01x03 - Part 3: Days 17-22

Episode transcripts for the TV show "The Beatles: Get Back". Aired: November 25 -27, 2021.*
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Documentary series about the Beatles write and rehearse 14 new songs as they plan their first live show in more than two years.
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01x03 - Part 3: Days 17-22

Post by bunniefuu »

I once knew a beautiful girl

Go on.

She had long blonde hair and a curl

A curl?

She looked after me
And I looked before her


At that time, we hadn't a care

A care?

As time turned my head and my mind

The pleasure seemed harder to find

By then, it was such

That I knew far too much

Now I stay home and slowly unwind

Didn't you get to bed last night, Glyn?

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

- Have you heard the "Octopus" one?
- No.

You learned A minor, then?

I'd like to be underneath the sea

In an octopus's garden

In the shade

It would be nice

In paradise

In an octopus's garden

In the shade

That's all I've got.

After the two times, the second time

In an octopus's garden in the shade

Then to get to the G one, a bit, uh

Let's go from the beginning.

- From the beginning.
- Right.

In an octopus's garden

In the shade

It would be nice

Paradise

In an oc

Then stay on F.

In the shade

Then that, then this, uh

What one's that?

Uh

In an octopus's garden in the shade

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

Where we started.

Wouldn't it be nice

Paradise

In an octopus's garden in the shade

It's a little bit

So wouldn't it be nice

Paradise

In an octopus's garden
By the shade


- So it resolves itself.
- Yeah.

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

In the shade

It would be nice

Paradise

In an octopus's garden in the shade

Wouldn't it be nice

Paradise

Oh, drums, right.

I think Paul would wanna do drums,
wouldn't he? With his strong left arm.

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

I've never been up here before.

I'd like to be

Underneath the sea

In an octopus's garden
By the shade


Very strong one.

Okay!

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

- Are you going to eat them?
- No!

Lots of people do, you know.

On toast?

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

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

- That's very good.
- We'll put on the meat.

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

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

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

Oh, let it be

Let it be

Let it be
Let it be


Whisper words of wisdom

Let it be

Yeah, let it be

Let it be
Let it be


Let it be

There will be an answer
Let it be, yeah


Let it be

There will be an answer
Let it ♪


Kevin?

What was the Do that old gospel ending.

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

- And we'll all kneel as we do it.
- We can do a gospel ending that Elvis did.

Be-e-e

Yeah.

We all was gonna do it.

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

Let it be, let it be

Let it be, let it be

There will be an answer

Let it be

I'll tell you one thing.

Do it lighter. Don't do sort of

Do it more

Somewhere in the Himalayas

And so a bit lighter offbeat, and maybe

Lives a man called Babaji

Singing words of wisdom

Let it be

Somewhere out in Weybridge

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

Lives the cat whose name is Babaji

Singing words of wisdom

Let it be, H, I, J, K

I don't know what you are saying.

Uh

Hello.

Is anybody

Let me sing. Hello. Is anybody home?

Aah

I did it again
You got me again


In love with me

Hi.

Aah!

Aah

Yoko!

Aah

Aah

Come on, Heather

Aah

Yeah, yeah, yeah

Aah

Shake it up, baby, now

Shake it up, baby, now

Twist and shout

Twist and shout

Come on, twist and shout now

- * Come on *
- * Aah *

Come on and work it on out

Come on and work it on out

Well, can you dig it?

Aah

Can you dig it?
Yeah, dig it


I like how you dig it

Yeah, so dig it

You can get it if you want it

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


If you want it
You can dig it, oh


Come on

Dig it up, dig it up, dig it up

For Christ's sake, come on!

Dig it up, dig it up

Dig it up

Dig it up, dig it up

Dig it up, dig it up

Oh, you dig it up again

- * If you want it you can dig it *
- * Like a rolling stone *

Dig it, dig it

Like the FBI

Dig it, dig it

And the CIA

And the BBC

B.B. King

And Doris Day

Matt Busby

Dig it, dig it, dig it, dig it

If you want it you can dig it

If you want it you can dig it up

If you want it you can dig it

If you want it you can dig it up

Yeah!

Oh, sorry.

Oh

Come on, let it be.

What ones haven't you done yet?

A little thing that goes
something like this.

It's one for the money

Two for the show

Three to get ready
Now go, cat, go


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


You can do anything
But lay off them blue suede shoes


Well, you can knock me down

Step on my face

Slander my name
All over the place


Do anything that you want to do

Uh-uh, honey
Lay off of them shoes


But don't you

One-eyed cat
Peepin' in a seafood store


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


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


I said, shake, rattle and roll

I said, shake, rattle and roll

I said, shake, rattle and roll

I said, shake, rattle and roll

You never do a thing
To save your doggone soul


A long, long time ago

Don't leave me standing here

Lead me to your door

No. No.

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

The long and winding road

That leads to your door

Will never disappear

I've seen that road before

Don't It always leads me here

- You done left me.
- You done left me.

Now lead me to your door

The wild and windy night

The rain washed away

La, la, la, la, la, la

There wouldn't be much drumming,
would there?

Go around a bit, you know?

What?

It sounds a bit like
a sort of dance orchestra.

And the slow foxtrot

Like Rita and Thomas Williams.

Rita is wearing a dark sombrero
and a beard.

The chord there. I mean

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

Still no idea where I come in.

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

It sounds like
you're doing too many notes.

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

Dum, dum, dum

But you're doing

Dum, dum

I've been going

Dum, dum

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

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

Dum

Dum, dum

Dum

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

Dum

Hello?

Great!

Amazing.

The long and winding road

Yes, Glyn Johns?

What do you want?

Okay.

One.

The long and winding road

That leads to your door

Will never disappear

I've seen that road before

It always leads me here

Lead me to your door

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

I know what

Paul, are you gonna have strings?

- Yeah.
- Well, it's like

Ooh!

Yeah, there's parts

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

- or the piano properly.
- Yes.

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

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

- Cleaning.
- Cleaning, yeah.

Actually,
the thing is, it's a nice feel to it,

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

And this particular song
doesn't need that.

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

- is, like, Ray Charles's band.
- I'm supposed to marry you.

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

It would be nice with some brass
just doing the sustaining chord thing.

Yeah.

- Yeah.
- Moving and just holding notes.

- Yeah. We probably, yeah
- If I pull yours up

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

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

That's what George was saying before.

That's the bit
where The Raelettes'd sing it.

