing.

JOHNSON puts down his paper firmly.

JOHNSON
And we'll have that thing off as well, thank you.

RINGO
But I ...

JOHNSON leans over and switches it off.

JOHNSON
An elementary knowledge of the Railway Acts would tell you I'm perfectly within my rights.

He smiles frostily.

PAUL
Yeah, but we want to hear it and there's more of us than you. We're a community, like, a majority vote. Up the workers and all that stuff!

JOHNSON
Then I suggest you take that damned thing into the corridor or some other part of the train where you obviously belong.

JOHN
(leaning forward to him)
Gie's a kiss!

PAUL
Shurrup! Look, Mister, we've paid for our seats too, you know.

JOHNSON
I travel on this train regularly, twice a week.

JOHN
Knock it off, Paul, y' can't win with his sort. After all, it's his train, isn't it, Mister?

JOHNSON
And don't you take that tone with me, young man!

GEORGE
But...

JOHNSON
(accusingly)
I fought the war for your sort.

RINGO
Bet you're sorry you won!

JOHNSON
I'll call the guard!

PAUL
Aye ... but what? They don't take kindly to insults you know. Ah, come on, you lot. Let's get a cup of coffee and leave Toby the manger.

The boys troop out of the door into the corridor. JOHNSON smiles triumphantly. He is about to settle down to his paper when there is a tap on the corridor window. He looks up and we see pressed against the window a collection of hideous Beatle faces.

PAUL
Eh, Mister ... can we have our ball back!

The man jumps to his feet.


5. INTERIOR OF THE CORRIDOR

The boys run away like a pack of school boys and disappear round the corner.


6. INTERIOR OF THE TRAIN CORRIDOR

From the P.O.V. of the door leading to the restaurant car.

The boys come down the corridor in full flight, laughing away like happy idiots. GEORGE and PAUL pull open the sliding doors. The boys look inside.

7. INTERIOR RESTAURANT CAR

From their P.O.V. we see the car is half empty and at a table in the centre SHAKE and NORM and GRANDFATHER are sitting. On the table is a pile of photos of the boys. NORM and SHAKE are arguing. NORM is being very aggressive, much to SHAKE's discomfort.

NORM
Yeah, you want to watch it.

SHAKE
(unhappily)
It's not my fault.

NORM
Well, you stick to that story, son.

SHAKE
I can't help it, I'm just taller than you.

GRANDFATHER
(To NORM slyly)
They always say that.

NORM
Yeah, well I got me eye on you.

SHAKE
I'm sorry Norm, but I can't help being taller
than you.

NORM
Well, you don't have to rub me nose in it. I've a good mind to ...
(he is about to thump SHAKE.)

JOHN
(enjoying himself)
If you're going to have a barney I'll hold your coats.

NORM
He started it.

SHAKE
No, I didn't you did ...

GEORGE
Well, what happened?

SHAKE
The old fella wanted these pictures and Norm said he couldn't have 'em, all I said was 'aw go on, be big about it.'

PAUL
And?

NORM
Your Grandfather pointed out Shake was always being taller than me just to spite me.

PAUL
I knew it, he started it, I should have known.

NORM
Y'what?

PAUL
You two have never had a quarrel in your life and in two minutes flat he's got you at it. He's a king mixer. Adam and Eve, meet the serpent. Anthony and Cleopatra, there's your asp. Divide and Conquer, that's this one's motto. He hates group unity so he gets everyone at it.

The BOYS, i.e., JOHN, GEORGE and RINGO, look at each other then at PAUL.

PAUL
Aye and we'll have to watch it and all.

GEORGE
I suggest you just give him the photos and have done with it.

NORM
You're right. Here you are, old devil.

SHAKE and NORM leave. GRANDFATHER grins triumphantly and collects them, then with a sweet smile he turns to PAUL.

GRANDFATHER
Would you ever sign this one for us, Pauly?

PAUL does so automatically but in the middle of signing he gets suspicious. GRANDFATHER smiles at him charmingly so PAUL finishes signing.

JOHN
Come on let's get this coffee.

GRANDFATHER
Before you go, I think it's only fair to warn you about me Grandson ... don't let our Paul have his own way all the time, 'cos if you do he won't respect you!

JOHN, RINGO and GEORGE take this up straight away. They all pretend to be girls, RINGO jumps into PAUL's arms.

GEORGE
(coyly)
Oh, Paul, you can't have your own way!!!

JOHN
(invitingly, in a Marlene Dietrich voice)
If I let you have your own way, you little rascal, will you respect me?

PAUL
(choked)
I'll murder you, Grandfather!

JOHN waltzes PAUL down to an empty table and the lads sit down.

GEORGE
Eh, look at that talent.

They all gaze across the aisle. From their P.O.V. we see two very attractive young girls, RITA and JEAN, having coffee.

JOHN
Give 'em a pull.

PAUL
Shall I?

GEORGE
Aye, but don't rush. None of your five bar gate jumps and over sort of stuff.

PAUL
Now what's that supposed to mean?

GEORGE
(grinning)
I don't really know, but it sounded distinguished, like, didn't it?

JOHN
George Harrison, The Scouse of Distinction.

We follow PAUL as he crosses over to the two girls. He places a bowler on his head.

PAUL
(in posh accent)
Excuse me, but these young men I'm sitting with wondered if two of us could join you; I'd ask you meself only I'm shy.

The two girls giggle together.

JOHN and GEORGE are about to move over when GRANDFATHER suddenly appears by their sides.

GRANDFATHER
(sternly)
I'm sorry, miss, but you mustn't fraternise with my prisoners.

JEAN
Prisoners!!

GRANDFATHER
Convicts in transit to Wormwood Scrubs. Typical old lags, the lot of 'em.

THE BOYS
Y'what!!!

GRANDFATHER
Quiet, you lot, or I'll give you a touch of me truncheon.
(He points at Ringo)
That little one's the worst. If we don't keep him on tablets he has fits.

RINGO
(protesting)
Now look here!!

GRANDFATHER grabs two lumps of sugar from the table and forces them into RINGO'S mouth.

GRANDFATHER
Get out while you can, ladies, his time's
coming round for one of his turns.

The frightened girls scurry out of the restaurant car. The boys look in amazement and horror at GRANDFATHER. They are completely flabbergasted. GRANDFATHER smiles at them benignly.


8. INTERIOR OF RAILWAY COMPARTMENT

SHAKE and NORM are seated. SHAKE is buried in a science fiction book.

NORM looks at his watch, slightly worried.

NORM
He's been gone a long time.

SHAKE
(without looking up)
Who?

NORM
Paul's grandfather.

SHAKE
Oh, I didn't notice, where'd he go?

NORM
Down the ... er ...

SHAKE
Oh, down the ... er ...?

NORM
Yeah, down the ... er ...

SHAKE
Well, give a couple of minutes ...

He resumes reading. But NORM goes on worrying.

