Datasets:

huggingartists

/

john-lennon

like 0

Bless you, wherever you are Windswept child on a shooting star Restless spirits depart Still were deep in each others hearts Some people say its over Now that we spread our wings But we know better, darling The hollow ring is only last years echo Bless you, whoever you are Holding her now Be warm and kind-hearted And remember though love is strange Now and forever our love will remain

You say you found Jesus. Christ! Hes the only one You say youve found Buddha Sittin in the sun You say you found Mohammed Facin to the East You say you found Krishna Dancin in the street Well theres somethin missing in this God Almighty stew And its your mother You got to serve yourself Nobody gonna do for you You gotta serve yourself Nobody gonna do for you Well you may believe in devils and you may believe in laws But if you dont go out and serve yourself, la, aint no room service here Its still the same old story A bloody Holy War I fight for love and glory Aint gonna study war no more I fight for God and country Were gonna set you free Or put you back in the Stone Age If you wont be like me - yget it? You got to serve yourself Aint nobody gonna do for you You got to serve yourself Aint nobody gonna do for you Yeah you may believe in devils and you may believe in laws But Christ, youre gonna have to serve yourself and thats all there is to it So get right back here its in the bloody fridge. God, when I was a kid Didnt have stuff like this, TV-fuckin dinners and all that crap You fuckin kids all the fuckin same! Want a fuckin car now... Lucky to have a pair of shoes! You tell me you found Jesus. Christ! Well thats great and hes the only one You say you just found Buddha? And hes sittin on his arse in the sun? You say you found Mohammed? Kneeling on a bloody carpet facin the East? You say you found Krishna With a bald head dancin in the street? Well Christ, la, youre goin out your bleedin girth You got to serve yourself Aint nobody gonna do for you You gotta serve yourself (you know that, who else is gonna do it for you It aint me, kid, I tell you that) Well, you may believe in Jesus, and you may believe in Marx And you may believe in Marks and Spencers and you maybe believe in bloody Woolworths But theres something missing in this whole bloody stew And its your mother, your poor bloody mother (she what bore you in the Back bedroom Full of piss and shit and fuckin midwives. God, you cant Forget that all too quick, you know You should have been in the bloody War, la, and youda known all about it Well, Ill tell you something.) Its still the same old story A Holy bloody War, you know, with the Pope and all that stuff I fight for love and glory Aint gonna study no war, more war I fight for God and country, the Queen and all that Were gonna set you free. yeah? all them nig-nogs? sure... Bomb you back into the fuckin Stone Age If you wont be like me, you know, get down on your knees and pray Well theres somethin missing in this God Almighty stew And its your goddamn mother you dirty little git, now Get in there and wash yer ears!

Dear Prudence, wont you come out to play Dear Prudence, greet the brand new day The sun is up, the sky is blue Its beautiful, and so are you Dear Prudence, wont you come out to play? Dear Prudence , open up your eyes Dear Prudence , see the sunny skies The wind is low, the birds will sing That you are part of everything Dear Prudence, wont you open up your eyes? Look around, round, round, round, round Look around, round, round, round, round Look around, round, round, round, round Look around Dear Prudence , let me see you smile Dear Prudence , like a little child The clouds will be a daisy chain So let me see you smile again Dear Prudence, wont you let me see you smile? Dear Prudence , wont you come out to play Dear Prudence , greet the brand new day The sun is up, the sky is blue Its beautiful, and so are you Dear Prudence, wont you come out to play? Look around, round, round, round, round Look around, round, round, round, round Look around, round, round, round, round Oh, look around, look around, ah-ah-ah Look around, round, round, round, round Look around, round, round, round, round Look around around Oh, Look around around Look around, round, round, round, round

Bubble, bubble... Moonlight on the water Sunlight on the face You and me together We are in our place The gods are in the heavens The angels treat us well The oracle has spoken We cast the perfect spell The queen is in the counting house Counting out the money The king is in the kitchen Making bread and honey No friends and yet no enemies Absolutely free No rats aboard the magic ship Of perfect harmony Now it begins - let it begin Cleanup time Cleanup time Cleanup time Well, well, well? However far we travel Wherever we may roam The centre of the circle Will always be our home Yeah yeah Cleanup time Cleanup time Cleanup time Cleanup time Cleanup time Cleanup time Cleanup time Cleanup time