The long and winding road

That leads me to your door ♪

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

That's nice of what?

It's nice of you.

- For what?
- Very nice of you.

- For what?
- Just to come here.

We're going home.

- When?
- Now.

No.

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

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

then maybe go to bed around : ."

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

Don't tell. Don't tell.

Aren't I gonna have anything to eat?

Hey, I've got a present for you.

- See you tomorrow.
- Bye.

- Aren't you going, George?
- I said yes, George.

I said shake, rattle and roll

I said shake, rattle and roll

I said shake, rattle and roll

You never do a thing
To save your doggone soul


One-eyed cat
Peepin' in a seafood store


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


- * I do believe *
- I never done, done before *

Goin' to Kansas City

I might take a boat

I might take a train *

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


Going to Kansas City

Oh, Miss Ann

You're doing something no one can

Because believing and deceiving
Driving me to leave you now


You can knock me down
Step on my face


Slander my name all over the place

Do anything that you wanna do

Uh-uh, honey
Lay off of them shoes


But don't you
Step on my blue suede shoes


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


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

- No.
- No.

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

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

I couldn't sleep.

Tea or toast.

Yeah.

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

Yeah. Just loading the E.

- Yeah. That's like E .
- Yeah.

This one.

Yeah. Um, E with a raised

E with a C. E.

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

I've had an E with an F,
which is pretty good.

And now I'm stepping out
This old brown shoe


And, baby, I'm in love with you

And I'm so, so glad you came here

And, baby, I'm in love with you

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


I'm telling you

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


What's this chord then, Billy?

- It's F, but raising the F to F sharp.
- Yeah. F sharp. Diminished.

And then F with that, like the th.

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

Yeah.

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

- Yeah, sorry, that bit comes
- It does work, the bit

- But it
- In the bit before that bit.

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

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

Wearing rings on every finger

Not worrying what they or you say

I'll live and love and maybe some day

Who knows, baby
You will comfort me


Pianos are very difficult, aren't they?

There will be the answer
Let it be


- * Let it be, let it be *
- * Ooh *

- * Let it be, let it be *
- * Ooh *

Mal? Mal?

The drums are on PA anyway.

When we connect it, I could hear Ringo.

The drums are on PA!

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

- * Let it be, let it be *
- * Ooh *

- * Let it be, let it be *
- * Ooh *

Hello? Hello?

'Cause coming from the north of England,

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

Let's take one now.

Yeah, right.

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


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

Hello.

And get one for Billy too.

- It's a bit ploddy.
- What?

You know, just
It sort of plods along a bit. A bit much.

- It's just mourning and slow, slow.
- Mourning and

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

Yeah.
That'll do for the time being.

"The Wrong and Winding Box."

But still they lead me back

To the long winding road

You left me waiting here

All those little melodic things, you know?

It's a It's a

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

and they're plodding a bit.

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

Oh, just a second.

When it goes, um On that bit, it goes

Has left a

Hang on.

Can we make the bridge

heavy?

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

Just, mind's a blank on it.

I don't know.

I don't know.

Give up.

It's nice though.

- Have you turned me down?
- No.

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

We only asked for the piano.

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

A great sound in here
will improve what we do.

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

We sounded great.

So you get

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

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

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

get the sound in this room.

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

On a bit of vocal.

They have bloody big speakers
or something,

to shout through.

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

- Yeah.
- Paul.

Yeah.

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

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

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

Nail 'em on them sticks up there
and sh**t 'em down to us,

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

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

Right, okay.
Yeah. I'll do something about it.

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

Yes, it does.

I'll never do you no harm

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

I'll never do you no harm

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

- Uh
- Ow!

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

Free at last.

I'm free

Oh

This morning

My baby told the lawyer

- * It's okay *
- * Yeah, yeah *

Believe me when I tell you

I'll never never do you no harm

Yeah

And if somebody ever loved me
Like she does


Did we "And if"?

Start again.

And if somebody ever really loved me
Like she does ♪


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

Oh, I've got, "If somebody
ever really loved me, like as she do me."

Ah.

And if somebody ever loved me
Like she does


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

I guess nobody ever really

Done me, done me, done me

Oh, she done me

Yeah, she good

Don't let me down, yeah

Don't let me down

Oh, Little Willy! Yeah!

Don't let me down

Please don't let me down

George. George. George.

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

This is it. Is this the layout?

No, this is just the bit. That bit.

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

'My marriage is over.
I am in love with Yoko.'"

- It's amazing.
- Sinceriously.

"How much does he love Yoko?
'Much more than I love the Queen.'"

Well, let me take you down

'Cause I'm going

Strawberry Fields

Nothing is real

Nothing to get hung about

Strawberry Fields forever

Let's record it all this afternoon, now.

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

no worse than a -sh*t on the roof
out toward London,

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

Well, just send the helicopter up.
No film.

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

Uh, what do you say, lads?

- Have it on Paul!
- Yeah.

- Yeah.
- Yes.

- Is that a yes?
- That's a no-no.

Sweet Loretta Fart
She thought she was a cleaner


But she was a frying pan

One, two, three, four.

Jo Jo was a man
Who thought he was a loner


But he knew it couldn't last

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

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

One, two, three, four.

Jo Jo was a man ♪

Bit faster, do you think? Bit faster now.

One, two, three, four.

Hello.

Jo Jo was a man
Who thought he was a loner


But he knew it couldn't last

Jo Jo left his home in Tucson, Arizona

- Little bit slower.
- It seems it's picking up speed, I think.

Yeah.

'Cause I find myself starting off, going

We get excited.

And then ended up

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

and Jo Jo McCartney.

Oh, get back

Oh, get back

Get back to where you once belonged
Yeah


Sweet Loretta Martin
Thought she was a woman


But she was another man

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

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

Cool down, son.

Don't let me down, babe.

Take these chains
And set me free


Take these chains away
And set me free


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

Get back, get back

Get back to where you once belonged

Get back home Jo Jo

- together at the beginning.
- You were very good, Bill.

Bill, you were just great.

What are you gonna do?

- Play it again.
- Sing a bit.

- J?
- Just keep 'em. Keep 'em.

- Do another one?
- Yeah.

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

Well, yeah.

Let's keep doing them then, you know?

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

I think you ought to do
something else, 'cause I think you might

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

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

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

- Do you wanna do it once more then?
- Yes, yes.

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

It is the final
performance. You've got an audience now.

