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Hard Days Night A

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? It's been a hard day's night ?
? And I've been workin' Iike a dog ?
? It's been a hard day's night ?
? I shouId be sIeepin' Iike a Iog ?
? But when I get home to you ?
? I find the things that you do ?
? WiII make me feel aII right ?
? You know I work aII day ?
? To get you money to buy you things ?
? And it's worth it just to hear you say ?
? You're gonna give me everything ?
? So why on earth shouId I moan? ?
? 'Cause when I get you aIone ?
? You know I feeI OK ?
? When I'm home ?
? Everything seems to be right ?
? When I'm home ?
? FeeIing you hoIding me tight ?
? Tight, yeah ?
? It's been a hard day's night ?
? And I've been workin' Iike a dog ?
? It's been a hard day's night ?
? I shouId be sIeepin' Iike a Iog ?
? But when I get home to you ?
? I find the things that you do ?
? WiII make me feeI aII right ?
Aah!
? So why on earth shouId I moan? ?
? 'Cause when I get you aIone ?
? You know I feeI OK ?
? When I'm home ?
? Everything seems to be right ?
? When I'm home ?
? FeeIing you hoIding me tight ?
? Tight, yeah ?
? It's been a hard day's night ?
? And I've been workin' Iike a dog ?
? It's been a hard day's night ?
? I shouId be sIeepin' Iike a Iog ?
? But when I get home to you ?
? I find the things that you do ?
? WiII make me feeI aII right ?
? You know I feeI aII right ?
? You know I feeI aII right ?
[Crowd screaming]
Hey, pardon me for askin', but who's that little old man?
-What little old man? -That little old man.
Oh, that one. That's my grandfather.
-Your grandfather? -Yeah.
-That's not your grandfather. -lt is, you know.
But l've seen your grandfather. He lives in your house.
Oh, that's my other grandfather, but he's my grandfather as well.
How do you reckon that one out?
Well, everyone's entitled to two, aren't they?
And this is my other one.
We know that, but what's he doin' here?
Well, my mother thought the trip would do him good.
-How's that? -He's nursin' a broken heart.
JOHN; Ah, poor oId thing.
Hey, mister, are you nursin' a broken heart?
He's a nice old man, isn't he?
He's very clean.
-Hello, grandfather. -Hello.
He can talk then, can he?
Of course he can talk. He's a human being, isn't he?
Well, if he's your grandfather, who knows? Ha ha ha.
And we're lookin' after him, are we?
-l look after meself. -That's what l'm afraid of.
He's got you worried, then?
Him, he's a villain, a real mixer...
and he costs you a fortune in breach of promise cases.
-GEORGE: Get on. -No, straight up.
Hiya.
-Hello, Shake. -Hello, Shake.
-You got on all right, then? -No.
Oh? Well, we're here.
SHAKE; Norm'II be aIong in a minute with the tickets.
Hey, who's the little old man?
lt's Paul's grandfather.
-Oh, aye, but l thought-- -No, that's his other one.
Oh, that's all right, then.
Clean, though, isn't he?
Oh, aye. He's very clean.
-NORM: Mornin', lads. -Hi, Norm.
Thank God you've all got here. Look, l've had a marvelous idea.
Just for once, let's all try to behave...
like ordinary respectable citizens.
Let's not cause any troubIe, puII any strokes...
or do anything l'm gonna be sorry for...
especially tomorrow in that television theater, because--
Are you listening to me, Lennon?
You're a swine. lsn't he, George?
Yeah, a swine.
Thanks. Hey!
ALL: Who's that little old man?
-Well, who is he? -He belongs to Paul.
Oh, well. l'm going down for a cup of coffee.
-Anyone coming? -We'll follow you down.
l want me coffee.
You can come with Shake and me, if you like.
PAUL; Look after him. I don't want to find you've Iost him.
Don't be cheeky. l'll bind him to me with promises.
Very clean, isn't he? Come out, granddad.
Make up your mind, will you?
Hello. Morning.
All right?
Whoa.
Do you mind if we have it open?
Yes, l do.
Well, there are four of us, and we'd like it open...
not if it's all the same to you, that is.
lt isn't. l travel on this train regularly...
twice a week, so l suppose l have some rights.
So have we.
[Playing rock and roll]
And we'll have that thing off as well. Thank you.
-[Turns off] -But--
An elementary knowledge of the Railway Acts...
would tell you that l am perfectly within my rights.
Yeah, but we want to hear it. There's more of us than you.
We're a community, a majority vote.
Up the workers and all that stuff.
Then l suggest you take that damn thing...
into the corridor, or some other part of the train...
where you obviously belong.
Give us a kiss.
Look, mister, we paid for our seats, too, you know.
l travel on this train regularly, twice a week.
Knock it off, Paul. You can't win with his sort.
After all, it's his train, isn't it, mister?
And don't take that tone with me, young man.
l fought the war for your sort.
l bet you're sorry you won.
-l shall call the guard. -Ah, but what?
They don't take kindly to insults, you know.
Let's go have some coffee and leave the kennel to Lassie.
[Door closes]
PAUL; Hey, mister, can we have our baII back?
PAUL; Look, mister! Mister! Can we have our baII back?
-JOHN; Hey! -PAUL; PIease, mister!
-You want to watch it. -Well, it's not my fault.
You stick to that story, son.
l can't help it. l'm just taller than you are.
They always say that.
Well, l've got me eye on ya.
l'm sorry, Norm. l can't help being taller than you.
Well, don't rub it in! l've a good mind to thump you, Shake.
lf you're gonna have a barney, can l hold your coat?
-He started it. -l did not. You did.
Well, what happened?
The old fella said that...
could he have these pictures, and Norm said, ''No.''
And all l said was, ''Well, why not be big about it?''
-And? -Your grandfather pointed out...
that Shake was always being taller than me just to spite me.
l knew it. He started it.
-PAUL; I shouId've known. -NORM; You what?
You two have never had an argument in your life...
and in two minutes fIat, he's got you at it.
He's a king mixer.
He hates group unity, so he gets everyone at it.
Well, l suggest you just give him the photos...
and have done with it.
Oh, all right, you old devil. Here you are.
Hey, Pauly, would you ever sign one of them for us?
Ah, come out, Shake.
JOHN; Hey, Iook at the taIent. Let's give 'em a puII.
-Should l? -Aye, but don't rush.
None of your five bar gate jumps and over sort of stuff.
-What's that supposed to mean? -l don't know.
l thought it just sounded distinguished-like.
JOHN; George Harrison, the scouse of distinction.
Excuse me, madame.
Excuse me, but these young men l'm sitting with...
wondered if two of us could come over and join you.
l'd ask you myself, only l'm shy.
l'm sorry, miss. You mustn't fraternize with me prisoners.
-Prisoners? -Convict in transit.
Typical old lads, the lot of them.
Get out, Iadies! Get out whiIe you can!
He's been gone a long time.
-Who? -Paul's grandfather.