9. INTERIOR OF ANOTHER RAILWAY COMPARTMENT

Grandfather is in full flight of conversation with a charming elderly lady, AUDREY, who is listening intently.

GRANDFATHER
(proudly)
Yes, I'm their manager, I discovered them.

LADY AUDREY
Did you indeed, Mr. McCartney?

GRANDFATHER
Now, Audrey, I told you, the name's John. We show biz people are a friendly lot.

AUDREY
Of course, John.

GRANDFATHER
Yes, they were playing the queues outside the picture palaces of Liverpool. Scruffy young lads, lacking even the price of a jam roll. Orphans, every Paddy's son of 'em. I saw their potential at once although I had me doubts about the little fella, a savage primitive, that Ringo, but it was him what gave in first. He picked up a brick and heaved it at me and I quelled him wid one fierce flash of me eyes. "Mister, can you spare us a copper?" he said. I was disarmed by the grubby little outstretched mauler ... So, I took them under me managerial banner.

AUDREY
The usual ten per cent?

GRANDFATHER
Oh, not at all, I let them have twenty-five; sure aren't there four of them?

AUDREY
(her eyes lighting up)
How fascinating. Do go on ...
(pause)
... John.

GRANDFATHER
... Oh, I'm all heart, Ma'am, all heart ... Well, I let ...

10. INTERIOR CORRIDOR OF TRAIN

NORM and SHAKE meet with the BOYS as they are returning from coffee.

NORM
Eh, have you got Paul's grandfather?

JOHN
Of course, he's concealed about me person.

NORM
No ... he's must have slipped off somewhere.

PAUL
(accusingly)
Have you lost him?

NORM
Don't exaggerate.

PAUL
You've lost him.

SHAKE
Put it this way, he's mislaid him.

PAUL
You can't trust you with anything, Norm, if you've lost him, I'll cripple you.

SHAKE
He can't be far.

JOHN
I hope he fell off.

PAUL
(mildly)
Don't be callous.

RINGO
He doesn't like me, honest, I can tell ... It's 'cos I'm little.

GEORGE
You've got an inferiority complex, you have.

RINGO
Yeah, I know, that's why I took up the drums. It's me active compensatory factor.

JOHN and PAUL run down the corridor. SHAKE and NORM turn from the door and go in the opposite direction, GEORGE and RINGO follow after the other two boys.

11. INTERIOR CORRIDOR OF TRAIN

PAUL and JOHN look into various compartments. CLOSE SHOT of RINGO looking into compartments in the manner of Groucho Marx. In one of the compartments we see from RINGO'S P.O.V. the occupant, a glamorous woman, TANIA, with a small lap dog.

She is beautifully and most expensively dressed. She looks up and sees RINGO.

RINGO smiles at her and she smiles back. She then beckons him to join her.

He looks around to see if she means someone else. She nods a negative. RINGO looks back enquiringly then points at himself as if to say: "Who, me?"

TANIA smiles enthusiastically.

GEORGE has been watching all this.

GEORGE
Are you going in?

RINGO
No, she'll only reject me in the end and I'll be frustrated.

GEORGE
You never know, you might be lucky this time.

RINGO
No, I know the psychological pattern and it plays hell with me drum skins.

He blows the glamorous lady a kiss, then moves sadly on.

12. INTERIOR FURTHER DOWN THE CORRIDOR

PAUL enters a compartment followed by JOHN. The TWO GIRLS, RITA and JEAN, from the restaurant car are sitting there.

PAUL
Excuse me but have you seen that little old man we were with?

The girls jump up, surprised.

JOHN
We've broken out, oh, the blessed freedom of it all!
(he extends his hands as if handcuffed)
Eh, have you got a nail file, these handcuffs are killing me. I was framed. I was innocent.

PAUL
Will you stop it! Sorry to disturb you, miss...

He starts to drag JOHN after him.

JOHN
I was innocent. I was framed. I won't go back.

JOHN is now by the door; he leers at the girls horribly.

JOHN
I bet you can guess what I was in for.

He cackles like a maniac before disappearing, the door closing after him.

A waiter carrying a tray with champagne and glasses on it passes into one of the compartments with the blinds down.

PAUL
How about that one?

He moves towards the compartment.

PAUL
(to Ringo and George)
Did you look in here?

GEORGE
No. I mean, it's probably a honeymoon couple or a company director or something.

PAUL
Well, let's broaden our outlook.

PAUL opens the door of the compartment.

13. INTERIOR OF COMPARTMENT

From the BOYS' P.O.V. we see GRANDFATHER and the elderly lady, AUDREY, sipping champagne and nibbling caviar on toast.

GRANDFATHER
(looking up)
Congratulate me, boys, I'm engaged.

PAUL enters and crosses over to him.

PAUL
Oh no, you're not. You've gone too far this time ... and who's paying for all this?

GRANDFATHER
It's all taken care of. It's down on our bill.

PAUL
Oh, well that's all right.
(realising)
What?

AUDREY
Young man, kindly moderate your tone when you address my fiance.

PAUL
I'm sorry, Missus, but the betrothal's off.
(He grabs GRANDFATHER by the arm.)
I'll refuse me consent, he's over-age!

AUDREY grabs GRANDFATHER's other arm and pulls back.

AUDREY
Leave him alone, after all he's done for you is this the way you repay him?

A tug of war now starts between PAUL and AUDREY.

PAUL
(pulling)
Him? he's never done anything for anybody in his life.

AUDREY
(pulling)
You dare to say that when even those ridiculous clothes you are wearing were bought when you forced him to sell out his gilt edged Indomitables!!

JOHN and GEORGE jump on the seat egging PAUL and AUDREY on.

JOHN
Come on, Auntie, you're winning.

GEORGE
Get in there, Paul, she's weakening.

RINGO attempts to interfere.

RINGO
Look, Missus, this is all a misunderstanding, you see, he's ...

AUDREY
Keep away from me, you depraved lout, I know all about your terrible past.

RINGO
Y'what?

She hits RINGO with her handbag and continues struggling with PAUL for GRANDFATHER. RINGO grabs her handbag to stop her hitting him.

RINGO
He's given me a bad character, blackguarding me name to all and sundry. He's got to be stopped. It's not fair.

RINGO pushes out into the corridor, forgetting that he is holding the woman's handbag.

A voice shouts off from outside.

VOICE OFF
That's one of them ... stop thief!

14. INTERIOR CORRIDOR

From Ringo's P.O.V. we see down to the right the city man, JOHNSON, approaching with a GUARD. RINGO turns the other way to the left when he is joined by [the] three other boys. From their P.O.V. down the corridor we see the two girls, autograph books in hand, followed by ten girls from the same school.

Both groups are closing in on the BOYS. There's no escape.

RINGO
(looking down at the handbag in his hand)
Oh Mother!!

