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.
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?
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 ...
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!
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.
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.
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.
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...
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.
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.
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.
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.
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 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.
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!
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:
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.
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.
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.
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.
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.
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.
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.
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.
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?
A smallish room with a line of chairs facing a wall mirror and a long table. Each place is clearly marked and above each mirror a girl's name: Betty, Angela, Deirdre, Jenny.
SHAKE and GRANDFATHER are sitting in splendid isolation. They are staring each other out.
SHAKE Hello, he's not talking to me. He's having a sulk.
GEORGE Well, it must be catching. He's given it to the champ here.
He indicates RINGO who ignores him.
NORM Stop picking on him.
RINGO I don't need you to defend me, y'know, Norm.
JOHN Leave him alone, he's got swine fever.
NORM Sit down, the lot of you.
At this moment several actors come into the room. They are all dressed in the uniform of officers in Wellington's army. Together with the boys they sit down, Beatles and soldiers all mixed up.
Now a group of several pretty make-up girls make an entrance and the boys herald their arrival with a chorus of "aye aye's" and wolf whistles. JOHN meanwhile has helped himself to a big beard and the other lads are generally messing about with assorted make-up things.
HEAD MAKE UP GIRL Oh, this is impossible! We'll never get you all done in time.
ACTOR Well, you'll just have to do us first... It makes no difference to them whether they're made up or not. (sees John with beard) And who's me, then?
JOHN (charmingly) My name's Betty... (pointing to the name on the mirror) Do you want a punch up your frogged tunic?
NORM fights his way to JOHN.
NORM Now listen, John, behave yourself or I'll murder you and, Shake, take that wig off, it suits you.
SHAKE has a long blond girl's wig on. With the assistance of the girls, NORM gets the boys seated into the chairs nearest the door. For some reason RINGO now has a Guardsman's busby wedged down almost over his eyes and is sitting with it under a hair drier, reading a copy of "Queen" Magazine.
NORM (to Ringo) What do you think are you're up to?
The canteen is about half full of actors many of which are dressed as Nazi soldiers, with mock blood bandages and arm bands. Also there are a sprinkling of T.V. people. At a table sits GRANDFATHER and RINGO. RINGO is deeply engrossed in a book and GRANDFATHER has a near empty cup of tea in front of him. The old man is bored and looks about him slyly. He then looks at Ringo who is innocently occupied, a malicious gleam comes into GRANDFATHER's eye. He decides to have a go at RINGO and sits staring at him. RINGO gradually becomes aware of the stare and shifts uncomfortably then tries to continue reading his book.
GRANDFATHER (disgustedly to no one in particular) Will you ever look at him, sitting there wid his hooter scraping away at that book!
RINGO Well ... what's the matter with that?
GRANDFATHER (taking the book from him) Have you no natural resources of your own? Have they even robbed you of that?
RINGO (snatching back his book) You can learn from books.
GRANDFATHER Can you now? Aah ... sheeps' heads! You learn more by getting out there and living.
RINGO Out where?
GRANDFATHER Any old where ... but not our little Richard ... oh no! When you're not thumping them pagan skins, you're tormenting your eyes wid that rubbish!
RINGO (defiantly) Books are good!
GRANDFATHER (countering) Parading's better!
RINGO Parading?
GRANDFATHER (marching up and down the canteen) That's it, parading the streets ... trailing your coat ... bowling along ... living!
RINGO Well, I am living, aren't I?
GRANDFATHER You're living, are you? When was the last time you gave a girl a pink-edged daisy? When did you last embarrass a sheila wid your cool appraising stare?
RINGO Eh ... you're a bit old for that sort of chat, aren't you?
GRANDFATHER At least I've a backlog of memories, but all you've got is that book!
RINGO Aaah ... stop picking on me... you're as bad as the rest of them.
GRANDFATHER So you are a man after all.
RINGO What's that mean?