Oh, l didn't notice. Where'd he go?
-Down the, uh.... -Oh, down the, uh...
Yeah, down the, uh...
Oh, well, give him a couple of minutes, then.
Hey, have you seen Paul's grandfather?
Of course. He's concealed about me person.
Now, he must've slipped off somewhere.
-Have you lost him? -Now, don't exaggerate.
You've lost him!
Look, put it this way, Pauly-- he's mislaid him.
Honest, you can't trust you with anything, Norm.
lf you've lost him, l'll cripple ya.
-He can't have got far. -Let's look up the sharp end.
What's the matter with you, then?
lt's his grandfather.
l can tell he doesn't like me. lt's 'cause l'm little.
You've got an inferiority complex, you have.
Yeah, l know. That's why l play the drums.
lt's me active compensatory factor.
Goin' in, then?
No, she'll only reject me in the end...
and l'll be frustrated.
You never know. You may be lucky this time.
No, l know the psychological pattern.
lt plays havoc with me drum skins.
Excuse me. Have you seen that little old man we were with?
We've broken out-- the blessed freedom of it all.
Have you got a nail file? These handcuffs are killing me.
l was framed! l'm innocent! l don't want to go!
Sorry for disturbing you, girls.
l bet you can't guess what l was in for.
Should we go in here?
No, it's probably a honeymoon couple...
or a company director or something.
Well, l don't care. l'm gonna broaden my outlook.
Congratulate me, boys. l'm engaged.
PAUL; Oh, no, you're not. Not this time.
PAUL; Oh, no, you're not. Not this time.
And to think me own grandson...
would've let them put me behind bars.
Don't dramatize. Let's face it, you're lucky to be here.
lf they'd have had their own way...
you would have been dropped off already.
Well, you've got to admit you upset a lot of people.
PAUL; At Ieast I can keep my eye on you...
whiIe you're stuck in here.
Shove up.
-Odds or evens? -Odds.
JOHN; Don't worry, son.
We'll get you the best lawyer green stamps can buy.
PAUL; Oh! It's a Iaugh a Iine with Lennon.
Anyway, it's your fault.
-RlNGO: Why me? -Why not you?
JOHN: God, it's depressing in here, isn't it?
Funny. They usually reckon dogs more than people in England.
You'd expect something more palatial.
-Let's do somethin', then. -Like what?
Hmm.
OK.
[Girls laughing]
GEORGE: Cor, there's the girls.
RlNGO: l'll deal 'em.
JOHN; Aye aye, the LiverpooI shuffIe.
Two for you, two for me, three for them.
Cheat.
? I... ?
? ShouId have known better with a girI Iike you ?
? That I wouId Iove everything that you do ?
? And I do ?
? Hey, hey, hey ?
? And I do ?
? Whoa, whoa, l... ?
? Never realized what a kiss could be ?
? This could only happen to me ?
? Can't you see, can't you see ?
? That when l tell you that l love you ?
? Oh ?
? You're gonna say you love me, too ?
? Oh ?
? And when l ask you to be mine ?
? You're gonna say you love me, too ?
? So, oh, l... ?
? Should have realized a lot of things before ?
? lf this is love, you gotta give me more ?
? Give me more, hey, hey, hey ?
? Give me more ?
? Whoa, whoa, l... ?
? Never realized what a kiss could be ?
? This could only happen to me ?
? Can't you see, can't you see ?
? That when l tell you that l love you ?
? Oh ?
? You're gonna say you love me, too ?
? Oh ?
? And when l ask you to be mine ?
? You're gonna say you love me, too ?
? You love me, too ?
? You love me, too ?
? You love me, too ?
GEORGE; He's wearin' his Iucky rings.
All mine.
JOHN; It won't buy you happiness, my son.
[Screaming]
Hey, don't move, any of you.
They've gone potty out there. The place is surging with girls.
Please, sir, can l have one to surge me, sir, please, sir?
No, you can't. Now listen.
As soon as l tell you, get out through this door there...
into that big car that's waiting.
[Girls screaming]
[Screaming]
Come on, lads. Come on, then!
[Train whistle blows]
[Screaming]
[Piano playing]
-l don't snore. -You do, repeatedly.
Do l snore, John?
Yeah, you're a window rattler, son.
That's just your opinion. Do l snore, Paul?
With a trombone hooter like yours...
it would be unnatural if you didn't.
Now, Pauly, don't mock the afflicted.
Oh, come off it. lt's only a joke.
Ah, it may be a joke, but it's his nose.
He can't heIp havin' a hideous great hooter...
the poor IittIe head trembIin' under the weight of it.
John, Paul, George, come here. Get at it.
Hello, the income tax have caught up with us at last.
-None for me, then? -Sorry.
This'll keep you busy.
lt's your nose, you know. Fans are funny that way.
They take a dislike to things. They'll pick on a nose.
-Ah, you pick on your own. -Hey, here.
-Are those yours? -No, they're for Ringo.
Must've cost you a fortune in stamps, Ringo.
He comes from a large family.
Well...
What's Le Cirque Club?
''The management of Le Cirque Club...
''takes pleasure in requesting the company...
''of Mr. Richard Starkey...'' That's you.
''To their gaming rooms--
''chemin de fer, baccarat, and champagne buffet.''
-They want me? -JOHN: You're a big spender.
-Well, you're not goin'. -Aw.
Quite right. lnvites to gamblin' dens...
full of easy money and fast women...
chicken sandwiches and cornets of caviar.
Disgustin'.
-That's mine. -Come on, you lot.
-Get your pens out. -Why?
lt's homework time for you load of college puddings.
l want this lot answered tonight.
-Yeah, right. -l want to go out.
NORM; Now, I'II brook no deniaI.
You couldn't get a pen in your foot, you swine.
Oh, chatter on, son. Chatter on.
A touch of the writer's cramp will soon sort you out.
Come on, Shake.
-Ta ta, then. -See ya.
[John humming and chuckling]
-Where are you goin', then? -He told us to stay, didn't he?
-Come, men! -Right.
[All mumbling]
Couldn't we get a taxi?
PAUL AND RlNGO: No, we couldn't get a taxi.
[Laughing]
-[Knock knock] -Come in.
-l'll clear up, sir. -Yeah.
? I wanna be your man ?
? I wanna be your man ?
? I wanna be your man ?
? I wanna be your man ?
? TeII me that you Iove me, baby ?
? Let me understand ?
? TeII me that you Iove me, baby ?
? I wanna be your man ?
? I wanna be your Iover, baby ?
? I wanna be your man ?
? I wanna be your Iover, baby ?
? I wanna be your man ?
? I wanna be your man ?
? I wanna be your man ?
? I wanna be your man ?
? I wanna be your man ?
Wow! Wow!
DEALER; Banco.
MAN; Banco. Suivais.
Banco.
WOMAN; Suivais.
AIors, monsieur.
Soufflé.
l bet you're a great swimmer.
My turn?
Bingo.
Pas bingo, monsieur. Banco.