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

One, two

Get back, get back

Get back to where you once belonged

That last take was extremely good though.

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

Oh, get back, Loretta Martin, back

Back to where you once belonged

Why not go straight into
another number then?

We were trying to go into
"Don't Let Me Down" if we made it,

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

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

If we really know.

In that case,
I'm gonna change tape.

Are you? Okay.

Sweet Loretta Martin
Thought she was a woman


But she was another man

Was the other one before better than that?

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

The one before this was better for me.

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

- Okay, yeah after this.
- ciggy after the wine.

Oh, ready? One, two three, four.

Jo Jo was a man
Who thought he was a loner


There's one where everything was right

- What's the next reel?
- except the last bit of my guitar solo.

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

- Yeah.
- That's Take .

You can always edit.

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

You're talking to the Bootles.

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

Get back, Jo

Sweet Loretta Martin
Thought she was a woman


But she was another man

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


But she gets it while she can

Oh, get back

Get back

Get back to where you once belonged

Get back

Get back

Oh, yeah

Oh, yeah

Miles out, aren't we?

- Tune.
- Yeah.

It was A, Bill.

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

That's easier to tune to.

All these years
I've been wandering around


Wondering how come nobody told me

- Hold up. Hold up.
- Okay. Let me just

Not giving 'em that!

Oh, f*cking right.

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

Something happened.

Oh, yeah

No, no, no

Yeah

I've got a feeling

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


Wondering how come nobody told me

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


- * I've got a feeling *
- * Oh, yeah *

That keeps me on my toes
Oh, yeah


Oh, yeah

I've got a feeling

I think that everybody knows

- * Oh, no *
- * Yeah *

Oh, yeah

Oh, yeah

Yeah

Yeah, I've got a feeling

Yeah, yeah, yeah

Everybody had a hard year

Everybody had a good time

Everybody had a wet dream

Everybody saw the sunshine

- * Oh, yeah *
- * Oh, yeah *

- * Oh yeah, oh yeah *
- * Oh, yeah *

- * Everybody had a good year *
- * Yeah *

- * Everybody had their hair down *
- * Yeah *

- * Everybody pulled their socks up *
- * Oh, yeah *

Everybody put their foot down
Oh, yeah


Glyn? What does that sound like?

Probably lucky

- What?
- Yeah.

- All right?
- Yeah.

- Not bad.
- Got it.

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

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

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

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

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

You should sit down.

- Enjoy yourself.
- Yeah.

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

Hobson's is a bit

That reel on?

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

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

Have we recorded?

Have we recorded the "Mother Mary" one?

Haven't happened yet, have they?

- No.
- Haven't they?

- One has. One has.
- Well

- Which one?
- I can never get it.

- "Long, Long, Winding"
- "Long and Winding Road"?

"Long and Winding Scrotum."

- Really?
- I think it's very tasty.

Tres tasty, in fact.

Oh, the little version we had

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

No, really.

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

But, I mean, it's very together.

See, that's a bit like the old "Get Back."

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

We should arrange what's happening
around lunchtime tomorrow.

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

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

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

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

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

Let's say : .

We'll be coming in before : ?

- Yeah. Coming in at : .
- Okay.

Then work till : .

Okay, honeybunch. Let's hit it one time.

- What time are you starting?
- : .

- : to : ?
- : , yeah.

Dig, man.

And then how long
are you having off from : ?

Till : . Good night, everybody.

- Good night, Rich.
- Good night, Richie.

- I think I'm gonna go.
- Will you?

I think the one you said was best

- Nine?
- is best.

Yeah. But it still doesn't make it.

- We'll keep it anyway.
- Keep it in.

Jo Jo was a man
Who thought he was a loner


- Good?
- Yeah.

Right. New reel.

Well, the air-conditioning works.

- God, feel like I'm in the army.
- It must be terrible.

That was the only good thing
about being a girl.

Can you imagine being drafted to Vietnam?

George,
of the ones they've done so far,

which do you think we can do on the roof?

- Anything without the grand piano.
- Oh!

- Morning.
- You're embarrassing me.

Should we write down
what we could do on the roof?

You haven't got
a concise list of titles, have we, Alan?

- No. I can make one.
- Well, I

One is "I Dig a Pony."
We can do that on the roof.

"Let It Be."

Which is "Let It Be"? Oh, no.
I think "Let It Be" should be down here.

Yeah, with the piano on that.

Let it be

Is anyone sort of
thinking of this like making an album

or more like sort of
doing a lot of numbers then

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

Let's pick the five

Uh

I don't see much point in doing

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

Yeah

'Cause you lose it.

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

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

Oh, ah. Yeah.

What do you know now, Mr. Show?

I don't know

I don't know

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

Do you know who missed the show?

No, I don't know

I don't know

Dun, dun, dun
Dun, dun


Do you know now, Mr. Joe?

Something in the way she moves

Attracts me like a moth to candlelight

Something in the way

What could it be, Paul?

- "Something in the way she moves."
- Hmm?

What attracted me at all?

Just say whatever comes
into your head each time.

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

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

Attracts me like a pomegranate

Something in the

We could have that.
"Attracts me like a pomegranate."

Something in the way she moves

Attracts me like a moth to candlelight
To pomegranate ♪


Pomegranate

"Cauliflower" is better.

Something in the way she woos me

I don't want to leave her now

You know I believe and how

Da, da, da
Da, da, da


I don't know

Da, da, da

Da, da, da
Da, da, da


I don't know

- Okay.
- What was that?

Yeah, but say we got
a really good one of "Love Me Do."

- Well, yeah. That's true.
- Yeah. Okay.

Love, love me do

You know I love you

I'll always be true

So please

Love me do

Is it : ? I've got this
to go to this meeting.

So, can you do it?

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

Yeah. Okay.

Shall we do it?

I've got a feeling

A feeling deep inside

Oh, yeah

- Glyn?
- Send an engineer.

Glyn.

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

Everybody had a hard year

Everybody

See, can I change from going

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

Have a ciggy, Billy.

I've got a feeling

Everybody knows

Oh, yeah

Oh, yeah

Yeah

Oh, I've got a feeling

Two, three, four.

I've got a feeling

All these years
I've been wandering around


Wondering how come nobody told me

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


You know that

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

Everybody had a good year
Everybody let their hair down


- All that bit.
- Yeah.

Okay.
Should we go from the last verse again?

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

I still think that

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

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

Uh

It seems to be going
through every verse now.