GRANDFATHER Do you think I haven't noticed ... do you think I wasn't aware of the drift? Oh ... you poor unfortunate scuff, they've driven you into books by their cruel, unnatural treatment, exploiting your good nature.
RINGO (not too sure) Oh ... I dunno.
GRANDFATHER (confidingly) And that lot's never happier than when they're jeering at you ... and where would they be without the steady support of your drum beat, I'd like to know.
PAUL and JOHN gape at him. For good measure Ringo takes a quick photograph of them before he leaves them flabbergasted and walks off into the street.
PAUL We've got only half an hour till the final run-through. He can't walk out on us.
JOHN Can't he? He's done it, son!
GEORGE runs towards them.
GEORGE Eh, I don't know if you realise it, but ...
PAUL We do.
GEORGE Yes. Your grandfather's stirred him up.
PAUL He hasn't.
GEORGE Yes, he's filled his head with notions seemingly.
PAUL The old mixer, come on we'll have to put him right.
The three of them go into the street.
61. EXTERIOR T.V. THEATRE STAGE DOOR ENTRANCE
The boys look up and down but RINGO has completely disappeared.
PAUL We'll split up and search for him, he can't be far.
They now all start to go off in the same direction, they pause, there are three roads they can take but each time they begin to move they all go the same way.
JOHN It's happened at last, we've become a limited company.
GEORGE I'll look in here again.
PAUL gives him a push to the left and GEORGE to the right and going straight ahead himself they part and go their separate ways.
62. EXTERIOR STREET
RINGO is walking along taking photographs with his camera when some girls recognise him and start to follow him. They quicken their pace and RINGO runs ahead of them. He turns and comes into another street. He sees a second-hand clothes shop with a sign saying "We Buy Anything" and enters the shop just before the pursuing girls come round the corner. The girls stand about looking in all directions. After a moment RINGO comes out of the shop. He is wearing a long mackintosh and a natty cap pulled well down. He is ignored by the girls who don't recognise him. Realising this he goes back and ogles one of them. She glares at him.
RINGO Hello.
GIRL Get out of it, short house!
CLOSE-UP on Ringo's secret but happy smile as he walks briskly down the road.
63. EXTERIOR TOW PATH CANAL
RINGO kicks at a brick. He kicks stylishly but misses so tries again, misses again, but finally kicks the stone which doesn't budge so he bends down and pulls it out of the ground. It is quite big. Three quarters of it being below the surface. Having got it he now decides to throw it away. As he does so the same POLICEMAN rides past on a bicycle.
POLICEMAN Ain't you got no more bleeding sense than to go round chucking bricks about.
Before RINGO has time to answer the man has disappeared.
GEORGE comes round the corner, looking for RINGO, then grins and walks past a sign saying "Canteen and Production Office Opposite." He comes to the exit door, crosses to a modern building across from the theatre. He enters [the] building.
It is the reception room that leads to an inner office. Behind a desk sits a smart young woman typing busily as GEORGE enters. He is surprised when he sees the girl; she looks up and speaks to him at once.
SECRETARY Oh, there you are!
GEORGE Oh, I'm sorry, I must have made a mistake.
SECRETARY (tartly) You haven't, you're just late. (She rises and crossing over to him examines him critically.) Oh, yes, he's going to be very pleased with you.
GEORGE Is he?
SECRETARY Yes, you're quite a feather in the cap. (She crosses to the desk and picks up the inter-office phone.) Hello, I've got one ... oh, I think so ... yes, he can talk ... Well ... I think you ought to see him. (she smiles) Of course, right away.
She crosses to the inter-office door. On the door is written SIMON MARSHAL ... she opens it.
A large room, part production office with models and sets, drawing board with ground plans, the other part of the room a mixture of Pop and Queen's magazine decor.
Behind a large desk sits SIMON MARSHAL, a bland but slightly irritable young man of about thirty-five. He is wearing the ultimate in the current smart set fashion. He is attended by a couple of underlings ADRIAN and TONY and behind him on the wall is a poster of a girl. Across the poster is printed, "Way Out, your own T.V. Special with Susan Campey. Director, Simon Marshal."