Ah, l'll take the little darlings, anyway.
Two and one is three, carry one is four.
Huit...
et sept.
? I can't beIieve that she wouId Ieave me on my own ?
? It's just not right when every night I'm aII aIone ?
? I've got no time for you right now ?
? Don't bother me ?
? I know I'II never be the same ?
? If I don't get her back again ?
? Because I know she'II aIways be ?
? The onIy girI for me ?
Bingo.
? CIose your eyes, and I'II kiss you ?
? Tomorrow, I'II miss you ?
? Remember I'II aIways be true ?
? And then whiIe I'm away ?
? I'II write home every day ?
? And I'II send aII my Iovin' to you ?
? I'II pretend that I'm kissing ?
? The Iips I am missing ?
? And hope that my dreams wiII come true ?
? And then whiIe I'm away ?
? I'II write home every day ?
? And I'II send aII my Iovin' to you ?
? AII my Iovin' ?
? I wiII send to you ?
? AII my Iovin', darIin', I'II be true ?
[No audio]
[No audio]
? CIose your eyes, and I'II kiss you ?
? Tomorrow, I'II miss you ?
? Remember I'II aIways be true ?
? And then whiIe I'm away ?
? I'II write home every day ?
? And I'II send aII my Iovin' to you ?
[Voices in hallway]
[Voices in hallway]
The manager.
[All talking at once]
Now, come on, you lot. Get on with it.
-We were gonna do 'em, but-- -Aye. Well, now, now, now.
Hey, any of you lot put a man in the cupboard?
-A man? -Don't be soft.
Well, somebody did.
He's right, you know.
There you go.
Hey, uh...
Hey, what's all this?
PAUL: Oh, him. He's been lurking.
He looks a right lurker, doesn't he?
You're undressed. Where are your clothes?
The old gentleman.
He borrowed them to go gambling at Le Cirque.
He's gone to my club, has he?
-Yeah! lt's all your fault. -RlNGO: What?
Gettin' invites to gambling clubs and all that.
He's probably in the middle of some orgy by now.
JOHN: An orgy? Orgy! Ha ha ha!
-But what about me? -You're too old.
Encore de champagne, monsieur?
Oh, yeah. And l'll have some more champagne, as well.
Lord John McCartney, millionaire lrish peer.
Filthy rich, of course.
Well, l don't know. He looks quite clean to me.
Come on, you lot. Try to act with a bit of decorum.
This is a posh place.
JOHN; We know how to behave. We've had Iessons.
l'm sorry, sir. Members and invited guests only.
-Aye. Well, uh... -Oh, yes.
l'm with them. l'm Ringo's sister.
Excuse me. Have you got a little old man here?
Do you mean Lord McCartney?
Oh, he's at it again.
Look, l'm his grandfather. l mean...
WOMAN: Oh, it must be the dolly floor show.
GRANDFATHER; Put me down!
Who are these ruffians? l never saw them before.
MANAGER; Before you go, gentIemen...
there's a IittIe matter of the biII.
l'll take care of that.
A hundred and eighty pounds?
l beg your pardon--guineas.
WAITER; Your winnings, my Iord--£1 90.
Ha!
-What about me change? -Cloak room charge.
Ah, well, easy come, easy go.
Well?
Guten morgen, mein herr.
[Speaking German]
[lmitates engine rewing]
Ah, ze filthy Englander. Guten morgen.
Keep Britain tidy.
-Aw, go on, George. -Don't be ridiculous.
But you said l could.
Honestly, me mind boggles at the very idea.
A grown man, and you haven't shaved with a safety razor.
lt's not my fault. l come from a long line of electricians.
Well, you're not practicing on me.
All right, then. But show us.
Oh, come on, then.
Aah hee hee ho!
Ooh.
[Gasps]
? Rule, Britannia, Britannia rules the-- ?
Put your tongue away. lt looks disgusting...
hanging there all pink and naked.
-One slip of the razor, and... -Ooh!
[John humming Deutschland Uber Alles]
Help! lch! Headphones! Help me!
[Blows bubbles] Help!
Torpedoed again, eh?
Come on, lads.
There's a car waiting to take you to the studio.
-Hey, where's John? -ln the bath.
All right, Lennon, let's have you.
Come on, John. Stop larking about.
John? John?
John? John?
What are you messing around with that boat for?
There's a car waiting. Come on.
Ready, John? As soon as we draw up...
open that door and straight in.
[Shrieking]
We can't keep them waiting much longer.
-l knew they'd be late. -Oh, here they are.
-Boys, come on. -Where have you been?
lt's your press conference we're arranging.
NORM: All right. Give us a couple of shakes...
to get our breath, will you?
JOHN: Hey, l've got a suit just like him, you know.
MAN: Ringo. Yeah.
l don't like the handkerchief.
l always have the handkerchief in me trouser pocket.
You can't blow your nose on it up there, can you, mister?
MAN; No, you can't.
[Crowd chattering]
REPORTER; How about highbrow music?
GEORGE; I've aIways Iiked that question.
JOHN; I never noted his nose tiII about six months ago.
GEORGE; And me mother asked me before we Ieft for America...
if we wanted any sandwiches.
JOHN; And when I pIugged her in, she just bIew up.
Tell me-- how did you find America?
Turn left at Greenland.
-Has success changed your life? -Yes.
l'd like to keep Britain tidy.
-Are you a mod or a rocker? -Um, no, l'm a mocker.
[Laughs] Oh.
Have you any hobbies?
No. Actually, we're just good friends.
Do you think these haircuts have come to stay?
Well, this one has, you know.
lt's stuck on good and proper now.
Frightfully nice.
What would you call that hairstyle you're wearing?
Arthur.
No. Actually, we're just good friends.
No, they're brown, aren't they?
What do you call that collar?
-Oh. A collar. -Oh.
Do you often see your father?
No. Actually, we're just good friends.
How do you like your girlfriends to dress?
Ha ha!
-JOHN; What a drag that was. -GEORGE; I'm starving.
Didn't even get a jam butty, did you?
Anything left?
We've just finished, Pauly.
Hey, George, give us your John Henry on that picture.
Hey, look at that. ls that our set down there?
-ShaII we go down, have a go? -RINGO; Yeah.
-Trees and everything. -A lot of fellas for one set.
Look, it's a bird.
Just passing through, like.
-Where are they? -On the stage, down here.
[Chattering]
[Hits cymbal]
Leave them drums alone.
MAN: Oh, surely l could just have a little touch.
You so much as breathe heavy on them...
and l'm out on strike.
Aren't you being rather arbitrary?
There you go, hiding behind a smoke screen...
of bourgeois cliches.
l don't go messing about with your earphones, do l?
-Spoilsport. -Well?
He's very fussy about his drums, you know.
They loom large in his legend.
-What's up? -Oh, he's sulking again.
JOHN; Ha ha ha! I'II show him.
? lf l fell in love with you ?
? Would you promise to be true ?
? And help me ?
? Understand ?
? 'Cause l've been in love before ?