Imagine theres no heaven Its easy if you try And no hell, below us And above us, is only sky Imagine all the people Livin for today You-ou-ou You may say, that Im a dreamer But Im not the only one I hope someday, youll join us And the world will live as one Imagine theres no countries It isnt hard to do Nothing to kill Or die for No religion too Imagine all the people Livin the life for peace You-ou-ou You may say that Im a dreamer But Im not the only one I hope someday, youll join us And the world will live as one Imagine no posessions I wonder if you can No need for greed or hunger A brotherhood of man Imagine all the people Sharing all the world You-ou-ou And you may say that Im a dreamer But Im not the only one I hope someday, youll join us And the world will live as one

Sie liebt dich, yeh, yeh, yeh Sie liebt dich, yeh, yeh, yeh Sie liebt dich, yeh, yeh, yeh, yeah Du glaubst sie liebt nur mich Gestern had ich sie gesehen Sie denkt ja nur an dich Und du solltest zu ihr gehen Oh, ja sie liebt dich Schoner kann es garnicht sein Ja, sie liebt dich Und da solltest du dich freuen Du hast ihr weh getan Sie wusste nicht warum Du warst nicht schuld daran Und drehtest dich nicht um Oh, ja sie liebt dich Schoner kann es garnicht sein Ja, sie liebt dich Und da solltest du dich freuen, woo Sie liebt dich, yeh, yeh, yeh Sie liebt dich, yeh, yeh, yeh Denn mit dir allein Kann sie nur glucklich sein Du musst jetzt zu ihr gehen Entschuldige dich bei ihr Ja das wird sie verstehen Und dann verzeit sie dir Oh, ja sie liebt dich Schoner kann es garnicht sein Ja, sie liebt dich Und da solltest du dich freuen, ooh Sie liebt dich, yeh, yeh, yeh Sie liebt dich, yeh, yeh, yeh Denn mit dir allein Kann sie nur glucklich sein Denn mit dir allein Kann sie nur glucklich sein Denn mit dir allein Kann sie nur glucklich sein Yeh, yeh, yeh Yeh, yeh, yeh, yeah

Prince or pauper, beggar man or thief Play the game with evry blow you bring Dandelion dont tell no lies Dandelion will make you wise Tell me if she laughs or cries Blow away dandelion One oclock, two oclock, three oclock, four oclock, five Dandelions dont care about the time Dandelion dont tell no lies Dandelion will make you wise Tell me if she laughs or cries Blow away dandelion Blow away dandelion Though youre older now, its just the same You can play the dandelion game When youre finished with your childlike prayers Well, you know you should wear it Tinker, tailor, soldier, sailors lives Rich man, poor man, beautiful daughters wives Dandelion dont tell no lies Dandelion will make you wise Tell me if she laughs or cries Blow away dandelion Blow away dandelion Little girls and boys come out to play Yes! Bring your dandelions to blow away Dandelion dont tell no lies Dandelion will make you wise Tell me if she laughs or cries Blow away dandelion Blow away dandelion Blow away dandelion Blow away dandelion Blow away dandelion Dandelion

Yes Im lonely wanna die Yes Im lonely wanna die If I aint dead already Ooh Girl you know the reason why In the morning wanna die In the evening wanna die If I aint dead already Ooh girl you know the reason why My mother was of the sky My father was of the earth But I am of the universe And you know what its worth Im lonely wanna die If I aint dead already Ooh girl you know the reason why The eagle picks my eye The worm he licks my bone I feel so suicidal Just like Dylans Mr. Jones Lonely wanna die If I aint dead already Ooh girl you know the reason why Black cloud crossed my mind Blue mist round my soul Feel so suicidal Even hate my rock and roll Wanna die yeah wanna die If I aint dead already Ooh girl you know the reason why