SECRETARY (proudly) Will this do, Simon?
SIMON (looking at George) Not bad, dolly, not really bad. (he motions to George) Turn around, chicky baby.
GEORGE does so.
SIMON Oh yes, a definite poss. He'll look good alongside Susan. (he indicates the girl on the poster) All right, Sunny Jim, this is all going to be quite painless. Don't breathe on me, Adrian.
ADRIAN has recognised GEORGE and is trying to stop SIMON.
GEORGE Look, I'm terribly sorry but I'm afraid there's been some sort of a misunderstanding.
SIMON (sharply) Oh, you can come off it with us. You don't have to do the old adenoidal glottal stop and carry on for our benefit.
GEORGE I'm afraid I don't understand.
SIMON Oh, my God, he's a natural.
SECRETARY (anxiously) Well, I did tell them not to send us any more real ones.
SIMON They ought to know by now the phonies are much easier to handle. Still he's a good type.
He now speaks to GEORGE in the loud voice that the English reserve for foreigners and village idiots.
SIMON We want you to give us your opinion on some clothes for teenagers.
GEORGE Oh, by all means, I'd be quite prepared for that eventuality.
SIMON Well, not your real opinion, naturally. It'll be written out and you'll learn it. (to secretary) Can he read?
GEORGE Of course I can.
SIMON I mean lines, ducky, can you handle lines?
GEORGE I'll have a bash.
SIMON Good. Hart, get him whatever it is they drink, a cokearama?
GEORGE Ta.
SIMON Well, at least he's polite. Tony Show him the shirts, Adrian.
A collection of shirts are produced and GEORGE looks at them. While he is doing this SIMON briefs him.
SIMON Now, you'll like these. You really "dig" them. They're "fab" and all the other pimply hyperboles.
GEORGE I wouldn't be seen dead in them. They're dead grotty.
SIMON (to secretary) Make a note of that word and give it to Susan. I think it's rather touching really. Here's this kid trying to give me his utterly valueless opinion when I know for a fact within four weeks he'll be suffering from a violent inferiority complex and loss of status if he isn't wearing one of these nasty things. Of course they're grotty, you wretched nit, that's why they were designed, but that's what you'll want.
GEORGE But I won't.
SIMON You can be replaced you know, chicky baby.
GEORGE I don't care.
SIMON And that pose is out too, Sunny Jim. The new thing is to care passionately, and be right wing. Anyway, you won't meet Susan if you don't cooperate.
GEORGE And who's this Susan when she's at home?
SIMON (playing his ace) Only Susan Campey, our resident teenager. You'll have to love her. She's your symbol.
GEORGE Oh, you mean that posh bird who gets everything wrong?
SIMON I beg your pardon?
GEORGE Oh, yes, the lads frequently gather round the T.V. set to watch her for a giggle. Once we even all sat down and wrote these letters saying how gear she was and all that rubbish.
SIMON She's a trend setter. It's her profession!
GEORGE She's a drag. A well-known drag. We turn the sound down on her and say rude things.
SIMON Get him out of here!!
GEORGE (genuinely surprised) Have I said something amiss?
SIMON Get him out of here. He's knocking the programme's image!!
The underlings hustle GEORGE to the door.
GEORGE (smiling) Sorry about the shirts.
He is ejected through the door.
SIMON Get him out. (he stops in mid-shout) You don't think he's a new phenomenon, do you?
SECRETARY You mean an early clue to the new direction?
SIMON (rummaging in his desk) Where's the calendar? (he finds it) No, he's just a trouble maker. The change isn't due for three weeks. All the same, make a note not to extend Susan's contract. Let's not take any unnecessary chances!
The atmosphere is tense. GRANDFATHER is standing miserable in front of the DIRECTOR, the criminal confronted by the judge. SHAKE and NORM are flanking him grimly.
GRANDFATHER I'm sorry lads, I didn't mean it, honest.