Yeah, that's the riff. Goes

- I mean that
- It should change.

No, that just comes at the end.

Oh, in the middle of every verse?

A feeling deep inside
Oh, yeah


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

Uh, the piano people do that.

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

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

How do you tune an electric piano

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

What did you wanna talk about?

Uh, well,
just that I saw Klein, and that.

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

- Allen Klein.
- Oh, I see.

Yeah. And it's
You know, it's very interesting.

Yeah.

- You know, from a lot of angles.
- Hmm.

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

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

- Really?
- Yeah.

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

- just about
- About us?

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

You know,
he knows everything about everything.

Very interesting guy.

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

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

You know?

I keep hearing about him all these years.

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

Right down to where where it's gone,

and how to get it.

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

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

That's it's just like that.

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

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

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

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

Incredible guy.

He's got a great idea for Biafra.

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

And his thing
You know The Stones' Circus we did?

- So he arranges those things for them.
- Yeah.

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

- Yeah.
- they get much more than us.

However many we sell, they cop.

You know, so, The Stones show,
he's gonna make an LP out of it.

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

Like, everybody is into that.

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

to buy food for Biafra.

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

- Oh, yeah.
- The thing is,

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

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

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

Do you want to do this one more time?

- Yeah.
- Eh?

'Cause I'd like to learn
"On the Road to Marrakesh" or something.

Or "Mr. Mustard."

Must do another number, I've decided.

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


Now I'm steppin' out
This old brown shoe


Mal, what was the name of that
shoe shop somebody said is in Bond Street?

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

There's a lot of shoe shops
in Bond Street.

Yeah. But I just want, you know,
like ordinary black leather shoes.

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

Do you want me
to bring the bloke over?

If you can con somebody into coming

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

Yeah, okay.

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


I'm telling you

Yeah

Dun, de, da, dun

Now I'm steppin' out
This old brown shoe


Baby, I'm in love with you

I'm so glad you came here

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


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


Now I'm steppin' out
This old brown shoe


What?

Where's it from? Who makes it?

- Wow.
- Japanese?

I saw it on the television.

Too much! Whoo.

Nice sound.

- Could you transpose that to D?
- Yeah.

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

One at a time. It's a little organ.

That's better.

Yeah. It's too much, man.

I love that song.
That's beautiful. I couldn't

You've won a prize.

Couldn't have asked for
better. Can we have something else now?

Another song, right. Okay, George?

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

How about "Love Me Do" again?

What about "Don't Let Me Down"?
That's a bloody good one, that.

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

- What is it now?
- Just

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

Just the "really" out.

And if somebody ever loved me
Like she does


Ooh, she does

Yes, she does

Same guitar?

I'm in love for the

Okay, George. Come on.

One

The Krishna chronicle.

The Krishna Christmas club.

A little bit of a tune-up, I think.

No, I don't think so, George.

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

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

f*cking right.

Peace on Earth.

"Don't Let Me Down the Road Again Blues."

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

One, two, three, four.

Don't let me down

Don't let me down

Don't let me down

Don't let me down

Nobody ever loved me like she does

Ooh, she does

Yes, she does

I need you

I need you so bad

I need you

I need you so bad
It's driving me mad


It's driving me mad

Oh, oh, oh, oh

Half a pound of greasepaint
On your face


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


All the rest are a g*ng of bums

Oh, half a pound of greasepaint
On your face


Get your togs and get in quick

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


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


Till the closing curtain falls

Go and do your act
And get it right


Don't let 'em down
In the old limelight


Oh, half a pound of greasepaint
On your face


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


It gets in your blood
It gets in your stream


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


Half a pound of greasepaint

Half a pound of greasepaint

Mr. Show

Oh, go into song and dances

Oh, go into funny prances

Let me hear you do the new
Oh, newest dance


And in the greasepaint pants

The man in the greasepaint pants

Allen Klein's here.

Where's he gonna be?

Should we go up to our room?

- Yeah.
- Oh, f*ck it.

I want you so bad

- Morning, Michael.
- Morning, R.S.

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

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

Yes, it's gonna be great.

Yeah.

But strange, man.

Yes.

Mmm.

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

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

No, it's the best bit of us,

always has been and always will be,

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

and we've been rehearsing,
rehearsing, rehearsing.

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

No, the organization
has gotta come from either you

or from you doing an audience.

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

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

It's a whole other thing, you know?

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

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

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

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

Either a surprise audience

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

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

The roof is like too far out.

If we do an open air thing

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

We should learn all the numbers.
All of them.

All the ones that are gonna be
on the album.

I know it literally takes a bit more time.

That's why I wanna
go through with you today, the ones

But we haven't got the end thing.

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

Got a feeling

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

And just sort of think,
"Oh, not another f*cking album."

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

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

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

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

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

- Yeah.
- Our only aim ever is an album, you know?

Which is like a very nonvisual thing.

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

I mean,
you gotta be sneaky with The Beatles,

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

Whenever we talk about it,
we have certain rules.

Like George saying, "What do you
wanna do?" And he says, "No films."

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

Because you don't know.

He says What he means is,
no Help, Hard Day's Night.

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

It's us going silly again.

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

and did Leicester, De Montfort Hall
and we had the worst first night thing,

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

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

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

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

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

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

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

which is just so incredible.
That's unbelievable.

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

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

This business of
a deadline though is up to you really,

because we've given you deadlines already.

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

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

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

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

what's gonna follow what.

And just start playing them right through.

And then just knock it off.

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

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

It's just that
you say you're not ready.

We're not ready, yeah, sure.

We're not ready to do .

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

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

None of us have an aim.

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

We could have had a De Montfort Hall show

This would have been De Montfort Hall

if we'd have done
the dress rehearsal here.

And get over the nervousness
of an audience,

and stop, sort of, playing to show off
to them and

Just play it.

Yeah. Yeah.

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

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

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

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

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

- Morning, George.
- And then, you know

I mean, if we had another six weeks

Six weeks.

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

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

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

- Do you plan on playing the
- What, what?

I just don't You know, I think
it's gonna take months doing it like that.

So how do you think we should do it then?

You can film some
while we're recording them

at the same time, okay, but

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

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

Except,
we're doing them one after the other.

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

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

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

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

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

Yeah.

'Cause otherwise
We haven't enough time to do ,

'cause Ringo's gotta go, you know?

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

I mean, we will, but

The only trouble is that the only people,

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

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

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

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

It's an album.

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

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

Yeah, but that's visual.