? And l found that love was more ?
? Than just holding hands ?
? If I give my heart ?
? To you ?
? l must be sure ?
? From the very start ?
? That you ?
? Would love me more than her ?
? lf l trust in you ?
? Oh, please ?
? Don't run and hide ?
? lf l love you, too ?
? Oh, please ?
? Don't hurt my pride like her ?
? 'Cause l couldn't stand the pain ?
? And l ?
? Would be sad if our new love ?
? Was in vain ?
? So l hope you'll see ?
? That l ?
? WouId Iove to Iove you ?
? And that she ?
? Will cry ?
? When she learns we are two ?
? 'Cause l couldn't stand the pain ?
? And l ?
? WouId be sad if our new Iove ?
? Was in vain ?
? So l hope you see ?
? That l ?
? Would love to love you ?
? And that she ?
? Will cry ?
? When she learns we are two ?
? lf l fell in love with you ?
Pardon me. Excuse me. Pardon me. More--l'd like more drums there.
-No. l think it's on that... -lt sounds like a...
On the third bit. You know, on the third bit.
Third bit, more bang.
[Plays]
Right. Let's hear no more about it. You're probably right.
Now, look...
if you think l'm unsuitable, let's have it out in the open.
l can't stand these backstage politics.
Aren't you tending to black and white the situation somewhat?
Well, quite honestly, l wasn't expecting a musical arranger...
to question my ability picture-wise.
l could listen to him for hours.
What's all this about a musical arranger?
Mr. McCartney Senior.
Hey, Paulie, they're trying to fob you off...
with this musical charlatan, but l gave him the test.
DIREC TOR; I'm quite happy to be repIaced.
GRANDFATHER; He's a typicaI buck-passer.
-l won an award. -JOHN: A likely story.
lt's on the wall in my office.
Hello, our lot. Everybody happy?
NORM; AII right, aII right. If you don't need them...
l'll lock them up in the dressing room.
Please do. l'll not need them for half an hour.
Thank you.
Get me a bottle of milk and some tranquilizers.
l see it all now. lt's a plot--a plot.
Tranquilizers.
Come back, you lot. l've got the key.
Come back, Ringo.
Uhh.
-Hello. -Come on.
Leslie Jackson? l saw your father...
in the old empire in nineteen hundred and nine.
Ah, if you're as good as him, son, you're all right.
Gear costume.
-Swap? -Cheeky.
NORM; Come, Iads. First door, and no messing about.
Lennon, put them girls down, or l'll tell your mother of you.
NORM; And stop messing about.
Stay in here until that rehearsal.
I'm going to keep you in, even if I have to put...
the Iock in the key and turn it.
We're out!
We're out!
? Can't buy me Iove ?
? Love ?
? Can't buy me Iove ?
? I'II buy you a diamond ring, my friend ?
? If it makes you feeI aII right ?
? I'II get you anything, my friend ?
? If it makes you feeI aII right ?
? 'Cause I don't care too much for money ?
? Money can't buy me Iove ?
? I'II give you aII I've got to give ?
? If you say you Iove me, too ?
? I may not have a Iot to give ?
? But what I got I'II give to you ?
? I don't care too much for money ?
? Money can't buy me Iove ?
? Can't buy me Iove ?
? Everybody teIIs me so ?
? Can't buy me Iove ?
? No, no, no, no ?
? Say you don't need no diamond rings ?
? And I'II be satisfied ?
? TeII me that you want the kind of things ?
? That money just can't buy ?
? I don't care too much for money ?
? Money can't buy me Iove ?
? Ow! ?
? Can't buy me Iove ?
? Everybody teIIs me so ?
? Can't buy me Iove ?
? No, no, no, no ?
? Say you don't need no diamond rings ?
? And I'II be satisfied ?
? TeII me that you want the kind of things ?
? That money just can't buy ?
? I don't care too much for money ?
? Money can't buy me Iove ?
? Can't buy me Iove ?
? Love ?
? Can't buy me Iove ?
MAN: l suppose you realize this is private property.
Sorry we hurt your field, mister.
Not here. Hello, Dicky.
Probably gone to the canteen-- cup of tea, like.
No, that's too easy for Lennon.
He's out there somewhere...
causing trouble just to upset me.
You're imagining it, Norm.
You're letting it prey on your mind.
No. This is a battle of nerves between John and me.
But John hasn't got any.
-What? -Nerves.
No. That's just the trouble.
l've toyed with the idea of a ball and chain...
but he'd just rattle them at me--and in public, too.
Sometimes l think he enjoys seeing me suffer.
-Hello. -Hello.
-Wait a minute. Don't tell me-- -No, l'm not.
-Oh, you are. -l'm not.
-Oh, you are. l know you are. -l'm not. No.
-You look just like him. -Do l?
You're the first one that's said that ever.
Yes, you do. Look.
-No. Me eyes are lighter. -Excuse me.
All right, noddy.
-Oh, yes. Your nose is, very. -Me nose.
-ls it? -Well, l would've said so.
Oh, you know him better, though.
l do not. He's only a casual acquaintance.
-That's what you say. -What have you heard?
-lt's all over the place. -ls it? ls it really?
Mmm, but l wouldn't have it. l stuck up for you.
-l knew l could rely on you. -Thanks.
You don't look like him at all.
She looks more like him than l do.
P.A.; There wiII be a fuII rehearsaI...
in ten minutes time.
Ten minutes from now, a fuII rehearsaI.
DOLLY; Oh, there you are.
Oh, sorry. Must've made a mistake.
No, you haven't. You're just late.
l am?
Actually, l think he'll be very pleased with you.
Will he?
DOLLY; Yes. You're quite a feather in the cap.
Hello?
l've got one.
Oh, l think so.
Yes, he can talk.
DOLLY; WeII, I think you ought to see him.
Yes. All right.
Come on.
GEORGE: Sorry.
You don't see many of these nowadays, do you?
[Rattles]
DOLLY; Come on.
Simon, will this do?
Oh, not bad, Dolly-- not really bad.
Turn around, chickie baby.
SIMON; Oh, yes, he's a definite poss.
He'II Iook good aIongside Susan.
All right, Sonny Jim, this is all going to be quite painless.
Don't breathe on me, Adrian.
GEORGE; I'm terribIy sorry...
but there seems to be some sort of misunderstanding.
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.
l'm afraid l don't understand.
Oh, my God. He's a natural.
Well, l did tell them not to send us real ones.
They ought to know the phonies are much easier to handle.
Still, he's a good type.
We'd like you to give us your opinion...
on some clothes for teenagers.
Oh, by all means.
l'd be quite prepared for that eventuality.
Well, not your real opinion, naturally.
lt'll be written out, and you'll learn it.
-Can he read? -Of course l can.
l mean lines, ducky. Can you handle lines?
-Well, l'll have a bash. -Good.
Give him whatever it is they drink. A coke-a-rama?
Ta.
Well, at least he's polite. Show him the shirts, Adrian.