DIRECTOR If he says that again, I'll strike him.
SHAKE (unconvincingly) They'll be back, they're good lads, they'll be back.
DIRECTOR (disgusted) Yes? Well they've got only ten minutes to the final run-through.
GRANDFATHER I meant no harm. I was only trying to encourage little Ringo to enjoy himself.
NORM (grimly, C.U.) God knows what you've unleashed on the unsuspecting South. It'll be wine, women and song all the way with Ringo once he's got the taste for it.
69. INT. PUB PUBLIC BAR
CLOSE-UP on RINGO. He is eating a bone dry sandwich that curls up at the end. He puts it down with disgust. He has a lager glass in his hand.
Near the bar is a shove-halfpenny board with two players. There is a caged parrot nearby.
BARMAID (to Ringo) That'll be two and nine...
RINGO fumbles some change out of his pocket. A few coppers fall from his hand on to the shove-halfpenny board just as the crucial point has been made. The men glare at him. Embarrassed, he moves away and without looking, places his glass on the skittles table just as a player swings the string, which hits Ringo's glass. More embarrassed, RINGO backs away, unfortunately into the pin-table just as a winning score is about to be reached. He bumps it very slightly, but enough to cause it to TILT. He then moves to the dart board. By this time most of the pub is staring at him. With great style he takes the darts. The first throw goes into a cheese sandwich which a man is pointing in demonstration. The second we see arrive into a pint of bitter and then we see RINGO shoot the third dart and hear the sound of the parrot shouting angrily, off. The BARMAID has had enough.
BARMAID Right ... On your way!
RINGO Y'what?
BARMAID You heard, on your way, troublemaker!
Now the centre of attention, RINGO backs out of the pub, followed by every eye in the place, the BARMAID and a few players following him to the door ...
70. EXTERIOR STREET OUTSIDE PUB
RINGO comes out and crosses road, watched by the POLICEMAN who is now quite suspicious.
In the street, workmen are collecting shovels, drinking tea and doing all the things people do around building sites. RINGO mooches around. In the road is a hole with a diameter of about 3 feet, and at least 6 feet deep. RINGO looks down and a man is busily working at the bottom of the hole. He glares at RINGO. After a moment RINGO turns away. We now see a very elegant young lady coming towards RINGO. She is daintily avoiding a series of puddles. RINGO has an idea and does a Sir Walter Raleigh with his large Mac spreading it over one of the puddles. The girl walks across it smiling graciously. RINGO proceeds with the coat to the next puddle and to the next backing gradually towards the hole. At last he spreads the coat, without noticing what he is doing, over the hole. The girl steps onto the coat and disappears sharply. RINGO looks down the hole where the girl is held in the workman's arms. The workman rises out of the manhole until he is waist height. At this point an elegantly dressed gentleman appears (the girl's husband) he looks at his wife in the workman's arms and hits the workman. RINGO backs away through the puddles, and is nicked by the POLICEMAN.
[Scenes 75 and 76 deleted in revision.]
77. INTERIOR T.V. THEATRE NEAR STAGE DOOR
The DIRECTOR is pacing up and down the corridor. NORM is also walking up and down, SHAKE is leaning against the wall quite unconcerned. NORM gives SHAKE a push.
NORM Worry, will you!
SHAKE adjusts his features to a worrying expression.
DIRECTOR (bitterly) Well, that's it, two minutes to the final run-through... they're bound to miss it...
NORM I'll murder that Lennon.
DIRECTOR But I suppose we can survive a missed run-through as long...
SHAKE ... as they head up for the show. Oh yes, well I mean it'ud be a pity to miss the show, wouldn't it like.
NORM Shurrup, cheerful.
The horrible prospect hits the DIRECTOR.
DIRECTOR You don't think...
NORM (reassuring him) They'll be here.
DIRECTOR Oh now, they can't do that to me. (turning on Norm) It's all your fault. (overriding Norm) Oh yes it is and if they don't turn up I wouldn't be in your shoes for all the...