15. INTERIOR LUGGAGE VAN

Very dark, and behind bars we see GRANDFATHER. He is sitting crouched up on a wooden box tea chest and looks pretty miserable. He turns towards the CAMERA; in the foreground of the SHOT we see PAUL standing.
In the background an impassive GUARD is reading a paper which he does throughout the scene.

GRANDFATHER
(bitterly)
And to think me own grandson would have let them put me behind bars!

PAUL
Don't dramatise.

The CAMERA PULLS BACK and we see GRANDFATHER in the luggage compartment of the guards' van. In with him are a crate of chickens and a dog. The chickens peck at him; GRANDFATHER moves listlessly away.

PAUL
Let's face it, you're lucky to be here. If they'd have had their way you'd have been dropped off at Stafford already.

GRANDFATHER proudly turns away from PAUL who dodges round so he can still see his face.

PAUL
Well, you've got to admit you've upset a lot of people. At least I can keep my eye on you while you're stuck in here.

GRANDFATHER turns away again.

PAUL
All right, how about Ringo? I mean ... he's very upset, you know ... and as far as your girlfriend, little Audrey's concerned, she's finished with men for the rest of her natural, and another thing ...

GRANDFATHER
A harmless bit of fun, aah, none of you have any sense of humour left these days.

PAUL
Oh, it's all right for you but those two girls were scared to death! Honest, Grandad, why? I mean, why do you do these things?

GRANDFATHER
(cutting in)
You're left-handed, aren't you, Paul?

PAUL
Yeah ... so what?

GRANDFATHER
Why do you always use your left hand?

PAUL
Well, don't be daft, I've got to.

GRANDFATHER
And I take a left-handed view of life, I've got to.

PAUL grins. After a moment of looking at him, PAUL opens the door of
the luggage compartment and joins GRANDFATHER on a box.

PAUL
Shove up!

GRANDFATHER produces a penny.

GRANDFATHER
Odds or evens?

PAUL sighs.

PAUL
Odds.

GRANDFATHER flips the coin.

The guards' van door opens and JOHN, GEORGE and RINGO come in, with them are the girls, RITA and JEAN.

JOHN
(as he sees PAUL behind the bars)
Don't worry, son, we'll get you the best lawyer trading stamps can buy.

PAUL
Oh, it's a laugh a line with Lennon.
(to Ringo)
Anyroad up ... It's all your fault.

RINGO
Me? Why?

GEORGE
Bag-snatcher.

GRANDFATHER
That's right; convict without trial ... Habeas corpus.

JOHN
(casually)
Every morning.

JOHN has been looking around the guards' van.

JOHN
Gaw, it's depressing in here, isn't it? Funny...
(he pats the dog)
'cos they usually reckon dogs more than people in England, don't they? You'd expect something a little more palatial.
(he shudders)
Come on. Let's have a little action. Let's do something, then.

PAUL
Like what?

JOHN
Well, I've got me gob stopper.
(he produces his mouth organ.)
Look, a genuine Stradivarius, hand tooled at Dagenham.

And to RINGO's beat on a tea chest they are off, PAUL and GEORGE improvising other sounds, much to the GIRLS' delight. During the number, GRANDFATHER quietly lets the latch off the chicken crate and chickens begin to wander through the scene.

16. EXTERIOR TRAIN IN MOTION FROM ABOVE (NIGHT)

While the number is progressing, the train is getting nearer and nearer to London.

17. EXTERIOR PLATFORM TERMINUS (NIGHT)

SHOTS of the station full of GIRLS waiting for the BOYS.

18. INTERIOR GUARDS VAN

By the time the number finishes the train pulls up with a sharp halt that sends them all sprawling, BOYS and GIRLS.

NORM enters the guards' van.

NORM
Don't move, any of you. They've gone potty out there. The whole place is surging with girls.

JOHN
Please, can I have one to surge with?

NORM
No.

JOHN
Ah, go on, you swine.

NORM
No, you can't. Look, as soon as I tell you, run through this door here and into the big car that's waiting.

He points and we see a big car parked across the road.

The BOYS prepare to depart, lining up with GRANDFATHER at the door.

19. EXTERIOR PLATFORM TERMINUS

Just as they are ready to go, a line of taxis draws up parallel to the train and now separates them from the big car waiting for them.

NORM
Oh no!

GRANDFATHER pushes past the BOYS, holding his coat closed.

GRANDFATHER
All right, lads, follow me.

And before NORM can stop him, he darts out of the door, PAUL after him. The fans further down the platform see PAUL and charge forward ... in a panic NORM and the others follow, JOHN just having time to kiss both the girls.

JOHN
Vive l'amour!

NORM drags him away.

20. EXTERIOR RAILWAY STATION

The BOYS manage to follow GRANDFATHER by leaping onto a motorized luggage carrier, GEORGE driving and the other three posing as a frozen tableau on the back. GRANDFATHER has arrived at a taxi door. He flings it open and runs through, opening the other door, thus making a safe bridge to the car.

The BOYS follow and manage to make it to the big car safely. They run towards grandfather's taxi. The FANS have followed the BOYS and we see streams of GIRLS piling through all the taxis one of which contains JOHNSON the city man, opening and shutting the doors to get through, much to the indignation of the TAXI DRIVERS.

21. INTERIOR BIG CAR

NORM is sitting in front with the driver, FRANK. The four BOYS and GRANDFATHER are squashed together in the back.

NORM
(to the driver)
Go like the clappers, son!

FRANK
(smoothly)
That was my entire intention, sir.

22. EXTERIOR STATION

The car moves off surrounded by the FANS; from a height we see them converge on the car but it moves forcefully out of the station and off.

It moves into the traffic in the main road and the journey to the hotel begins.

23. INTERIOR HOTEL SUITE NIGHT

There is a reception room and off it lead rooms that are presumably bedrooms, bathroom, etc. JOHN is lying sprawled out on a settee listening to a transistor radio, demolishing a basket of fruit. PAUL is sitting at an upright piano and GRANDFATHER is mooching about the room. One of the doors opens and GEORGE enters followed by RINGO, none of the BOYS are wearing coats.

RINGO
I don't snore.

GEORGE
You do - repeatedly.

RINGO
(to John)
Do I snore?

JOHN
(eating a banana)
You're a window rattler, son.

RINGO
Well, that's just your opinion. Do I snore, Paul?

PAUL
(stopping playing)
With a trombone hooter like yours it'd be unnatural if you didn't.

GRANDFATHER
Don't mock the afflicted, Pauly.

PAUL
Oh for Pete's sake, It's only a joke.

GRANDFATHER
Well, it may be a joke, but it's his nose. He can't help having a horrible great nose, it's the only one he's got. And his poor little head's trembling under the weight of it.

NORM enters with three piles of fan mail and places them in front of JOHN on a table. RINGO is almost in tears, examining his nose in a mirror.

NORM
Paul, John, George - get at it.

JOHN
Hello the income tax have caught up with us at last.

PAUL and GEORGE gather round the low table. RINGO is left out of it.