All right boys, this is it! Over the hill We dont care what flag youre waving We dont even want to know your name We dont care where youre from or where youre going All we know is that you came Youre making all our decisions We have just one request of you That while youre thinking things over Heres something you just better do Free the people now Do it, do it, do it, do it, do it now Free the people now Do it, do it, do it, do it, do it now Well, we were caught with our hands in the air Dont despair, paranoia is everywhere We can shake it with love when were scared So lets shout it aloud like a prayer Free the people now Do it, do it, do it, do it, do it now Free the people now Do it, do it, do it, do it, do it now We understand your paranoia But we dont want to play your game You think youre cool and know what you are doing 666 is your name So while youre jerking off each other You better bear this thought in mind Your time is up, you better know it But maybe you dont read the signs Free the people now Do it, do it, do it, do it, do it now Free the people now Do it, do it, do it, do it, do it now Well, you were caught with your hands in the kill And you still got to swallow your pill As you slip and you slide down the hill On the blood of the people you killed Stop the killing now Do it, do it, do it, do it, do it now Stop the killing now Do it, do it, do it, do it, do it now Free the people now Do it, do it, do it, do it, do it now Free the people now Do it, do it, do it, do it, do it now Free the people now Do it, do it, do it, do it, do it now Free the people now Do it, do it, do it, do it, do it now

Oh, oh, oh youve been good to me You made me glad When I was blue And eternally Ill always be In love with you And all I gotta do Is thank you girl, thank you girl I could tell the world A thing or two about our love I know little girl Only a fool would doubt our love And all I gotta do Is thank you girl, thank you girl Thank you girl for loving me The way that you do Thats the kind of love That is too good to be true And all I gotta do Is thank you girl, thank you girl Oh, oh, youve been good to me You made me glad When I was blue And eternally Ill always be In love with you And all I gotta do Is thank you girl, thank you girl Oh, oh, oh Oh, oh, oh Oh, oh

Because the world is round it turns me on Because the world is round Because the wind is high it blows my mind Because the wind is high Love is old, love is new Love is all, love is you Because the sky is blue, it makes me cry Because the sky is blue

Angela, they put you in prison Angela, they shot down your man Angela, youre one of the millions Of political prisoners in the world Sister, theres the wind that never dies Sister, were breathing together Sister, our loves and hopes forever keep On moving oh so slowly in the world They gave you sunshine They gave you sea They gave you everything but the jailhouse key They gave you coffee They gave you tea They gave you everything but equality Angela, can you hear the earth is turning? Angela, the world watches you Angela, you soon will be returning To your sisters and brothers in the world Sister, youre still a people teacher Sister, your word reaches far Sister, theres a million different races But we all share the same future in the world They gave you sunshine They gave you sea They gave you everything but the jailhouse key Hey they gave you coffee They gave you tea They gave you everything but equality Angela, they put you in prison Angela, they shot down your man Angela, youre one of the millions Of political prisoners in the world

Yesterday Yesterday, all my troubles seemed so far away Now it looks as through theyre here to stay oh I believe in yesterday Suddenly Im not half the man I used to be, theres a shadow hanging over me Oh yesterday came suddenly Why she had to go I dont know she wouldnt say I said something wrong now I long for yesterday Yesterday love was such an easy game to play now I need a place to hide away oh I believe in yesterday Why she had to go I dont know she wouldnt say I said something wrong now I long for yesterday Yesterday love was such and easy game to play now I need a place to hide away Oh I believe in yesterday Hmmmmmmmmmm

When I find myself in times of trouble Mother Mary comes to me Speaking words of wisdom, let it be And in my hour of darkness She is standing right there in front of me Speaking words of wisdom, let it be Seems like I can still hear her say Let it be, let it be, let it be, let it be Whisper words of wisdom, let it be And when the brokenhearted People living in the world agree There will be an answer, let it be For though they may be parted There is still a chance that they will see There will be an answer, let it be Yall help me sing the thing now Let it be , let it be Let it be , let it be There will be an answer, let it be Let me repeat that Let it be , let it be Oh Lord , let it be Whisper words of wisdom, let it be And when the night is cloudy There is still a light that shines on me Shine until tomorrow, let it be You know Ill wake up to the sound of music Mother Mary, she comes to me Speaking words of wisdom, let it be Seems like I heard her say, son Let it be , let it be Let it be , let it be There will be an answer, let it be All you got to do is keep the faith and Let it be , let it be Oh, oh , let it be There will be an answer, let it be Oh, let it be , let it be , let it be Whisper words of wisdom, let it be