SHAKE (helping out) ... tea in China. Oh you're right, neither would I.
He steps away from NORM and stands near the DIRECTOR.
NORM Traitor!
SHAKE nods his agreement to this assessment of his character.
At this moment JOHN, GEORGE and PAUL enter from the stage door. They are completely unconcerned and walk past the DIRECTOR, SHAKE and NORM.
JOHN (as he passes by) Hi Norm!
NORM (preoccupied) Hi, our lot!
The BOYS walk on when after a moment NORM snaps to.
NORM Our lot!
GEORGE (mildly) Did you want something.
NORM (beaming with delight) I could eat the lot of you.
JOHN You'd look gear with an apple in your gob.
DIRECTOR (accusingly) Do you realise you could have missed the final run-through?
GEORGE Sorry.
SHAKE Eh, there's only three of them.
PAUL Aye, we were looking for Ringo. But we realised he must have come back.
DIRECTOR Do you realise we are on the air, live, in front of an audience, in forty-five minutes and you're one short.
JOHN Control yourself or you'll spurt. He's bound to be somewhere.
NORM Aye, let's try the dressing room.
Everyone starts along the passage. NORM and PAUL last.
PAUL Eh, where's my grandfather?
NORM Don't worry about him. He can look after himself.
PAUL Aye, I suppose so.
They run after the others.
78. EXTERIOR T.V. THEATRE CLOSE-UP
GRANDFATHER Here they are, personally signed and handwritten by your own sweet boys. The chance of a lifetime. Be the envy of your less fortunate sisters!
The CAMERA PULLS back and we see GRANDFATHER is surrounded by girls who have broken from the queue and are doing a brisk trade with the old man. He has a large sign on which is written: "Get your genuine autographed Beatles photographs." On the edge of the crowd two POLICEMEN are trying to force the girls back into the queue. Finally they wade through the girls and confront GRANDFATHER. They look at the old man quizzically; he stares back coldly. They indicate he should hop it and quick but GRANDFATHER defiantly glares back at them. So with a sigh, they grab an arm each and escort the old man off.
79. INTERIOR POLICE STATION
It is the reception desk and behind it is the DESK SERGEANT. After a moment RINGO is dragged in by the POLICEMAN we saw him with before.
RINGO Look, I'm Ringo Starr... I've got a show to do in a few minutes you've got to let me go... I'm Ringo...
POLICEMAN Sure, they all say that these days ... Anyway ... I don't care who you are... you can save that for the stipendary. Here you are, Sarge.
SERGEANT What is he?
POLICEMAN (reeling off the list) I've got a little list here. Wandering abroad. Malicious intent. Acting in a suspicious manner. Conduct liable to cause a breach of the peace. You name it, he's done it.
SERGEANT Oh, a little savage, is he?
POLICEMAN A proper Aborigine.
RINGO (on his dignity) I demand to see me solicitor.
SERGEANT What's his name?
RINGO Oh, well if you're going to get technical --
At that moment there is a loud series of noises off camera, furious shouting and dull crashes of wood.
SERGEANT Hello, it's going to be one of those nights, is it? (to policeman) Sit Charley Peace down over there.
The POLICEMAN takes RINGO to a bench and sits him down as GRANDFATHER and the two POLICEMEN who were with him enter. The sign is tattered and is being lugged after them.
GRANDFATHER Well, you got me here so do your worst but I'll take one of you with me. (kicks the nearest policeman) Oh, I know your game, get me in the tiled room and out come the rubber hoses but I'll defy you still.
SERGEANT Is there a fire, then?
GRANDFATHER leans across the desk and hisses at the SERGEANT.
GRANDFATHER You ugly, great brute you, you have sadism stamped all over your bloated British kisser.
SERGEANT Eh?
GRANDFATHER I'll go on a hunger strike. I know your caper. The kidney punch and the rabbit-clout. The third degree and the size twelve boot ankle-tap.