Yes. Yeah.

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

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

- The last album?
- Yes.

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

'Cause that's it, you see.
We always

We never
We always get ahead of ourselves.

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

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

Mmm.

The reason is obviously
the fact that you're playing

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

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

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

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

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

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

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

How many have we
already recorded good enough?

None.

None? Well, what about all those
times we've done "Get Back"?

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

There's that one of yours we did.

And "Get Back."

But they're at a stage
where it's dress rehearsal stage,

- Yes.
- Where if you did a performance,

it probably would be it.

- Yes.
- Yesterday you got terribly close to it

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

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

You know, it took great strain

to get through "Don't Let Me Down"
and the other one.

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

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

till Ringo does the film,
doing it like this,

you know, we're just gonna drop.

I think I think yesterday

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

If we hadn't had the weekend, we wouldn't
have been able to even attempt yesterday.

That's the paradox.

But if we had just
been recording them, you know

And at the moment
the documentary is really like No Exit.

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

There's no story.

There's a lot of good stuff
that we sh*t in the documentary,

but there's no story yet.

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

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

- Neither can anybody else.
- No, right.

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

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

That's why I'm creating
artificial frameworks for us to do it

We've got a lot of good stuff,
like with some of the days at Twickenham.

We've got great stuff, counterpoint thing.
But at the moment haven't got an ending.

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

- I just wanna get out now.
- Yes.

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

And we begin together

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

that he's making a record.

- Yes.
- And you wanna think we're rehearsing.

It makes no odds, you know.

So we've gotta decide

that we mustn't then go on "Get Back"
for three hours.

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

and I know it's hopeless.

I just can't do it, you know.

And no one can do it

'cause the four individuals
are too strong individually.

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

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

Get it, so that we've got songs.

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

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

Okay, let's do it.

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

But physically we were too tired.

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

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

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

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

- That's all.
- Yeah.

So we had
We might have had a bit more sleep

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

or something like that?

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

"Expecting" is not a word we use anymore.

Uh, "thinking about."

- "Praying"?
- "Praying. Hoping."

Uh well, now,
what about the roof tomorrow?

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

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

Let's us keep off that.

We'll do the numbers, you know?

We're the band.

"You're f*cking right."

No, you know, I You know, whatever.

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

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

You would like to?

Very diverse people.

- One second.
- But, I mean if See, I don't mind

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

- It wasn't that I
- So what songs have we got?

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

A lot of them are
I mean, there's too much of a list there.

- But there's certainly everything here.
- Okay.

"I've Got a Feeling,"
"Don't Let Me Down," "Get Back."

- Don't know what that is.
- "I'd Like a Love That's Right."

I'd like a love that

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

- I love "Yer Blue."
- "Two of Us," "All I Want is You,"

"Across The Universe,"
"Maxwell's Silver Hammer."

- "Route ."
- "One After ."

"One After ."

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

Surprises?

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

"Bathroom Window," "Teddy Boy."

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

No. "All Things Must Pass."
That's lucky .

There's "Dig It", as well,
which is very long.

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

to make up the number don't exist.

- Right.
- Great.

We've got 'em all.

And you've got the live album.

- Yeah.
- If you wanna do it, if we just find out

We should just collect
all the thoughts on these

and just check through every song,

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

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

Don't Let Me Down

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

Get Back

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

I've Got A Feeling

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

Two Of Us

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

All I Want Is You, Teddy Boy

One After

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

All Things Must Pass

Oh

Well Can You Dig It

Let It Be

The Long And Winding Road

Also, For You Blue

Oh

Across The Universe

With Maxwell's Silver Hammer

I Me Mine

Through the Bathroom Window

I'd Like a Life

B, C, D, F, G, A-flat, A

A, C, D, F, G, A-flat, A

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


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

Are we having lunch soon?

- See you later.
- Ta-ra, girls.

See ya.

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

Um

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

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

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

- Yeah.
- Yeah.

But, I mean,
I'd like it so that if, uh

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

Yes.

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

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

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

Because then

Have an outlet
for every little note you want.

You know,
'cause all these songs of mine,

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

But I suddenly realized,
"You know, f*ck all that.

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

- That's the real thing.
- It's great. That's a good idea.

And, you know

I had a dream

I had a good dream

I had a dream

I had a good dream

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


I had a dream

A very good dream last night

I said I got a dream

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


I had a dream

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


I had a dream

A very good dream, y'all

I had a dream

A very good dream
Every man born deserves a dream


If you're Black or white
We want equal rights


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

This one.

You and I have memories

Longer than the road that stretches

Out ahead

- * Two of us wearing raincoats *
- * You and me wearing raincoats *

Standing solo in the sun

You and me chasing paper

Getting nowhere

On our way back home

We're on our way home

We're on our way home

We're going home

- Take it.
- Yes, sir.

You and I have memories

Longer than the road that stretches

Out ahead

Gottle of geer
Gottle of geer, gottle of geer


Two of us wearing raincoats

Standing solo

In the sun

You and me chasing paper

Getting nowhere

On our way back home

We're on our way home

We're on our way home

We're going home

I'm going home.

Goodbye

Goodbye

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

- H, I, J, K, L, M, N, O, P
- Greta Garbo.

- Q, S, R, T.
- Greta Garbo. Greta Garbo.

Greta Garbo.

No, that's not.

Put the ones we know in a hat.

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

We'll all be here bright and early.

: .

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

We're all ready for tomorrow.

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

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

Mm-hmm.

- You'll go as well?
- Yeah.

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

In a green bag on the roof.

Who knows, Yoko?

Supposed to be, yeah. Yeah.

- Okay.
- Oh, yeah. Let's do that.

Go on the roof.

- Good night, Mike.
- Good night.

- Seven come . Good night.
- The others are from

- Good night.
- Good night.

Good night!

From your show.

- Night, George.
- Good night, George!

Good night, Sir Richard.

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

And then Tony and I
are gonna split downstairs.

Yeah?

Would you like to go up
when you're ready?

- What time is he expecting you?
- You can give them to Debbie.

You know, it's exclusive.
It's gotta work for whoever does it.

Thank you.

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

Yeah, I heard about that.

- Yes.
- Is that the same kind of

Okay, hold it.

Three, two, one. All right.

Hi. Can we come in?

- Who you here for?
- Tony Richmond. Is he

There's a special lead
that goes under.

Tony's ready, isn't he?

Uh, with cameras?