When Im down, really yin And I dont know what Im doing Aisumasen, aisumasen Yoko All I had to do was call your name All I had to do was call your name And when I hurt you and cause you pain Darling I promise I wont do it again Aisumasen, aisumasen Yoko Its hard enough I know just to feel your own pain Its hard enough I know to feel, feel your own pain All that I know is just what you tell me All that I know is just what you show me When Im down real sanpaku And I dont know what to do Aisumasen, aisumasen Yoko san All I had to do was call your name Yes, all I had to do was call your name

Ive got a feeling A feeling deep inside oh yeah Oh, yeah Ive got a feeling A feeling I cant hide oh no, no Whoa, no Yeah Yeah, Ive got a feeling, yeah Oh please believe me Id hate to miss the train oh yeah Oh, yeah Haha Ooh, and if you leave me I wont be late again no no, no Oh no Yeah. Ive got a feeling Yeah whoo ooh oh yeah And I dont understand how come nobody told me Why Id want to sing like a Milli Vanilli? All I ever wanted was someone who looked like you You, oh I got a feeling that keeps me on my toes oh yeah yeah Oh yeah Uh huh I got a feeling I think that everybody knows, oh yeah Yeah Oh yeah Yeah, wow I got a feeling Yeah, whoa Everybody had a good year though we never saw the sunshine Everybody had a wet dream Making Temple was a good time Oh yeah. Oh yeah. Oh yeah Everybody made a movie. Everybody had one line Everybody misses Andy. Well be seeing him in no time Oh yeah. Oh yeah. Oh yeah Ooh, yeah. I got a feeling, yeah Oh I got a feeling A feeling deep inside oh yeah yeah Oh yeah Ooh, I got a feeling A feeling I cant hide oh no no Oh no Yeah, I got a feeling Yeah yeah ah ooh yeah

Grow old along with me The best is yet to be When our time has come We will be as one God bless our love God bless our love Grow old along with me Two branches of one tree Face the settin sun When the day is done God bless our love God bless our love Spendin our lives together Man and wife together World without end World without end Grow old along with me Whatever fate decrees We will see it through For our love is true God bless our love God bless our love

We were four guys, that, eh... I met Paul, said, dy wanna join me band, you know and then George joined and then Ringo joined. We were just a band that made it very, very big, Thats all Long time ago when we was band on the run Long time ago when we was band on the run Band on the run Long time ago when we was band on the run If I ever get out of here Thought of giving it all away To a registered charity All I need is a pint a day If I ever get out of here If we ever get out of here Back when income tax was all we had But its all over now baby blue Long time ago when we was band on the run Long time ago when we was band on the run Band on the run Long time ago when we was band on the run Take you away Take you away If I ever get out of here Thought of giving it all away To a registered charity All I need is a pint a day If I ever get out of here If we ever get out of here Back when income tax was all we had And youve really got a hold me Long time ago when we was band on the run Long time ago when we was band on the run Band on the run Long time ago when we was band on the run

The following presentation is rated R If you found that one shell do it just one time Akon TRYBISHOP Yeah She has no one to share all her beautiful feelings with Seems like everyone around her so fake and counterfeit, yeah Trying to find the one that she can make the best of it But its so hard to find her a lover that she can click with So she dances and she dances through the night Lap dances as she dances to the light No chance for the romances in her life But theres one man that shell ride for And thats Benjamin Ooh, she switches when hes in town for Gets so sexy when hes around for Oh, you should see the way that she smile for If she could have it her way, her last name would be Franklin Please pretty darling do not cry She loves him Please pretty darling do not cry She loves him Please pretty darling do not cry She loves him If only she could love someone The way she love Benjamin Darling If she found that one shell do it just one time If you found that one shell do it just one time Please pretty darling If you found that one shell do it just one time Please, please love me, she said She just gotten so used to just busting it open, she said She just gotten so used to her heart being broken, she said She just gotten so used to these niggas just gaming, she said But thats the life that come with adult entertainment Ooh yeah, no longer want to be free now Want a man to cater her needs now She just wanna be treated just like a princess But will only let one man do it And thats Benjamin Ooh, she switches when hes in town for Gets so sexy when hes around for Oh, you should see the way that she smile for If she could have it her way, her last name would be Franklin Please pretty darling do not cry She loves him Please pretty darling do not cry She loves him Please pretty darling do not cry She loves him If only she could love someone The way she love Benjamin If he drop to the floor she will pick him up If they came to get him she wont give him up Hes the reason why she can just live it up, yeah She love the lifestyle and cant give him up Shes only loyal to Only man that she ever knew Will never leave him for you Even though he be switching from hands And always in somebody else pants And he know he not the only man Just like youre not the only woman Everybody loves Benjamin Everybody loves Benjamin Everybody loves Benjamin Ooh, she switches when hes in town for Gets so sexy when hes around for Oh, you should see the way that she smile for If she could have it her...