SERGEANT (to policemen) Get Lloyd George over there with that mechanic in the cloth cap while I sort this lot out.
The POLICEMEN hurtle GRANDFATHER firmly but gently over to the bench on which RINGO is sitting and then return to the desk for a whispered conference with the SERGEANT. Meanwhile in full conspiratorial fashion GRANDFATHER talks to RINGO out of the side of his mouth.
GRANDFATHER Ringo, me old scout, they grabbed yer leg for the iron too, did they?
DIRECTOR (watching the clock) Only half an hour and you're on!
GEORGE Can I say something?
The director clutches at any straw.
DIRECTOR (hopefully) Yes, anything.
GEORGE (earnestly) It's highly unlikely we'll be on... I mean the law of averages are against you and it seems that, etc., etc....
But his speech is drowned by the pitiful moans of the DIRECTOR.
82. EXTERIOR T.V. THEATRE STAGE DOOR
The four little boys from the canal are being driven away by the security guard.
GUARD (going back into theatre) I'll have the hides off of you lot.
The kids retreat as GRANDFATHER pants into shot, ignoring the kids he enters the stage door but in a second he is out again, grasped firmly by the collar by the security guard.
GUARD You ought to be ashamed of yourself. Go home!
GRANDFATHER I must see Pauly.
GUARD Go home then and see him on the telly.
The GUARD re-enters the stage door.
GRANDFATHER looks around him and sees the four kids. He hustles over and after a whispered conference we hear his offer.
GRANDFATHER Can you fix him for me?
BOYS Yeah.
GRANDFATHER Sixpence.
BOY Each?
GRANDFATHER is about to argue.
GRANDFATHER Oh, all right.
BOY And in advance.
GRANDFATHER (disgusted) Mercenary!
But he hands over the money. The kids rush in the stage door and after a moment the furious GUARD chases them out and down the alley. GRANDFATHER, chuckling, nips in the door.
83. INTERIOR T.V. CONTROL ROOM ON STAGE
GRANDFATHER is being chased by several studio attendants; he is dodging behind equipment. He finally gets on a sound boom trolley and uses it as a weapon to keep his pursuers at bay.
84. INTERIOR T.V. CONTROL ROOM
The DIRECTOR, BOYS, and NORM and SHAKE see GRANDFATHER on the monitors. They dash out of the room and on to the stage.
DIRECTOR (shouting) It's all right, leave him alone.
PAUL Grandad, where's Ringo?
GRANDFATHER The police have the poor unfortunate lad in the Bridewell.
BOYS The police station.
GRANDFATHER He'll be pulp by now.
JOHN What are we waiting for?
GEORGE Come here.
PAUL, JOHN and GEORGE rush off.
CLOSE-UP DIRECTOR
DIRECTOR We've only got twenty minutes.
85. EXTERIOR STREET OUTSIDE POLICE STATION
PAUL, JOHN and GEORGE come running down the street in single file, their knees high in the air, they skid to a halt at the police station and without pausing they dash inside. After a moment they reappear -- only this time RINGO is behind them. They dash off down the street. They are followed at once by ten POLICEMEN also in single file. They are also pounding along knees high in the air. The BOYS and the coppers disappear around the corner. At once, they reappear from the other direction, then run down the street still followed by the policemen. When they reach the police station another group of police bars their way so they are forced to run up the stairs and inside.
86. INTERIOR POLICE STATION
The DESK SERGEANT is standing behind his desk looking very surprised. At this moment the boys run in and stand panting in front of the desk. Before the SERGEANT can start speaking the pursuing POLICEMEN arrive. They, too, are out of breath.
SERGEANT What is all this?
JOHN (heaving and panting) Hold on until we get our breath.
The BOYS and POLICEMEN pant on until JOHN seems to have recovered.
The Inspector now hustles the BOYS through the crowds and in through the main entrance of the theatre where SHAKE and NORM are waiting. NORM looks suspiciously at RINGO who is still wearing his cap. RINGO whips it off and NORM delightedly hugs him. The BOYS dash through the stalls entrance and on stage. The DIRECTOR sees them and bursts into tears with relief. NORM hustles the lads into the wings to be changed into their show costumes. All around them last-minute preparations are going on.