SIMON; Now, you'II Iike these.
You'll really dig them.
They're fab and all the other pimply hyperboles.
l wouldn't be seen dead in them. They're dead grotty.
-Grotty? -Yeah, grotesque.
Make a note of that word and give it to Susan.
lt's rather touching, really.
Here's this kid...
trying to give me his utterly valueless opinion...
when l know for a fact that within a month...
he'll be suffering from a violent inferiority complex...
and loss of status...
because 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.
l won't.
You can be replaced, chickie baby.
l don't care.
And that pose is out, too, Sonny Jim.
The new thing is to care passionately and be right wing.
Anyway, if you don't cooperate, you won't meet Susan.
And who's this Susan when she's at home?
Only Susan Campy our resident teenager.
You'll have to love her. She's your symbol.
Oh, you mean that posh bird who gets everything wrong?
l beg your pardon.
Oh, yeah, the lads frequently sit round the television...
and watch her for a giggle.
ln fact, once we all sat down and wrote these letters...
saying how gear she was and all that rubbish.
She's a trendsetter. lt's her profession.
She's a drag-- a well-known drag.
We turn the sound down on her and say rude things.
-Get him out of here. -Have l said something amiss?
Get him out. He's knocking the program's image.
-Sorry about the shirts. -Get him out!
You don't think he's a new phenomenon, do you?
You mean an early clue to the new direction?
[Snaps fingers] Where's the calendar?
Oh, no, no, no. lt's all right. He's just a troublemaker.
The change isn't due for three weeks yet.
All the same, make a note not to extend Susan's contract.
And let's not take any unnecessary chances, hmm?
[Singing in German]
[Singing in German]
[Singing continues]
So l explained to my mother that he was a very clean man.
She was quite pIeased.
[Chorus singing in German]
[Footsteps]
-NORM; There's no one here. -SHAKE; No one here?
SHAKE; WeII, where have they gone?
[Motor revs]
[Man and woman singing long high note]
[Both sing and stop]
That's wrong, isn't it?
Surely, that's wrong. No, not you.
DIREC TOR O VER P.A.; Get him out!
[Voices in corridor]
There's someone coming. Quick, hide.
Stop being taller than me.
-lt's not my fault-- -Shh!
JOHN: Ha ha ha ha!
-What are you doing here? -Hiding.
You must be soft or something.
Well, we weren't hiding. We were resting.
l thought l told you lot to stop here.
RINGO; WeII?
When l say stay put, l mean stay put.
Don't cane me, sir. l was led astray.
Oh, shut up, John. They're waiting for you in the studio.
Gear. l'm dying to do a bit of work.
NORM; WeII, God bIess you, Ringo.
-Oh, listen to teacher's pet. -Crawler.
-Betrayed the class, eh? -Aw, lay off.
-Temper, temper. -Well?
Will you get a move on? They're waiting for you.
Sorry.
[Woman's voice] l now declare this bridge open.
DlRECTOR: Where are they, hmm?
Where are they?
Where are they?
-They're coming. -Hmm?
They're coming, l promise you.
Ah, yes, well...
if they aren't on this floor in thirty seconds...
there'll be trouble, understand me?
Trouble.
Standing about, eh?
Some people have it dead easy.
Once you're over thirty, you're past it.
lt's a young man's medium. l just can't stand the pace.
-Oh, you're as young as that? -l was.
JOHN; Ah, there he goes. Look at him.
I bet his wife doesn't know about her.
He hasn't even got a wife. Look at his sweater.
PAUL; [Laughs] You never know. She might've knitted it.
JOHN; She's knitted him.
DIREC TOR; Right. Standby. Run through a number...
and try not to jiggIe out of position.
Hello, three? Coming to you.
Three. Three, coming to you. Three.
-MAN: We're on three. -What?
-We're on three. -Oh, yes.
DIREC TOR; Uh, music.
? I give her aII my Iove ?
? That's all l do ?
? And if you saw my love ?
? You'd love her, too ?
? l love her ?
? She gives me everything ?
? And tenderly ?
? The kiss my lover brings ?
? She brings to me ?
? And l love her ?
? A Iove Iike ours ?
? Could never die ?
? As long as l ?
? Have you near me ?
? Bright are the stars that shine ?
? Dark is the sky ?
? l know this love of mine ?
? Will never die ?
? And l love her ?
? Bright are the stars that shine ?
? Dark is the sky ?
? l know this love of mine ?
? Will never die ?
? And l love her ?
DIREC TOR; Thank you. Very nice.
Makeup?
No, not really. They don't need any.
They'll just powder them off for the shine.
Oh, well, yes. Norm, would you take them down to makeup...
and powder them off-- the shine.
Sure.
You blinked.
-NORM: Come on. Come in. -Hello, lads.
Hey, your grandfather's not talking to me.
l think he's got a sulk on.
lt must be catching on. He's given it to Ringo here.
Stop picking on him, George.
l don't need you to protect me, you know, Norm.
Got a touch of the swine fever, haven't you?
-No. Come on, lads. Sit down. -This is impossible.
-We'll never get them all done. -Then do us first.
lt doesn't matter to them whether they're made up or not.
By the way, what's that?
My name's Betty.
Do you want a punch up your frogged tunic?
No.
John, behave yourself, or l'll murder you.
Shake, take that wig off. lt suits you.
-Ringo, what are you up to? -Page five.
You always fancied yourself as a guardsman, didn't you?
Oh, that this too, too solid flesh would melt.
Zap!
Hey, you won't interfere with the basic rugged concept...
of me personality, will you, madam?
Hey, he's reading the Queen. That's an in-joke, you know.
Shazam!
lt's my considered opinion that you're a bunch of sissies.
-You're just jealous. -Leave him alone, Lennon...
or l'll tell them all the truth about you.
-You wouldn't. -Oh, l would, though.
l thought l was supposed to be getting a change of scenery...
and so far, l've been in a train and a room...
and a car and a room and a room and a room.
WeII, maybe that's aII right...
for a bunch of powdered geegaws Iike you Iot...
but I'm feeIing decidedIy straight-jacketed.
What a clean old man.
Ah, don't press your luck.
JOHN; He's sex obsessed.
The older generation are leading this country...
to galloping ruin.
What's a pretty girl like you doing in a place like this?
They're nearly ready for you. Just finishing the band call.
[Piano music playing]
l say, did you go to Harrods? l was there in '58, you know.
-l can get you on the stage. -Oh, how?
You turn right here at the corridor...
and go past the fireplace.
Ah, l don't like yours.
[Piano playing l'm Happy Just to Dance With You]
[Piano playing l'm Happy Just to Dance With You]
[Plays along]
JOHN; Hey, kids, I got an idea.
Well, why don't we do the show right here? Yeah!
[Laughs]
JOHN; Two, three, four.
? Before this dance is through ?
? l think l'll love you, too ?
? l'm so happy when you dance with me ?
? l don't want to kiss or hold your hand ?
? lf it's funny, try and understand ?