RINGO
None for me, then?

NORM
Sorry.

John hands RINGO a single envelope.

JOHN
That'll keep you busy.

GRANDFATHER
It's your nose, y'see. Fans are funny that way. Take a dislike to things. They'll pick on a nose...

RINGO
You go and pick on your own.

SHAKE enters with a stack of mail about three times larger than all the others put together.

JOHN
Is that yours?

SHAKE
For Ringo.

He dumps it in Ringo's arms who staggers into an armchair. The BOYS send him up.

JOHN
That must have cost you a fortune in stamps, Ringo.

GEORGE
He comes from a large family.

RINGO
(dumping the letters)
Well.

RINGO opens his letter and reads it. It contains a large embossed card.

RINGO
Eh, what's Boyd's Club?

The lads gather round him and PAUL takes the card from him and reads.

PAUL
"The Management of Boyd's takes pleasure in requesting the company of Mr Richard Starkey"--that's you--"in their recently refinished gaming rooms. Chemin de Fer. Baccarat, Roulette, and Champagne Buffet." Blimey!

RINGO
(surprised)
And they want me?

JOHN
Oh, it's got round that you're a heavy punter.

NORM
(snatching the card)
Well you're not going.

RINGO
Ah.

GRANDFATHER
(taking card from Norm)
Quite right, invites to gambling dens full of easy money and fast women, chicken sandwiches and cornets of caviar, disgusting!

He pockets the card himself.

RINGO
That's mine.

NORM
Have done, and you lot get your pens out.

BOYS
Why?

NORM
It's homework time for all you college puddings. I want this lot
(he indicates the fan letters)
all answered tonight.

The BOYS all protest.

NORM
I'll brook no denial!

JOHN
It's all right for you, you couldn't get a pen in your foot, you swine.

NORM
Come on, Shake, we'll leave 'em to their
penmanship.

He goes followed by SHAKE.

There is a pause and JOHN deliberately rises slowly and crosses to his coat. He puts it on and walks to the door.

JOHN
While the swine's away the piglets can play. Well, come on, what are we waiting for?

With a whoop PAUL, GEORGE and RINGO collect their coats and head for the door.

GRANDFATHER
What about all these letters?

BOYS
Read 'em!

They disappear. After a moment GRANDFATHER takes out Ringo's card.

C.U. GRANDFATHER

GRANDFATHER
And a free champagne buffet.

He grins to himself. At this moment a WAITER enters with a tray. He is clad in tails and GRANDFATHER eyes them longingly, measuring himself the while alongside the startled waiter. He leaves us with no doubt in our minds what he wants, i.e., the waiter's suit.


24. INTERIOR DANCING CLUB NIGHT

The club is the latest in modern decor and full of teenagers all enjoying themselves. The CAMERA wanders around the club till it finally picks out JOHN, PAUL, GEORGE and RINGO all crowded around one small table. The music is blaring away from a juke box and the BOYS join the dancers. They are recognised and given smiles and nods of encouragement
by all the other customers. During this scene we

CUT AWAY

25. INTERIOR BOYD'S CLUB NIGHT

The whole atmosphere is of quiet elegance and loud wealth. Around the baccarat table the rich, bored customers sit barely moving a face muscle as they languidly murmur "suivez" and "banco" to the dealer as he operates the shoe. The manager of the club is beaming with satisfaction as he surveys his customers. One of these customers is clad in evening dress and he has his back to us. The rest of the players (male) are in suits. By each of them is standing a lush lady with a bored sophisticated face that looks as if it has been painted on. From the REVERSE of the LAST SHOT we now see the solitary evening dress player is GRANDFATHER. He looks around him and wipes off his look of enjoyment and elaborately out-bores everyone in the room.

DEALER
Alors, M'sieur?

GRANDFATHER
(nonchalant)
Souflée.

He turns to the buxom BLONDE, who is dripping over him.

GRANDFATHER
I bet you're a great swimmer. My turn? Bingo!

CROUPIER
Pas "Bingo," M'sieur... Banco.

GRANDFATHER
(taking)
I'll take the little darlings anyway.

He takes up the cards and can't understand that they are unnumbered.

GRANDFATHER
Two and one is three, carry one is four.

The buxom BLONDE leans over him.

BLONDE
Lay them down.

GRANDFATHER
(disturbed by his eyeline)
Eh?

BLONDE
Lay them down.

GRANDFATHER
We'd be thrown out.

BLONDE
Your cards... lay them down... face up.

He does so.

CROUPIER
Huit à la pointe... et sept.
(He pushes chips and box to Grandfather.)

BLONDE
You had a lovely little pair, y'see.

GRANDFATHER
I did?

CROUPIER taps impatiently on box (shoe).

BLONDE
They're yours.

GRANDFATHER
They are?

BLONDE
The cards... you're bank.

26. INTERIOR DANCING CLUB

The BOYS are having a rare old time and the place is really moving.

27. INTERIOR BOYD'S CLUB

GRANDFATHER is playing and a waiter is checking the requirements of the players.

GRANDFATHER
Bingo!

CROUPIER
(wearily)
M'lord dit "Bingo."

WAITER
(to Grandfather)
A little light refreshment.

GRANDFATHER
(lordly)
A glass of the old chablis to wash down a gesture of giblets wouldn't go amiss.
(He resumes his game.)
Souflée, chop chop.

The CROUPIER uses the spatula to pick up a card. GRANDFATHER grabs it and scoops some sandwiches off a passing tray.

28. INTERIOR DANCING CLUB

The BOYS are at their table again laughing and enjoying themselves, when suddenly their faces freeze.

From their P.O.V. we see NORM standing glowering down at them. With him is SHAKE. Reluctantly the BOYS arise and follow NORM out.

29. INTERIOR BOYD'S

GRANDFATHER is looking worried at the call of the card he loses and we see that all his chips have gone. He notices the waiter delivering snacks and champagne to a couple, so quick as a flash, he places a handkerchief over his arm and writing a bill out on a piece of paper, presents it to the couple and collects payment in chips. He then resumes playing.

30. INTERIOR HOTEL ROOM

Waiter is sitting on chair in underclothes, reading. He hears a noise, says "The manager!" and hides in outer clothes closet. NORM and the BOYS enter saying:

NORM
Now get on with it.

JOHN
We were going to do it.

NORM
Aye, well, now!
(He goes through bedroom.)

RINGO goes to hang up coat in closet. He does so, then crosses to rest.

RINGO
Any of you lot put a man in that cupboard?

ALL
A man? No.

RINGO
Well somebody did.

GEORGE goes to cupboard. We see the WAITER from his P.O.V. He closes door, returns to group.

GEORGE
He's right, y'know.

BOYS
(disinterested)
Ah well, there you go.

SHAKE enters front door, goes to hang up coat and drags WAITER out.

SHAKE
Eh, what's all this?

PAUL
Oh, him... He's been lurking.