DIRECTOR Boys, you don't know what this means to me. If you hadn't come back it would have been the epilogue or the news in Welsh for life.
NORM Aren't you supposed to be in that box?
The DIRECTOR gives NORM a final glare and dashes off.
PAUL And another thing, where's that old mixer?
GRANDFATHER Here, Pauly.
And sitting on a box sadly chastened sits GRANDFATHER.
PAUL Well, I got a few things to say to you, two-faced John McCartney.
JOHN Aw, leave him alone Paul, he's back, isn't he? And it's not his fault he's old.
JOHN That's right, but he's only asking us to pay attention to him, aren't you?
From JOHN's P.O.V. we see GRANDFATHER. He looks what he is, a tired old man.
JOHN You see. (to Grandad) You know your trouble -- you should have gone West to America. You'd have wound up a Senior Citizen of Boston. As it is you took the wrong turning and what happened, you're a lonely old man from Liverpool.
We see the audience of girls streaming in and settling down in their places for the show. There is the usual business of getting the show ready and we see SHOTS of the girls' faces, then JOHN, PAUL, RINGO and GEORGE looking at them. At last on cue from the floor manager the BOYS start their act to the audience's screams. During the number we constantly CUT away to the audience with various SHOTS of the ecstatic girls. In the middle of these shots we see NORM standing at the side of the audience his face glowing with satisfaction. We follow his gaze and from NORM'S P.O.V. we see GRANDFATHER handcuffed to SHAKE, but in spite of this, the old man is enjoying himself. The BOYS now perform a medley of numbers, i.e., a little of all the songs we have heard during the story. This gives the impression of a full set and we finish after their bows. While they are doing so they look again in the general direction of SHAKE and GRANDFATHER and from their P.O.V., we see SHAKE is beating time to the music but from his wrist dangles an empty set of handcuffs. GRANDFATHER has gone again. As the BOYS are reacting to GRANDFATHER's disappearance once again, the trap door on the stage opens and GRANDFATHER appears in the centre of the group as they finish their act and take their final bows.
89. INTERIOR STUDIO CORRIDOR
NORM is waiting for the boys. With him are two studio attendants carrying the boys' luggage. As the BOYS excitedly appear he speaks to hem.
NORM I've got the stuff. Come here.
PAUL Aren't we ...
NORM No, we're not!
He hurries them along.
NORM The office was on the phone, they think it'd be better if we pushed straight to Wolverhampton.
JOHN Tonight? We can't make it ...
NORM You've got a midnight matinee.
JOHN Now, look here, Norm ...
NORM No, you look here, John. I've only one thing to say to you.
The boys look in the passenger bay and there is GRANDFATHER. He is still handcuffed to SHAKE but clutching his pile of photos.
GRANDFATHER (beckoning them in with his free hand which holds the photos) Come on, you're hanging up the parade.
The boys shout "Get rid of those things, etc."
91. EXTERIOR FIELD
The final shot is of the helicopter rising up (SHOT FROM BELOW). As it disappears, a shower of photos come from its window.
We cut to a CLOSE-UP of one signed photo as it hits the ground and SUPER the closing credits over it.
Embed
About
Genius Annotation1 contributor
A Hard Day’s Night is a 1964 comedy musical starring The Beatles, that has become the litmus to which all movies starring rock stars are compared. It pretends to document a day in the life of the Fab Four at the height of Beatlemania, while they showcase the songs from the eponymous album – the title track plays in the oft-homaged opening where the Beatles are pursued by a horde of crazed fans on the streets.
Along with critical and financial success, A Hard Day’s Night earned Academy Award nominations for Alun Owen’s script and George Martin’s adapted score.
Expand
+2
Share
Q&A
Find answers to frequently asked questions about the song and explore its deeper meaning