? There is really nothing else l'd rather do ?
? 'Cause l'm happy just to dance with you ?
? l don't need to hug or hold you tight ?
? I just want to dance with you aII night ?
? ln this world there's nothing l would rather do ?
? 'Cause l'm happy just to dance with you ?
? Just to dance with you ?
? ls everything l need ?
? Oh, oh ?
? Before this dance is through ?
? l think l'll love you, too ?
? l'm so happy when you dance with me ?
? If somebody tries to take my pIace ?
? Let's pretend we just can't see his face ?
? In this worId there's nothing I wouId rather do ?
? 'Cause I'm happy just to dance with you ?
? Just to dance with you ?
? Oh ?
? ls everything l need ?
? Oh, oh ?
? Before this dance is through ?
? l think l'll love you, too ?
? l'm so happy when you dance with me ?
? lf somebody tries to take my place ?
? Let's pretend we just can't see his face ?
? ln this world there's nothing l would rather do ?
? I've discovered I'm in Iove with you ?
? Oh, oh ?
? 'Cause l'm happy just to dance with you ?
? Oh, oh ?
? Oh, oh ?
? Oh ?
JOHN; Oh. Very good, that, George.
-Oh. -Oh.
Well, we're trying.
JOHN: Yeah, keep trying. Let's go. Come on.
NORM: That was great, lads.
Now, you've got about an hour, but don't leave the theater.
Where are you going, John?
She's going to show me her stamp collection.
PAUL: So's mine.
NORM; John, I'm taIking to you.
This final run-through is important, understand?
lmportant.
[Oink oink]
-l want a cup of tea. -Uh, Shake?
l've got to adjust the decibels on the inbalance, Norm.
Clever. George?
Ringo, look after him, will you?
-Oh, hey, Norm. -Do l have to raise my voice?
All right. Come on, granddad.
I'm a drummer, not a wet nurse, you know.
GRANDFATHER; WouId you Iook at him...
sitting there with his hooter scraping away at that book.
Well, what's the matter with that?
Have you no natural resources of your own?
Have they even robbed you of that?
-You can learn from books. -You can, can you?
Ahh. Sheeps' heads.
You could learn more by getting out there and living.
-Out where? -Any old where.
But not our little Richard. Oh, no.
When you're not thumping them pagan skins...
you're tormenting your eyes with that rubbish.
-Books are good. -Parading's better.
Parading?
Parading the streets...
trailing your coat, bowling along--living!
-Well, l am living. -You? Living?
When was the Iast time you gave a girI...
a pink-edged daisy?
When did you Iast embarrass a SheiIa...
with your cooI appraising stare?
You're a bit old for that sort of chat, aren't you?
Well, at least l've got a backlog of memories.
All you've got is that book.
Ah, stop picking on me. You're as bad as the rest of them.
Ah, so you are a man after all.
What's that mean?
Do you think l haven't noticed?
Do you think l wasn't aware of the drift?
You poor, unfortunate scruff.
They've driven you into books...
with their cruel, unnatural treatment...
expIoiting your good nature.
l don't know.
Ah, that lot's never happier unless they're jeering you.
And where would they be...
without the steady support of your drum beat?
That's what l'd like to know.
Yeah. That's right.
And what's it all come to in the end?
Yeah. What's in it for me?
A book.
Yeah, a bloomin' book.
When you could be out there...
betraying a rich American widow...
or sipping palm wine in Tahiti before you're too old like me.
Yeah, funny, really, 'cause l never thought...
but being middle-aged and old...
takes up most of your time, doesn't it?
You're only right.
Where are you going?
l'm going parading before it's too late.
Hey, Ringo, you know what just happened to me?
No, l don't.
You ought to stop looking so scornful.
lt's twisting your face.
Tell him of the story about--
Hello, here he is, the middle-aged boy wonder.
l thought you were looking after the old man.
We've only got half an hour to the final run-through.
He can't walk out on us now.
Can't he? He's done it, son.
-Hey, you know what happened? -We know.
Your grandfather. He's stirred him up.
He hasn't.
Yeah, he--he filled his head with notions seemingly.
The old mixer. Come on, we'll have to put him right.
P.A.; Coming up, aII dancers onstage for rehearsaI, pIease.
JOHN: Split up and look for him.
We've become a limited company.
l'll look in here again.
[This Boy playing]
-Aah! -Aah!
-Hello there. -Get out of it, shorty.
Hey, you should have more sense...
than to go around chucking bricks about.
Southerner.
Here, mate. That's my hoop. Stop playing with it.
Hoop? That isn't a hoop. lt's a lethal weapon.
-Have you got a license for it? -Oh, don't be so stroppy.
Well, a boy your age rolling hoops at people.
-How old are you, anyway? -Eleven.
-l bet you're only 1 0 1 /2. -1 0 2/3.
There you are, then, and don't be rolling at people.
Oh, you can have it. l'm packing it in. lt depresses me.
-Y'what? -You heard. lt gets on my wick.
That's lovely talk, that is. And why aren't you at school?
-l'm a deserter. -Are you now?
-Yeah, l've blown school out. -Just you?
No, Ginger, Eddy Fallon, and Ding Dong.
-Oh, Ding Dong bell, eh? -Yeah, that's right.
They was supposed to come with us, but they chickened.
RINGO; Yeah? And they're your mates, are they?
Yeah.
RINGO; Not much cop without 'em, is it?
-Oh, it's all right. -Yeah? What are they like?
BO Y; Ginger's mad. He says things aII the time.
And Eddy's good at spitting and punching.
Yeah? How about Ding Dong?
Oh, he's a big head. He fancies himself, you know.
He's aII right, though, 'cause he's one of the gang.
Hmm.
-Why aren't you at work? -l'm a deserter, too.
-Oh. -Hey, Charlie!
See ya!
MAN; Come in, number seven. Your time's up.
l'm sorry, boys. l didn't mean it, honest.
lf he says that again, l'll strike him.
Oh, don't worry. They're good lads. They'll be back.
Well, we've only twenty minutes to the final run-through.
l meant no harm.
l was only trying to encourage little Ringo to enjoy himself.
God knows what you've unleashed on the unsuspecting south.
lt'll be wine, women, and song all the way with Ringo...
when he gets the taste for it.
That was fresh this morning. Two and nine.
[Parrot screeching]
-Right. On your way. -You what?
You heard. On your way. Troublemaker!
Hey, watch it!
-Shake. -What?
Worry, will you?
Well, that's it. Two minutes to the final run-through.
-They're bound to miss it now. -l'll murder that Lennon.
We could survive a missed run-through as long as they--
SHAKE; As Iong as they end up for the show?
Oh, you're right there. I mean, it wouIdn't do...
to miss the show, Iike, wouId it?
NORM; Shut up, cheerfuI.
You don't think-- Oh, oh, oh no.
-Now, look, don't worry. -They can't do this to me, no.
lt's all your fault. Oh, yes, it is.
lf they don't turn up l wouldn't be in your shoes...