JOHN
Aye, he looks a right lurker.

SHAKE
(to WAITER)
You're undressed. Where are your clothes?

WAITER
The old gentlemen borrowed them to go gambling at Boyd's.

PAUL
No!

RINGO
Oh, he's gone to my club, has he?

PAUL
(turning on Ringo)
Yeah, It's all your fault, getting invites to gambling clubs. He's probably in the middle of an orgy by now.

JOHN
Well, what are we waiting for?

SHAKE
Aye, come on, honest, that grandfather of yours
is worse than any of you lot.

31. INTERIOR BOYD'S

GRANDFATHER is drinking champagne in locked arms with BLONDE.

WAITER
Encore de champagne, Monsieur?

GRANDFATHER
Yes, and I'll have some more champagne as well.

He takes another swig of his glass.

MANAGER
(beaming)
Lord John McCartney, he's the millionaire Irish Peer, filthy rich of course.

CUSTOMER
Oh I don't know, looks rather clean to me.

The MANAGER comes to grandfather's side.

MANAGER
Play is about to resume, m'lord.

GRANDFATHER
(handing him a chip)
Lead me to it, I've a winning itch that only success can pacify.

He takes his place at the table. The MANAGER watches for a moment then moves away from the table towards the club reception desk.

32. INTERIOR RECEPTION DESK BOYD'S CLUB

JOHN, PAUL, GEORGE, RINGO, NORM and SHAKE are trying to gain entrance.

ATTENDANT
I'm sorry sir, members and invited guests only.

PAUL, GEORGE, RINGO, JOHN
I've got to get in.
It's urgent and important.
I've had an invite.
Take me to your leader.

NORM
Shurrup.

The BOYS do and meanwhile the MANAGER has walked into SHOT. He recognises the BOYS and welcomes them with false enthusiasm. They all start to enter the main room.

NORM
All we want to know is have you got a little
old man in there?

MANAGER
(pleasantly)
Do you mean Lord McCartney?

CLOSE-UP PAUL

PAUL
He's at it again. Look, I'm his grandfather... I mean...

BLONDE
(standing next to Grandfather)
Oh, it must be the dolly floor show.

JOHN
Stay where you are everybody this is a raid and we want him.

GRANDFATHER
Who are these ruffians?... I've never seen them before in my life! ... (etc.)

They grab the protesting GRANDFATHER and drag him into the reception area. He keeps trying to return to BLONDE and table. GEORGE and RINGO each take an end of the velvet cord hanging between the two stanchions. They exchange ends and re-hook it, thus encircling GRANDFATHER by the
entrance desk. They then go to settle up.

MANAGER
(with false charm)
Before you go, gentlemen, there's the small matter of the bill.

He snaps his fingers and a waiter hands him the bill.

NORM
(taking it)
I'll settle that.

He glances at it.

NORM
A hundred and eighty pounds!

MANAGER
(icily)
I beg your pardon, guineas.

At that moment a WAITER appears with a tray full of pound notes.

WAITER
Your winnings, my lord, one hundred and ninety
pounds.

The MANAGER tears up the bill and takes the money.

GRANDFATHER
How about me change?

MANAGER
Cloak room charge.

He hands GRANDFATHER his old mackintosh.

RINGO
(brightly)
Ah well, easy come, easy go.

The others glower at him.

RINGO
Well.

33. INTERIOR BIG CAR (MOVING ON WAY TO STUDIOS) The BOYS have settled down.

JOHN
Should I say it?

GEORGE
Follow your impulse.

RINGO
It'll only get you into trouble.

JOHN
(to RINGO)
Aah, shurrup, misery!

JOHN slouches forward.

JOHN
(urgently)
O.K. Driver, follow that car!!

The driver [Frank] is an urbane young man in a handsome grey uniform.

FRANK
(indicating the traffic)
Would you like to be a little more precise, sir?

JOHN
Well, that's the wrong line for a start.

FRANK
Sorry?
(meaning: "I beg your pardon.")

GEORGE
Oh, don't pay any attention to him, he was just fulfilling a lifelong ambition.

FRANK
I see.

JOHN
Yeah, you know, "O.K. Buster, follow that car, there's a sawbuck in it for you if you get real close!"

FRANK
Oh, yes, now I'm with you.
[he changes his accent]
But, gee, Mister, I've got my license to think of ... we're doing a hundred now ...

The car is stopped in traffic behind a bus. JOHN gets out of car and walks to the front. JOHN leans in window delightedly, he flashes his wallet.

JOHN
Ever seen one of these before?

FRANK
Ah ... a shamus, eh?

JOHN
I see you go to the night court.

FRANK
I've made the scene.

JOHN
Well, remember, its Leathery Magee up ahead in that convertible, so cover me in the stake-out.

GEORGE
I don't think that bit's right.

JOHN
What do you expect from an ad lib ... Raymond Chandler?


34. EXTERIOR STREET

As the big car overtakes a Company Director's Rolls. JOHN lowers his window and the boys let out an imaginary hail of bullets at the Executive in the back. He reacts violently and starts to shout at them. As he does so, he presses the button of his window, so that we hear only part of it. But what we do is unpleasant. He immediately presses the button and the window rises.

RINGO and PAUL jump out of the car. RINGO takes two drumsticks from his coat pocket and, using them as banderillas, inserts them with style into the radiator grill (V.O. "Ole" from the BOYS). PAUL, then, using his coat as a matador's cloak, does a butterfly pass at the car which
has just started up, narrowly missing him, but he keeps in the matador position.

35. INTERIOR CAR

NORM
Will you all stop it, you're like a gang of school kids. I knew this was going to happen one day.

JOHN
(as Ringo and Paul climb in)
Well, you shouldn't have had bacon for your breakfast, you cannibal. FRANK
(to Norm)
We're nearly there, sir.

JOHN
Eh ... don't call him sir, he's got enough delusions of power as it is.

CLOSE SHOT of a long suffering NORM.

NORM
And I was happy in the bakery. I'll never know
why I left.

36. EXTERIOR OF AN OLD VICTORIAN MUSIC HALL THEATRE

Which has been converted to the T.V. studios.

There are a few groups of GIRL FANS standing outside the front of the theatre, but against the kerb of the pavement is a night-watchman's canvas hut and brazier.

The car approaches.

37. INTERIOR OF THE CAR

NORM
Get ready John, open the door and as it draws up, out you go and straight in.

JOHN nods and opens the door. The FANS start to swarm 'round them. To escape, the BOYS dash into the night-watchman's canvas hut, pick it up and run with it to the stage door, revealing the night watchman, staring in astonishment.

At the door the BOYS put the hut down and enter the theatre.

38. INTERIOR STAGE DOOR ENTRANCE

As the BOYS enter, two P.R.O. men in dark suits, stiff white collars
and old school ties step forward and smile menacingly.

FIRST P.R.O. MAN
(menacingly)
Press conference, they're waiting for you.