- Yeah.
- Yeah.

Okay. Let's go.

- Is it running?
- Yes.

- We're running.
- Running.

- What's going on?
- All right.

All cameras, take one!

Where's the best way
out of the way?

Over here, I think.

- Yeah, you would think that.
- With Maureen.

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

Sorry.

- Hey.
- You know you're around back.

Which is you here.

- We may find
- All right, yeah?

- It's a bit cold, isn't it?
- What's going on?

It's, uh, great.

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

- Good sh*t there.
- Yeah.

Where's the instruments?

Mal?

Nailed me down in the wrong place.

That's the last of it, yeah.

The three First, second and third.

- First of all, that seems to
- I think if we have some

Are you sure?

We've worked that out.

- Let's set them up.
- Yeah.

There's piping along there.
That's where you put them back in.

Yeah, well that goes in here.

- That should do it, really.
- Yeah.

- What's that? A perfect fit.
- Yeah, man.

What is it?

Hands are getting the feel of it.

It's gotta be like it is.

Just record the song.

Glyn, are you getting this down there?

- Oh, it's right-handed.
- Is it?

- Yeah.
- Kevin?

I missed the start. George

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

- Final checks. Roll sound.
- Right.

One, two, three, four

Get back, get back

Get back to where you once belonged

Get back, get back

Get back to where you once belonged

Rolling.

- * Jo Jo was a man *
- Rolling. Is the door shut?

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

- Glyn, this one?
- No.

The one at the bottom of the spirals.

It's gotta be wedged.

- Get the clapper.
- Come on, you idiot.

Get the clapper here.

- Okay?
- Okay.

Okay.

One, two, three, four

Yeah.

Jo Jo was a man
Who thought he was a loner


But he knew it couldn't last

Jo Jo left his home in Tucson, Arizona

For some California grass

Get back, get back

Get back to where you once belonged

Get back, get back

Get back to where you once belonged

Get back, Jo Jo

Go home

Get back, get back

Get back to where you once belonged

Get back, yeah

Get back

Get back to where you once belonged

Get back, Jo

Whoo, get back!

Sweet Loretta Martin
Thought she was a woman


But she was another man

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


But she get it while she can

Get back, get back

Get back to where you once belonged

Oh, get back, yeah
Get back


Get back to where you once belonged

Get back, Loretta

Go home
Your mommy's waiting for you


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


Get back, Loretta!

Get back, yeah
Get back


Get back to where you once belonged

Oh, get back, get back

Get back to where you once belonged

Ooh, ooh, ow!

Go home

She's waiting for you

The tea's on

Oh, get back

Get back

Get back to where you once belonged

Oh, get back, get back
Get back


Get back to where you once belonged

Whoo-hoo!

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

It looks like
Ted Dexter has scored another.

We've had a request
from Martin and Luther.

We need more voice on the PA, yes, Glyn?

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

Glyn, any more voice on the Fenders?

Do it there.

- What?
- Do it from up there.

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

Okay, cut it.

Get back!

Mike, have you cut?

- * Get back *
- Yeah, we'll cut.

Where's the noise coming from?

It's coming from the roof.

Do you know who it is?

Yeah, The Beatles, ain't it?
Yeah.

You like it?

Yeah, it's okay.

What do you think of it?
It's The Beatles.

Oh, I think jolly good.

Enjoying it?

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

Do you like the idea?

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

- Right, stop
- All cameras, three!

Okay. When you're ready, guys.

All right, Billy.

One, two, three, four.

Jo Jo was a man
Who thought he was a loner


But he knew it couldn't last

Jo Jo left his home in Tucson, Arizona

For some California grass

Get back, get back

Get back to where you once belonged

Get back, get back

Get back to where you once belonged

Get back, Jo Jo.

Go home.

Yeah.

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

Get back to where you once belonged

Get back, get back

Get back to where you once belonged

Oh, get back, Jo

Sweet Loretta Martin
Thought she was a woman


But she was another man

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


But she gets it while she can

Well, get back, get back

Oh, get back, get back

Get back to where you once belonged

Get back, Loretta.

Oh!

Yeah, go home.

Your mommy's waiting.

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

Get back, Loretta!

Get back, get back

Whoo!

Get back to where you once belonged

Oh, get back

Get back

I think it's marvelous. Yes.

Beatles, I think.

Oh, get back home.

Never more to roam.

On the roof?

Get back to where you once belonged

Yeah, get back

Get back

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

It's Paul McCartney singing now.
Well, it was. Yeah.

Okay. Well, thank you,
ladies and gentlemen.

We've had a request
from Daisy, Morris and Tommy.

- "Don't Let Me Down."
- Okay.

Don't let me down

Don't let me down

Don't let me down

Don't let me down

Don't let me down

Nobody ever loved me like she does

Oh, she does

Yes, she does

This type of music
is all right in its place,

but I think it's a bit of an imposition.
First of all, it's too loud.

Oh, she does

Yes, she does

Don't let me down

Don't let me down

Don't let me down

Absolutely disrupts all the business
in this area.

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

Don't let me down

I think it's fantastic.

I'm in love for the first time

Don't you know it's gonna last

It's a love that lasts forever

It's a love that has no past

Don't let me down

Don't let me down

Don't let me down

Don't let me down

Oh, she does

Yeah, she does

I guess nobody ever really done me

Ooh, she done me

She done me good

Don't let me down

Don't let me down

Don't let me down

Don't let me down

Please

Please

Please

Please

Don't let me down.

I've got a feeling

A feeling deep inside
Oh, yeah


Oh, yeah

That's right.

I've got a feeling

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


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


Oh, no

nobody told me

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


I've got a feeling

That keeps me on my toes

Oh, yeah

- * Oh, yeah *
- * Oh, yeah *

I've got a feeling
I think that everybody knows


Oh, yeah

- * Oh, yeah *
- * Oh, yeah *

Oh, yeah

Yeah, yeah

I have got a feeling
Yeah


Everybody had a hard year

Everybody had a good time

Everybody had a wet dream

Everybody saw the sun shine
Oh, yeah


- * Oh, yeah *
- * Oh, yeah, oh, yeah *

Everybody had a good year

Everybody let their hair down

Everybody pulled their socks up

Everybody put their foot down
Oh, yeah


Whoo-hoo!

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

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

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

Everybody saw the sun shine

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

A feeling I can't hide, oh no

Oh, my soul

That was so hard.

Hey! All right!

No, no, no, no.