For all the tea in China.
Oh, you're right there. Neither would it.
-You dirty traitor. -Well, of course.
Yes, of course.
BEATLES; ? I have been working Iike a dog ?
-Hello. -Hi, John. John!
-Did you want something? -l could eat the lot of you.
You'd look great with an apple in your gob.
Do you realize you could have missed the final run-through?
Oh, we're sorry about that.
Norm? There's only three of 'em.
Oh, we were looking for Ringo...
but we realized he must've come back here.
Well, do you realize that we are on the air live...
in front of an audience in forty-five minutes...
and you're one short?
JOHN; ControI yourseIf, or you'II spurt.
He must be here somewhere.
Aye, well, we'll look in the dressing room.
-Shake. -Yes, the dressing room.
Hey, where's my grandfather?
Don't worry about him, Paul. He can look after himself.
l suppose so.
Personally signed and handwritten...
by your own sweet boys.
-The chance of a lifetime! -[Fans screaming]
Be the envy of your less fortunate sisters!
GRANDFATHER; Oh, me bones.
All right, break it up. Break it up. Move on.
Hey, what's going on here? Right, move over. Move over.
-Come on, move along. -Here you are.
Why don't you go back home? You're making a disturbance.
Will you just move along now?
[lndistinct arguing]
Come on, ya. Aah! Yeahh!
[Ringo humming]
Thank you.
[Humming]
-[Whistles] -Gotcha!
You nasty little person, you.
RINGO; Come on! Ooh, yeah.
l'm Ringo Starr.
l've got a show to do. l'm on in a few minutes.
You've got to let me go. l'm Ringo.
Yeah, that's what they all say these days.
Look, l don't care who you are.
You can save that for the stipendiary.
-Here you are, sarge. -All right. What is he?
Yeah, l got a little list here.
Wandering abroad, malicious intent...
acting in a suspicious manner...
conduct liable to cause a breach of the peace.
OFFICER; You name it, he's done it.
Oh, a little savage, is he?
Yeah, a proper little aborigine.
-l demand to see my solicitor. -What's his name?
Well, if you're gonna get technical about it.
GRANDFATHER: Dragging me through the streets--
Hello, it's gonna be one of those nights, is it?
Sit Charlie Peace down over there, will you?
Well, you got me here, so do your worst...
but, by God, l'll take one of you with me.
-Ow! -l know your game!
Get me into that tiled room and then out come the rubber hoses.
Oh, there's a fire, is there?
You ugly great brute. You have sadism...
stamped all over your bloated British kisser.
-Eh? -l'll go on hunger strike.
I know your caper.
The kidney punch and the rabbit clout.
The third degree and the size twelve boot ankle tap.
What's he on about?
GRANDFATHER; I'm a soIdier of the repubIic.
You'II need the mahogany truncheon on this boyo.
? A nation once again ?
? A nation once again ?
Get Lloyd George over there...
next to the mechanic in the cloth cap...
while l sort this lot out, will you?
OFFICER; Come on, dad. Sit down over here.
Ringo, me old scout!
So they grabbed your leg for the iron, too, have they?
l'm not exactly a voluntary patient.
Shh, shh. Have they roughed you up yet?
What?
Oh, they're a desperate crew of drippings...
and they've fists like matured hams...
for pounding poor defenseless lads like you.
Right, that's it, then.
GRANDFATHER; One of us has got to escape.
I'II get the boys.
-Hold on. l'll be back for you. -For me?
lf they get you on the floor, watch out for your brisket.
They seem all right to me.
Ah, sure, that's what they want you to think.
All coppers are villains.
SERGEANT; WouId you two Iike a cup of tea?
See? Sly villains.
Um, no, thank you, Mr. Sergeant, sir.
No, not for me. Please don't.
So you just brought the old chap...
out of the crowd for his own good, eh?
Well, he was getting a bit nasty, you see...
so we had to bring him in.
Well, he can't stop here.
This is the stuff he's been hawking around, eh?
-Yes, sergeant--photographs. -Photographs.
Well, son, it's now or never.
All right, you paid assassins! Johnny McCartney...
will give you a run for your thruppence halfpenny.
Hey, you forgot your photographs.
Only half an hour, and you're on.
-Can l say something? -Yes. Anything.
lt seems highly unlikely we'll be on.
l mean, the law of averages are against it.
l think if you could get the juggler on...
with a couple more clubs...
that would fill in a bit of time.
Come on, let's go!
l'll have the hides off of you lot.
[Laughing]
You ought to be ashamed of yourself. Go home.
l must see Pauly.
Go home, then, and see him on the telly.
-Can you fix him for me? -Yeah.
Sixpence.
-Each. -ln advance.
Mercenaries.
[Laughing]
lt's all right. Leave him alone.
P.A.; What's up, Richard?
GRANDFATHER; PauI? Where are you? I'm--
PAUL; Granddad. Where's Ringo?
The police have the poor lad in the bridewell.
-The police station. -He'll be pulp by now.
-NORM; Go get him! -PAUL; We'II get him out.
-JOHN; We'II fix it, Norm. -[BeatIes barking]
We've only got twenty minutes.
? Can't buy me Iove ?
? Love ?
? Can't buy me Iove ?
? I'II buy you a diamond ring, my friend ?
? If it makes you feeI aII right ?
? I'II get you anything, my friend ?
? If it makes you feeI aII right ?
? 'Cause I don't care too much for money ?
? Money can't buy me Iove ?
? I'II give you aII I've got to give ?
? If you say you'II Iove me, too ?
? I may not have a Iot to give ?
? But what I got I'II give to you ?
? I don't care too much for money ?
? Money can't buy me Iove ?
? Can't buy me Iove ?
? Everybody teIIs me so ?
? Can't buy me Iove ?
? No, no, no, no ?
? Say you don't need no diamond rings ?
? And I'II be satisfied ?
? TeII me that you want the kind of things ?
? That money just can't buy ?
? I don't care too much for money ?
? Money can't buy me Iove ?
What is all this?
[Panting] Hold on till we catch our breath.
Fine. Are you all right now?
[Pants] Yeah.
-Huh? -See.
? Can't buy me Iove ?
? Everybody teIIs me so ?
? Can't buy me Iove ?
? No, no, no, no ?
? Say you don't need no diamond rings ?
? And I'II be satisfied ?
? TeII me that you want the kind of things ?
Quick! Follow them!
? That money just can't buy ?
? I don't care too much for money ?
? Money can't buy me Iove ?
? Can't buy me Iove ?
? Love ?
? Can't buy me Iove ?
? Oh ?
[Screaming]
l had to laugh even when they kick the stool away.
l had to laugh even when they kick the stool away.
[Giggles]
Lads. Lads! You're back! Thank goodness. Where's Ringo?
-There he is. We got him. -Great, great, great.
You don't know what this means to me.
lf you hadn't come back, it would have meant...
the epilogue or news in Welsh for life.
Hey, aren't you supposed to be in that box?
