The last couple measure of the outro abruptly restore the opening sound of just guitar and synth in a bookends-like formal gesture. This passage turns out to be identical to what soon emerges as the Verse section, but the stripped down, incomplete exposure of the actual tune avoids giving away too much too soon. The second phrase is rhetorically extended by the use of a sophisticated rhythmic trick in which even eighth notes are accented as if triplets against the backbeat. See below for more on this gear shifting concept. Verse - As I said, this is the same as the intro.
Vocals accompany all but the first iteration.
The synthesizer takes on a more dominant role in the mix over the course of the final 3 iterations. The special effect of running even 8th notes accented as if triplets against the grain of the underlying backbeat is carried to a point more reminiscent of Stravinsky than of the Beatles. Its happy and relaxed mood is a wonderful new point of departure for the composer. It also effectively set a tone of fresh, new beginnings for the second side of the album. This is another example in the Beatles catalog where, back in the days of the LP medium, the act of physically turning over the record at such a point used to feel like an uncannily integral part of the listening experience.