NORM
(jovially)
Give us a couple of shakes to get our breath.

FIRST P.R.O. MAN
(more menacingly)
They're waiting now!

And without more ado they grab an arm each and march the protesting NORM towards the stairs that lead to the dress circle.

PAUL
Eh this lot means it. They're even taking
hostages.

The BOYS, SHAKE and GRANDFATHER rush after the rapidly disappearing NORM, who by now is half way up the stairs.

39. INTERIOR OF DRESS CIRCLE LOUNGE BALLROOM

It is empty except for two barmaids poised ready to serve, standing behind trestle tables full of drinks and sandwiches. The dark suited MEN enter with NORM and close behind them follow GRANDFATHER, SHAKE and the boys. The group arrives at the centre of the lounge and have time to look about and see the food but before they can get to it, from all directions NEWSPAPERMEN and PHOTOGRAPHERS converge upon them..

Now begins an elaborate tug-of-war between various PHOTOGRAPHERS using their flash attachments and REPORTERS to capture a Beatle and in the midst of this running battle a man with a portable recorder is trying to interview them. Together and singly the BOYS are pushed about the room and while this goes on a hard core of NEWSPAPERMEN are busily devouring sandwiches and pouring themselves drinks, to the annoyance of the BARMAIDS.

Every time one of the BOYS attempts to get a sandwich or a drink, it is either too late, the plate is empty, or they are intercepted. The single and constant thing we see in the scene is the pushing and pulling, heavy impersonal handling, the boys are just things to be placed like still life in one advantageous position after another. During the scene these individual exchanges take place:

SOUND REPORTER
What's your philosophy of life?

JOHN
I'm torn between Zen and I'm all right, Jack.

REPORTER
Has success changed your life?

RINGO
Yes.

REPORTER
Do you like playing the guitar?

GEORGE
Next to kissing girls it's favourites.

PAUL is surrounded by newspapermen.

PAUL
No, actually, we're just good friends.

HIGH SHOT of the press reception and we see the BOYS ease their way out until they get to the curtained entrance to the dress circle; completely unnoticed, they slip through.

40. INTERIOR THEATRE DRESS CIRCLE

The BOYS come up the stairs into the Dress Circle proper. GRANDFATHER and SHAKE are sitting there having a picnic of beer and sandwiches.

PAUL
(ironically)
Anything to spare?

GRANDFATHER
We've just finished, Pauly. Hey George, write us your John Henry on this picture.

GEORGE
Sure.
(He does so).

PAUL
Ah well. Eh, look!

He points, and from PAUL'S P.O.V. we see on stage, the setting up of the show, scenery and lights, cameras and sound equipment are being put into position by a small army of studio staff. DANCERS and SINGERS are milling about as well.

PAUL
Let's go and muck in.

JOHN
Aye, before anyone stops us.

They exit to rows of the dress circle and go through the entrance down the narrow stairs to the stalls and on to the stage that is built and extended right into the stalls, which are partly covered up.

41. INTERIOR STAGE

Everyone is so busy that they hardly notice the BOYS, who wander about and examine the studio equipment. A load of three drum sets are being brought on stage and a voice shouts out:

VOICE
Here, what about these electric guitars?

SHAKE
Where are they?

VOICE
Back here, mate.

SHAKE
(going towards the voice)
I'm coming.

RINGO is busy setting up his drums, and men are setting up the other sets. He drops a stick and the FLOOR MANAGER retrieves it and is about to tap the drum. The FLOOR MANAGER is a languid young man.

RINGO
Leave them drums alone.

FLOOR MANAGER
Oh, surely one can have a tiny touch.

RINGO
If you so much as breathe heavy on them, I'm
out on strike.

FLOOR MANAGER
Aren't you being rather arbitrary?

RINGO
That's right retreat behind a smoke screen of bourgeois cliches. I don't go round messing about with your ear-phones, do I?

FLOOR MANAGER
Spoil sport!

RINGO
Well!

RINGO fusses like a mother hen clucking over his drums. The FLOOR MANAGER is furious.

GEORGE
He's very touchy about those his drums, they loom large in his legend.

RINGO gives his drums a defiant crash and JOHN and PAUL stop whatever they are up to and hurry over.

PAUL
What's up?

GEORGE
(pointing)
He's sulking again.

JOHN
I'll show him.

He picks up a set of drum sticks and bashes back at RINGO, who does a more complicated drum roll. GEORGE now joins in and to PAUL'S encouragement a drum duel starts completely naturally and improvised. During this encounter the work proceeds around them and the guitars are brought on and SHAKE sets them to working order. PAUL first, then JOHN and GEORGE take up their own instruments and out of the drum duel emerges one of their numbers.

42. INTERIOR RAMP

As the number finishes a baldheaded man (he is the T.V. director) storms down the ramp that leads from the control box under the dress circle.

DIRECTOR
(with over-exaggerated calm)
All right I'm sorry and let's hear no more about it. If that's your opinion, you're probably right. Look, if you think I'm unsuitable let's have it out in the open, I can't stand these back-stage politics.

By the end of this speech he is standing in front of JOHN who takes the scene in his stride.

JOHN
Aren't you tending to black and white this whole situation?

DIRECTOR
Well, quite honestly I wasn't expecting "a musical arranger" who would question my ability ... picture-wise.

JOHN
(to the others)
I could listen to him for hours.

PAUL
Heave to, what's all this about a musical arranger?

DIRECTOR
Mr. McCartney Senior!

The BOYS have a giggle at the very idea and at this moment GRANDFATHER appears from behind the DIRECTOR.

GRANDFATHER
Hey Pauly, they're trying to fob you off wid this musical charlatan but I've given him the test.

DIRECTOR
(bravely)
I'm quite happy to be replaced.

GRANDFATHER
(indicating the director)
He's a typical buck-passer.

DIRECTOR
I won an award.

JOHN
A likely story.

DIRECTOR
It's on the wall in my office.

At this moment NORM comes on the stage, confident, cigar in mouth and serene.

NORM
Hello our lot, everyone happy?

The BOYS, the DIRECTOR, FLOOR MANAGER and GRANDFATHER turn on him and stare silently.

NORM
All right, all right. If you don't need this lot, I'll lock 'em up in the dressing room till you do.

DIRECTOR
Please do, I'll not need them for fifteen minutes. Thank you.

He glares at GRANDFATHER who glares right back. The DIRECTOR walks away with the FLOOR MANAGER pacifying him.

DIRECTOR
Give me a bottle of milk and a packet of
Oblivion. Oh, it's a plot, I see it now, it's
all a plot.

They go left towards the back-stage.

NORM
(producing key)
Now, come on, I've got the key.

He leads the lads off right. RINGO is last as he is putting his drum sticks down safely.

NORM and the BOYS turn on him.

NORM
Let's have you.

JOHN
Come on speedy!

PAUL
Ringo!