-Yeah, where's the old mixer? -Here, Pauly.
Got a few words to say to you, two-faced John McCartney.
Aw, leave him alone. He's back, isn't he?
-lt's not his fault he's old. -What's old got to do with it?
He's a troublemaker and a mixer. That's good enough for me.
You're right. He's only asking for attention, aren't you?
You see, you know your trouble.
You should've gone west to America.
You would've been a senior citizen of Boston.
But you took a wrong turn, and what happened?
You're a lonely old man from Liverpool.
-But l'm clean. -Are you?
-Hey, Norm. -What?
l've been thinking.
-lt's not my fault. -What isn't?
l'm not taller than you are. You're smaller than l am.
Anyone at home?
Hey, Shake, where's me boot?
Will you get us some tea while you're there?
-All right, George. -Ta.
-Come on, lads. Get changed. -Come on, get some tea.
[Overlapping conversation]
[Screaming]
? TeII me why you cried ?
? And why you Iied to me ?
? Tell me why you cried ?
? And why you lied to me ?
? Well, l gave you everything l had ?
? But you left me sitting on my own ?
? Did you have to treat me, oh, so bad? ?
? AII I do is hang my head and moan ?
? TeII me why you cried ?
? And why you lied to me ?
? Tell me why you cried ?
? And why you lied to me ?
? lf it's something that l've said or done ?
? Tell me what and l'll apologize ?
? If you don't I reaIIy can't go on ?
? Holding back these tears in my eyes ?
? Tell me why you cried ?
? And why you lied to me ?
? Tell me why you cried ?
? And why you lied to me ?
? Well, l'm begging on my bended knees ?
? lf you'll only listen to my pleas ?
? lf there's anything l can do ?
? 'Cause l really can't stand it ?
? l'm so in love with you ?
? lf l give my heart ?
? To you ?
? l must be sure ?
? From the very start ?
? That you ?
? Would love me more than her ?
? lf l trust in you ?
? Oh, please ?
? Don't run and hide ?
? lf l love you, too ?
? Oh, please ?
? Don't hurt my pride like her ?
? 'Cause l couldn't stand the pain ?
? And l ?
? Would be sad if our new love ?
? Was in vain ?
? So l hope you see ?
? That l ?
? Would love to love you ?
? And that she ?
? Will cry ?
? When she learns we are two ?
? 'Cause l couldn't stand the pain ?
? And l ?
? Would be sad if our new love ?
? Was in vain ?
? So l hope you see ?
? That l ?
? Would love to love you ?
? And that she ?
? Will cry ?
? When she learns we are two ?
? I... ?
? ShouId have known better with a girI Iike you ?
? That l would love everything that you do ?
? And l do ?
? Hey, hey, hey ?
? And l do ?
? Whoa, whoa, l... ?
? Never realized what a kiss could be ?
? This could only happen to me ?
? Can't you see ?
? Can't you see ?
? That when l tell you that l love you ?
? Oh ?
? You're gonna say you love me, too ?
? Oh ?
? And when l ask you to be mine ?
? You're gonna say you love me, too ?
? So, oh, l... ?
? Should have realized a lot of things before ?
? lf this is love you gotta give me more ?
? Give me more ?
? Hey, hey, hey ?
? Give me more ?
? Whoa, whoa, l... ?
? Never realized what a kiss could be ?
? This could only happen to me ?
? Can't you see ?
? Can't you see ?
? That when l tell you that l love you ?
? Oh ?
? You're gonna say you love me, too ?
? Oh ?
? And when l ask you to be mine ?
? You're gonna say you love me, too ?
? You Iove me, too ?
? You Iove me, too ?
[Screaming]
? She loves you, yeah, yeah, yeah ?
? She loves you, yeah, yeah, yeah ?
? She loves you, yeah, yeah, yeah, yeah ?
? You think you've Iost your Iove ?
? WeII, I saw her yesterday ?
? It's you she's thinking of?
? And she told me what to say ?
? She said she loves you ?
? And you know that can't be bad ?
? Yeah, she Ioves you ?
? And you know you shouId be gIad ?
? She said you hurt her so ?
? She almost lost her mind ?
? But now she says she knows ?
? You're not the hurting kind ?
? She said she Ioves you ?
? And you know that can't be bad ?
? Yeah, she loves you ?
? And you know you should be glad ?
? Whoo ?
? She Ioves you, yeah, yeah, yeah ?
? She Ioves you, yeah, yeah, yeah ?
? With a love like that ?
? You know you should be glad ?
? You know it's up to you ?
? I think it's onIy fair ?
? Pride can hurt you, too ?
? Apologize to her ?
? Because she loves you ?
? And you know that can't be bad ?
? She Ioves you ?
? And you know you should be glad ?
? Whoo ?
? She Ioves you, yeah, yeah, yeah ?
? She Ioves you, yeah, yeah, yeah ?
? With a Iove Iike that ?
? You know you shouId be gIad ?
? With a Iove Iike that ?
? You know you shouId be gIad ?
? With a Iove Iike that ?
? You know you shouId ?
? Be gIad ?
? Yeah, yeah, yeah ?
? Yeah, yeah, yeah, yeah ?
[Audience screaming]
Now, l've got the stuff. Come here, lads.
-Aren't we going-- -No, we're not.
The office has been on the phone and think it's best...
if we push on to Wolverhampton straight away.
-Tonight? We'll never make it. -You've got a midnight matinee.
Aye, Norm!
There's only one thing l've got to say to you, John Lennon.
-What? -You're a swine.
? It's been a hard day's night ?
? And I've been working Iike a dog ?
? It's been a hard day's night ?
? I shouId be sIeeping Iike a Iog ?
? But when I get home to you ?
Come on, you're hanging up the parade!
Get rid of those things!
? You know I work aII day ?
? To get you money to buy you things ?
? And it's worth it just to hear you say ?
? You're gonna give me everything ?
? So why on earth shouId I moan ?
? 'Cause when I get you aIone ?
? You know I feeI OK ?
? When I'm home ?
? When I'm home ?
? Everything seems to be right ?
? When I'm home ?
? FeeIing you hoIding me tight ?
? Tight, yeah ?
? It's been a hard day's night ?
? And I've been working Iike a dog ?
? It's been a hard day's night ?
? I shouId be sIeeping Iike a Iog ?
? But when I get home to you ?
? I find the things that you do ?
? WiII make me feeI aII right ?
? Aah ?
? So why on earth shouId I moan ?
? 'Cause when I get you aIone ?
? You know I feeI OK ?
? When I'm home ?
? Everything seems to be right ?
? When I'm home ?
? FeeIing you hoIding me tight ?
? Tight, yeah ?
? It's been a hard day's night ?
? And I've been working Iike a dog ?
? It's been a hard day's night ?
? I shouId be sIeeping Iike a Iog ?
? But when I get home to you ?
? I find the things that you do ?
? WiII make me feel aII right ?
? You know I feeI aII right ?
? You know I feeI aII right ?
H
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