Peace on Earth!

Alan.

Ringo?

- Are the cameras still running?
- Yeah.

Just stick your snare drum mic
back over the snare drum.


Sir, we must have
your comment. What do you think of it?

What's going on?

- It's The Beatles.
- What gives? What's happening?

They decided to play
for the public for nothing.

Well, that's great.

It's a bloody stupid place
to have a concert.

Nice to have something for free
in this country at the moment, isn't it?

- Don't you like The Beatles?
- No.

- No?
- No.

Not at all?

Not now. They've changed completely.

The Beatles are doing
a free concert on the roof.

- Now?
- Yeah. What do you think of it?

I think it's very good.
Why aren't they doing it in the street?

They just thought you'd wanna hear it.

Yeah, well, we'd also like to see them.

I just can't see that it makes sense.

Well, I think it's a very good thing.

It woke me up from my sleep,
and I don't like it.

All cameras, four!

One, two, three.

My baby says she's traveling
On the one after


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


I said move over once
Move over twice


Come on, baby
Don't be cold as ice


She said she's traveling
On the one after


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


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


I said move over once
Move over twice


Railman said

You've got the wrong location

Pick up my bag

Run right home

Then I find
I've got the number wrong


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


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


I said move over once
Move over twice


Come on, baby
Don't be cold as ice


She said she's traveling
On the one after


Yeah!

Whoo!

Pick up my bag

Run to the station

Railman said

You've got the wrong location

Yeah
Pick up my bag


Run right home

Then I find

I've got the number wrong

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


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


I said move over once
Move over twice


Come on, baby
Don't be cold as ice


She said she's traveling
On the one after -


She said she's traveling
On the one after -


She said she's traveling
On the one after


Oh, Danny Boy

The old savanna calling

Make sure you don't lean on that.

I can't see what to do.

- Oh.
- "Dig A Pony."

I'll have to get the words then.

- "Dig A Pony."
- "Dig A Pony."

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

Yeah.

- Kev.
- Kevin?

Come here.

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

Thank you very much.

We can't use City One Reserve.

Charming, innit?

- Jimmy?
- Hmm?

Have a Sweet Afton.

Thank you. Don't mind if I do.

Rolling.

Are you all ready?

Yeah? Okay. Are we rolling?

- Yeah.
- Okay.

- One, two, three!
- Hold it!

One, two, three

All I want is

I, a-hi-hi, a-hi-hi

Dig a pony

Well, you can celebrate
Anything you want


Yes, you can celebrate
Anything you want


Oh

I, a-hi-hi, a-hi-hi

Do a road hog

Well, you can penetrate
Any place you go


Yes, you can penetrate
Any place you go


All I want is you

Everything has got to be
Just like you want it to


Because

I, a-hi-hi, a-hi-hi

Pick a moon dog

Well, you can radiate
Everything you are


Yes, you can radiate

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

All that money they've got?

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

Yes.

Yes.

Oh, yes.

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

Yes.

Everything has got to be
Just like you want it to


- * Because *
- * Whoo! *

Oh!

Oh, now

I, a-hi-hi, a-hi-hi

Feel the wind blow

But you can indicate
Everything you see


Yes, you can indicate
Everything you see


Oh, now

I, a-hi-hi, a-hi-hi

I'm cold and lonely

Well, you can syndicate
Any boat you row


Yeah, you can syndicate
Any boat you row


I told you so

All I want is you

Everything has got to be
Just like you want it to


Because

All I want is you

Thank you, brothers.

My hands are getting too cold
to play a chord now.

- Turn on the PA too.
- Okay.

Shall we do "Can You Dig It"?

- "Can You Dig It"?
- I don't know.

What's happening?

The Beatles, obviously.

- Fabulous. Lovely.
- Definitely. Fantastic.

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

I said they get around.

"Misery."
That's the one, I think.

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

Anywhere where I could
have a listen to this?

Yes. Very much. Yes.

Yeah. It's great.

Um, I think Ringo.

No.

No.

Yeah.

Yeah. I think they're good.

Okay. Glynny.
Are you ready, Glyn?

- Running.
- Turnover, Mike.

Can we scratch that?

- Tuning.
- Running. Ready?

Okay, okay.

I've got a feeling

A feeling deep inside

Oh, yeah

Oh, yeah

I've got a feeling

A feeling I can't hide
No, no


No

Oh, no

No, no

Not in the street, no.

- Oh, yes. Yes. Very much.
- You do?

No, my son does.

Oh, yes. My daughter does.

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

Oh, yeah

Oh, yeah

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


Oh, no

Oh, no

Oh, no

Oh, yeah

I've got a feeling
Yeah


All these years
I've been wandering around


Wondering how come nobody told me

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


Hey

I've got a feeling

That keeps me on my toes
Oh, yeah


Oh, yeah

I've got a feeling

I think that everybody knows
Oh, yeah


Oh, yeah

Do you want to go upstairs?

Yeah, we'll come upstairs.

I've got a feeling

Oh, yeah

Everybody had a hard year

Everybody had a head dream

Everybody saw the sun shine

Everybody gotten obscene

- * Oh, yeah *
- * Oh, yeah *

Oh, yeah

- * Oh, yeah *
- * Oh, yeah? *

Everybody had a good year

Everybody let their hair down

- * Everybody pulled their socks up *
- * Yeah *

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

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

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

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

Everybody saw the sun shine

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

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

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

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

- * Oh, yeah *
- * Yeah, yeah *

Ooh yeah, ooh yeah

Ooh, ooh yeah

I've got a feeling
Yeah


I've got a feeling
Yeah


Whoo-hoo!

A pretty girl is like a melody

Yeah.

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

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

Don't let me down

Rock and roll!

You too!

Whoo!

Don't let me down

Don't let me down

Don't let me down

Whoo!

Don't let me down

And from the first time
That she really loved me


Ooh, she loved me

Yes, she does

And if somebody ever really loved me

Ooh, she loves me

Yes, she does

Don't let me down

Don't let me down

Don't let me down

Don't let me down

I'm in love for the first time

Don't you know it's gonna last

It's a love that lasts forever

It's a love that has no past

Whoo!

Don't let me down

Please

Don't let me down

Don't let me down

Don't let me down

And from the first time
That she really done me


Ooh, she done me

She done me good

Yeah, that's right.

Yes.

Yeah.