GEORGE
Wake up!

RINGO glares at them and follows quickly. As the BOYS move off after NORM, they pass the next act waiting for rehearsal. It is an elegant man in full-tail suit meticulously adjusting his cuff-links. Beside him is a free-standing sign reading "Leslie Jackson and his ten disappearing doves." The BOYS pass him and go through the door. GRANDFATHER stops and looks at the performer with respect.

GRANDFATHER
I can't tell you how much I've enjoyed your act.

He slaps the man on the back with happy camaraderie. There is the sound of a dove, a few feathers fall out of the sleeve of the man's coat and he and GRANDFATHER look down at the floor. The man glares at GRANDFATHER, takes out a pen from his pocket, crosses out "10" on his sign, and writes "9" in its place, puts the pen back in his pocket and starts towards the centre stage putting on a false performer's smile as he does.

43. INTERIOR THEATRE BACK-STAGE CORRIDOR

The BOYS move down the narrow stairs, and out of the ground floor dressing rooms stream a steady flow of costumed actors and actresses. They engulf the lads and force them against the wall -- the actors are all making for the stage door. As the actors push past the boys we see the boys' excited faces, their mouths watering for the costumes. JOHN touches the costume on one actor.

JOHN
(to actor)
Gear costume!

ACTOR
(eyeing him)
Swap?

NORM
Right, first floor and no messing about.

NORM, leading the way, goes up the stairs but as they turn the first corner they are confronted by a group of girls, a game of manners starts, "after you," "No, after you." NORM who is ahead of the group looks down on them in disgust.

NORM
Lennon, leave them girls alone or I'll report you.

The BOYS let the GIRLS pass and resume the journey, always surrounded by people.

44. INTERIOR DRESSING ROOM AND CORRIDOR

RINGO'S attention is caught by a door. He crosses and opens it, looking out to a fire escape. The others join him and the four boys step through the door and onto the fire escape.

45. EXTERIOR TOP OF FIRE ESCAPE

From the BOYS' P.O.V. we see down below into the property yard behind nthe theatre. It is a long narrow yard full of old coaches, motor cars and all the general debris of hundreds of sets from past theatre shows. Through the piles of heaped high junk there are a couple of narrow alleyways.

The BOYS scamper down the fire escape.

When they reach the bottom of the alleyways, there is a large door. They open it and look through.

From their P.O.V. we see a large green field quite empty. The boys step through the doorway into the field. We now see from a HELICOPTER SHOT the four BOYS standing together surrounded by space.

It is the first time they have been alone and unconfined all day.

They look at each other and grin ... then first GEORGE and PAUL let out a whoop and run towards the centre of the field, after a moment JOHN and RINGO follow them. The BOYS pick up some loose straw and insert it under JOHN'S cap and sleeves, turning him into a scarecrow.

The four BOYS dash about madly calling out to one another and generally horsing around. Out of this emerges an imaginary game of soccer and although there is no ball the game is fast and furious. After a few moments the long shadow of a man falls across the grass.

MAN'S VOICE
(off)
I suppose you know this is private property.

The boys freeze.

From their P.O.V. we see a big burly middle-aged man glowering at them. The boys exchange rueful glances and, under the big man's eye, mooch back towards the gateway they came in by. JOHN is the last to go through. He turns to the man.

JOHN
Sorry if we hurt your field, Mister.

46. INTERIOR CORRIDOR BACK-STAGE

GRANDFATHER is sneaking down the corridor, a pile of photos under his arm.

47. INTERIOR T.V. THEATRE UNDERNEATH THE STAGE

Under the stage the usual set of wooden columns that support the stage with lots of furniture and a single light is on; it is placed by the orchestra's entrance to the orchestra pit. GRANDFATHER comes down the stairs and winds his way through the columns until he finds himself a safe little cubby hole and settles himself under the light. He spreads the signed photos of the BOYS in front of him and, adjusting an old- fashioned pair of glasses, ball-point pen in hand begins to copy the BOYS' signatures on to the fresh photos, tutting at his failures and chuckling at his successes. After a moment, there is a sound of someone coming down the stairs. GRANDFATHER darts into a dark patch out of sight.

The menacing shadows appear on the stairway.

NORM (voice off)
There's no one here.

SHAKE (voice off)
This is the only way they could have gone.

We now see GRANDFATHER holding himself stiffly in, he is on some sort of raised platform and he fidgets and in doing so he knocks a lever of some sort. Slowly GRANDFATHER ascends out of shot with a light that grows bigger above him.

48. INTERIOR T.V. THEATRE STAGE

A rehearsal of the toast scene from a Strauss Operetta. The entire stage is full of SINGERS, glasses in hand they are singing away at each other but in true opera tradition they are addressing out to the audience. Slowly in-between the leading man and leading woman, who are about to embrace, a stage trap opens and a blinking, surprised, GRANDFATHER appears. Here we INTERCUT to the T.V. Control Room for amazed reaction shots of the DIRECTOR and control room CREW.

Back now on the stage the toast song reaches its climax and the leading man and woman rush into each other's arms, GRANDFATHER sandwiched between them.


48A. INTERIOR CORRIDOR AS BOYS PASS THRU ON WAY TO DRESSING ROOM

JOHN is behind them. JOHN, BOYS and MILLIE are walking towards each other.

MILLIE
(as all pass)
Hello.

JOHN
(stopping... the boys carry on past, not noticing her)
Hello.

MILLIE
Oh, wait a minute, don't tell me you're ...

JOHN
No, not me.

MILLIE
(insistently)
Oh you are, I know you are.

JOHN
No, I'm not.

MILLIE
You are.

JOHN
I'm not, no.

MILLIE
Well, you look like him.

JOHN
Oh do I? You're the first one who ever said that.

MILLIE
Oh you do, look.

JOHN looks at himself in the mirror.

JOHN examines himself in the mirror carefully.

JOHN
My eyes are lighter.

MILLIE
(agreeing)
Oh yes.

JOHN
And my nose...

MILLIE
Well, yes your nose is. Very.

JOHN
Is it?

MILLIE
I would have said so.

JOHN
Aye, but you know him well.

MILLIE
(indignantly)
No I don't, he's only a casual acquaintance.

JOHN
(knowingly)
That's what you tell me.

MILLIE
(suspiciously)
What have you heard?

JOHN
(blandly)
It's all over the place, everyone knows.

MILLIE
Is it? Is it really?

JOHN
Mind you, I stood up for you, I mean I wouldn't have it.

MILLIE
I knew I could rely on you.

JOHN
(modestly)
Thanks.

MILLIE touches his arm then walks away. After a moment she turns.

MILLIE
You don't look like him at all.

JOHN winks at her and she winks back.

49. INTERIOR DRESSING ROOM

NORM and SHAKE enter the room. The BOYS' TAILOR is there waiting for the BOYS.

SHAKE
Oh they've probably gone to the canteen, cup of tea, like.