Don't let me down

Don't let me down

Don't let me down

Please

Please

Please

Oh

Please

Jo Jo was a man
Who thought he was a loner


But he knew it couldn't last

Jo Jo left his home in Tucson, Arizona

For some California grass

Get back, get back

Get back to where you once belonged

It's off.

Get back

Get back to where you once belonged

Get back, Jo Jo
Yeah


Get back, get back

Get back to where you once belonged

Get back, whoo!
Get back


Get back to where you once belonged

Get back, Jo

Whoo!

Oh, yeah
Get back


Whoo!

Yeah!

Sweet Loretta Martin
Thought she was a woman


But she was another man

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


But she gets it while she can

Get back, get back

Get back to where you once belonged

Get back, get back

Get back to where you once belonged

Get back, Loretta
Get back home


Come on, come on

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


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


Whoo!

Yeah, get back

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


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


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


Get back

Oh, get back

Oh, yeah
Yeah, yeah, yeah


Get back, get back

Get back to where you once belonged

Get back.

- Thanks, Mo.
- I'd like to say thank you

on behalf of the group and ourselves.

I hope we passed the audition.

All right, boys.
Get in here. Step aside, there.

You all right?

Come. Get in there. Come on. In there.

What's the matter? Everything all right?

Get some more cover there.
Film through the office windows.

Okay.

People on the roof. Everything.

Stay there, girls. Stay there.

Thank you.

Okay. As soon as
you got the cover, that's a wrap.

Let's keep it moving please.

Step off the road, please.
Move along!

Move along, please.

Move along, please.

Off the road, please.

Come on. Move along.

What's the law say that you
why you can't do that?

- 'Cause of the PA speakers.
- Disturbing the peace.

- Well, how "Disturbing the peace"?
- Peace means like noise.

As Mike was saying,

this is a very good dry run
for something else too.

Apart from the value of this as it stands.

Yeah.

- Yeah, for taking over London.
- Yeah.

You see, because

Blasting out the sound in their power.

- Fantastic.
- Every rock group in the world,

in London, all on the top of buildings.

- Playing the same tune.
- Also on a platform of loudspeakers.

So you're just sort of strapped in
to little boxes in this structure.

Well, get back

Loretta Martin
Thought she was a woman


But she was another man

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


But she get it while she can

Oh, get back

Get back

Get back to where you once belonged

Oh, get back, yeah
Get back


Get back to where you once belonged

Get back, Loretta

Hey!

Go home

Your mommy's waiting for you

Ooh, she does

Yes, she does

I guess nobody ever really done me

Ooh, she done me

Oh, please believe me

I'd hate to miss the train
Oh, yeah


Oh, yeah

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


Oh, no

Oh, no

Oh, no

No, yeah

I've got a feeling
Yeah


I've got the number wrong

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


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


I said move over once
Move over twice


Come on, baby
Don't be


All I want is

I, a-hi, hi, a-hi, hi

Dig a pony

Well, you can celebrate
Anything you want


Yes, you can celebrate
Anything you want


What are you feeling about today?

- You wanna work more today or not?
- Yeah.

We should record the others now.

Gotta get the stuff down first.

- Let's have a break for a bit.
- We'll have lunch and that.

And then we record the other stuff
that we didn't do.

- Right.
- Up there. The acoustic stuff.

- Up there?
- No, down here now.

- When I
- There won't be more rooftops.

No. No more rooftop.

- That was the rooftop.
- It was really bad.

- Oh, right.
- So, it's like

You know, you're doing this
and we're taking it

If we got the police,
we could pretend in the film

that we had to get down because of them.

- And here we are
- Just the way it happened then.

That'll just be it, you know.

This is B camera roll, , .

Slate , take one. Slate , take one.

Roll mic.

It might have been You know.
I don't like to throw things away.

Okay. Ready?

- Okay, turnover cameras.
- Clap it.

Turnover cameras.

Take it to the captain

Take this hammer

Take it to the captain

You and me Sunday driving

Not arriving

On our way

If you're ever in a jam
Here I am


If you're ever in the sh*t
Grab my tit


it's gonna make it stop

How high's the water, mama?

Daddy's gonna tell on

Rather see you dead, little girl

Than to be with another man

You better watch your head
Little girl


Or you won't know where I am

You'd better run for your life
If you can


Okay.

- Running.
- Turn over.

- Did I ever tell you when I had the
- Take Take ten.

I don't think
I wanna hear that, d*ck.

Okay, Jim.

- Good night, Paul.
- Say good night, John.

- Good night, Paul.
- Good night.

Two of us riding nowhere

Spending someone's hard-earned pay

You and me Sunday driving

Not arriving

On our way back home

We're on our way home

We're on our way home

We're going home

I suddenly discovered
I was halfway out of tune


But I continued playing
Because I'm no goon


Take Take Take !

The long and winding road

That leads to your door

Okay, start again.

The long

F-stop.

The long

We'll need one more, actually.

Take .

Now what's the chord you play

The wild and windy night

That the rain washed away

Has left a pool of tears

Crying for the day

Running.

- Running, Col? Running, Mike?
- Yeah.

- Running, yeah.
- Nice and quiet. Mark it.

Take .

When I find myself in times of trouble

Mother Mary comes to me

Speaking words of wisdom

Let it be

And in my hour of darkness

She is standing right in front of me

Speaking words of wisdom

Let it be

- * Let it be, let it be *
- * Ooh *

What the shittin' hell is going on here?

Eins, zwei, viertel nach drei.

Whisper words of wisdom

What the f*ck's going on?

I'll never get "Maggie Mae" done
if we go on like this.

Are we supposed to giggle in the solo?

- Yeah.
- Okay.

And when the broken-hearted people

Get off, you bum!

- I lost a bass note somewhere.
- Oh.

- * Let it be, let it be *
- * Ooh *

Let it be, yeah
Let it be


There will be an answer

Let it be

When I find myself in times of trouble

Mother Mary comes to me

Speaking words of wisdom
Let it be


Let it be.

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


Speaking words of wisdom

Let it be

- * Let it be, let it be *
- * Ooh *

- * Let it be, let it be *
- * Ooh *

Whisper words of wisdom

Let it be

- Is that the best one?
- I think that was rather grand.

I'd take one home with me.

Yeah, that was fine.

Don't kid us, Glyn.

Give it to us straight.

- Get me off this bass.
- Was that good enough?

- Yes.
- We'll do one more to cover ourselves.

We'll just do one more
'cause we know we've got it now.

We've got so many of the bastards.
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