NORM
That's too easy for Lennon.

He crosses to door leading to fire escape.

NORM
(dramatically)
He's out there somewhere, causing trouble just to upset me.

SHAKE
You're imagining it. You're letting things prey on your mind.

NORM
Oh no... this is a battle of nerves between John and me.

SHAKE
But John hasn't got any.

NORM
What?

SHAKE
Nerves.

NORM
I know, that's the trouble.

He puffs nervously at his cigarette.

NORM
Oh, I've toyed with the idea of a ball and chain but he'd only rattle them at me... and in public and all. Sometimes I think he enjoys seeing me suffer.

He hears something.

NORM
Get behind that door, they're coming. Someone's coming. Quick, hide!

The two men hide behind the door. The boys enter the room, as JOHN is last he shuts the door and faces SHAKE and NORM.

JOHN
What are you doing there?

SHAKE
Hiding.

JOHN
I think you're soft or something.

NORM
We weren't hiding.

TAILOR
Now?

NORM
Now. We were trying to catch you redhanded. I thought I told you lot to stay here?

RINGO
Well ...

NORM
When I tell you to stay put, stay put.

JOHN
(down on his knees)
Don't cane me, sir, I was led astray.

NORM
Oh shurrup and come on John. They're waiting
for you in the studio.

RINGO
Oh dear, I feel like doing a bit of work.

NORM
Good lad, Ringo.

PAUL
Oh, listen to teacher's pet.

GEORGE
You crawler.

JOHN
He's betrayed the class.

RINGO
Oh, leave off!!!

JOHN
Temper! Temper!

RINGO
Well ...

CLOSE-UP on NORM's long suffering face.

NORM
Will you all get a move on! They're waiting for
you!

By this time the TAILOR has his tape stretched between his hands to measure GEORGE's shoulders. But since GEORGE has moved away, he is measuring space. JOHN takes up his scissors and cuts the tape.

JOHN
I now declare this bridge open.

The BOYS run out the door.

50. INTERIOR BACKSTAGE AREA

Five beautiful MODELS are standing about in costume. One is knitting a loose wool sweater which is almost completed. There is the sound of a juggling act's music off and a few of the girls are looking off towards the centre stage. At the edge of frame is a collapsible table covered with green baize. On it are three spaced white plates.

From the door off stage, above which is a sign "To Canteen and Production Offices", GRANDFATHER enters eating a plate of spaghetti on toast. The knitting GIRL sees him and, in mime, asks him to stand still so that she can measure the sweater against him. GRANDFATHER, eager to help, puts his plate of food on the green table between plates two and
three. He goes to be measured with the sweater.

From the onstage area, a juggler's ASSISTANT (pretty girl) in costume backs up and with the usual theatrical flourishes picks up, without looking, plate number ONE and throws it off screen towards centre stage. There is a drum roll from orchestra. She then throws plate number TWO. We CUT on stage to the JUGGLER now balancing the two spinning plates on two poles, one in each hand. He has another pole in his mouth and nods to his ASSISTANT, asking for the THIRD plate.

We CUT BACK to the ASSISTANT who, still not looking, throws plate THREE which is GRANDFATHER's. There is the sound of an orchestra raggedly stopping and all the hangers-on in the scene look off interestedly.

We hear the DIRECTOR's voice.

DIRECTOR (V.O.)
All right, hold it, hold it... O.K. John, wipe him down and we'll carry on with the next act.

We

CUT TO

centre stage. The JUGGLER is as before but the spaghetti is covering his head, having slipped off the third plate.

The FLOOR MANAGER is bustling around, trying to help.

We CUT BACK to back-stage. GRANDFATHER has finished being measured and goes to the green table where he put his plate down. He picks up the only remaining plate, looks at it, wondering where his food has gone, shrugs and heads back towards the exit door as we hear the DIRECTOR's VOICE.

51. INTERIOR T.V. STUDIO FLOOR

CLOSE-UP on the distraught DIRECTOR.

DIRECTOR
Where are they? I said, where are they? Where are they?

FLOOR MANAGER
(placating)
They're coming, I promise you.

DIRECTOR
(fiercely)
Now look, if they're not here on this floor in thirty seconds there's going to be trouble ... understand me ... trouble!!!

Two STAGE HANDS are walking disinterestedly past, they look at the DIRECTOR.

1st STAGE HAND
What's he on about, Taff?

WELSH STAGE HAND
Well ... he's being the director. Of course, he lives in a world of his own, mind.

At this moment the boys, NORM, SHAKE and GRANDFATHER appear. The BOYS grab their instruments and prepare to play.

JOHN
(to the director)
Standing about, eh? Some people have it dead easy, don't they?

The director is about to blow his top but manages to hold on and mutter to the heavens.

DIRECTOR
(to himself)
Of course, once you're over thirty, you're finished. It's a young man's medium and I just can't take the pace.

RINGO
Are you as young as that, then?

BOYS
Shurrup!

GRANDFATHER
Isn't it always the way? Picking on us little fellas.

PAUL
(to Shake)
Shove the gentleman jockey in the make-up room or something and keep your eye on him, will you?

SHAKE
I'm an electrician, not a wet nurse, y'know.

PAUL
(threateningly)
I'll set John on you!

SHAKE
(hastily)
Oh, anything you say, Paul.

He leads GRANDFATHER away.

The BOYS are placed in position, instruments ready. The boom moves in near them. There is a mike hovering just over JOHN'S head. JOHN starts attacking it.

DIRECTOR'S VOICE (over Tannoy)
Run through the number and try not to jiggle out of your positions.

The BOYS start the number, as the stage hands adjust their settings. When they've finished, they stand about spare.

52. INTERIOR T.V. CONTROL ROOM

The room is crowded with the usual personnel, P.A., elecs, racks, etc.... make-up supervisor and wardrobe mistress.

DIRECTOR
That was more or less all right for me. I'll give them one more run through then leave them alone until the dress ...
(to make-up woman)
Oh how about make-up?

MAKE-UP WOMAN
Not really, they don't need it any. We'll just powder them off for shine.

DIRECTOR
Good. Norm, get them along to make-up will you?

NORM
(rising)
Sure.

DIRECTOR
(looking into the monitor)
And hurry, they're not looking too happy.

From the director's P.O.V. we see into the monitor. The boys crowding around RINGO. We cut through the monitor into the same position in the studio.

53. INTERIOR T.V. STUDIO FLOOR

PAUL
(to Ringo)
What's the matter with you? You were bashing away like a madman.

RINGO
(briefly)
You were twanging too loud.

JOHN
How'd you like a dirty great drum roll giving you a clout right in the middle of your solo?

GEORGE
You're getting out of hand. I don't know what's come over you today.

RINGO
That's right. It's always me, isn't it?

JOHN
Since you ask, yes.
(he laughs)
Aah, come on, Ring, we love you.

He puts his arm around Ringo's shoulder.

RINGO
Well!