Can you take me back where I came from? Can you take me back? Can you take me back where I came from? Brother, can you take me back? Can you take me back? Mm, can you take me where I came from? Can you take me back?

I call your name But youre not there Was I to blame For being unfair? Dont you know I cant sleep at night Since youve been gone? I never weep at night I cant go on Dont you know I cant take it? I dont know who can Im not gonna make it Im not that kind of man Dont you know I cant sleep at night? But just the same I never weep at night I call your name John... John... Dont you know I cant take it? I dont know who can Im not gonna make it Im not that kind of man Dont you know I cant sleep at night? But just the same, yeah I never weep at night I call your name I never weep at night I call your name, yeah

Try to see things my way Do I have to keep on talking till I cant go on? While you see it your way Run the risk of knowing that our love may soon be gone We can work it out We can work it out Think of what youre saying You can get it wrong and still think that its alright Think of what Im saying We can work it out and get it straight, or say good night We can work it out We can work it out Life is very short, and theres no time For fussing and fighting, my friend I have always thought that its a crime So I will ask you once again Try to see things my way Only time will tell if I am right or I am wrong While you see it your way Theres a chance that we may fall apart before too long We can work it out We can work it out, hey We can work it out We can work it out We can work it out We can work it out Got a feelin, yeah Hey, hey, hey, hey, hey, hey, yeah Work it out with me baby Work it out with me baby, hey Try to see things my way Only time will tell if I am right or I am wrong While you see it your way Theres a chance that we might fall apart before too long We can work it out We can work it out Think of what youre saying You can get it wrong and still think that its alright Think of what Im saying We can work it out and get it straight, or say good night We can work it out We, we, we, we can work it out Oh, we can work it out Can you work it out baby We can, we can work it out Oh yeah, we can work We can work, we can work it out

Aint no people on the old dirt road No more weather on the old dirt road Its better than a mudslide, mamma, when the dry spell come Yeah, oh, oh, oh, oh, old dirt road Aint no difference on the old dirt road Tarred and feathered on the old dirt road Trying to shovel smoke with a pitchfork in the wind Yeah, yeah, yeah Breezing through the deadwood on a hot summer day I saw a human being lazy boning out in the hay I said uh, hey Mr. Human can you rainmaker too? He said I guess its O.K. you know the only thing we need is water Cool, clear water, water Water, water Aint no people on the old dirt road No more weather on the old dirt road Its better than a mudslide mamma when the morning comes Yeah, oh, oh, oh, oh, old dirt road Keep on keeping on Keep on keeping on Keep on keeping on Keep on keeping on Keep on keeping on Keep on keeping on Keep on keeping on So long, so long So long, so long Bye bye Bye bye Keep on keeping on Keep on, keep on, keep on, keep on, keep on, keep on, keep on Keep on, keep on, keep on, keep on, keep on, keep on, keep on

Ah Because the world is round It turns me on Because the world is round Ah Because the wind is high It blows my mind Because the wind is high Ah Love is old, love is new Love is all, love is you Because the sky is blue It makes me cry Because the sky is blue Ah, ah, ah, ah

You are my weakness, you are my strength Nothing I have in the world makes better sense Cause Im a fish and youre the sea When were together or when were apart Theres never a space in between the beat of our hearts Cause Im the apple and youre the tree One day at a time is all we do One day at a time is good for you You are my woman, I am your man Nothing else matters at all, now I understand That Im the door and youre the key And every morning I wake in your smile Feeling your breath on my face and the love in your eyes Cause youre the honey and Im the bee One day at a time is all we do One day at a time is good for you Cause Im a fish and youre the sea Cause Im an apple and youre the tree Cause Im a door and youre the key Cause youre the honey and Im the bee

Well I guess it would be nice, if I could touch your body I know not everybody, has got a body like me baby But I gotta think twice, before I give my heart away Cause I know all the games you play Cause I play them too baby Oh but I need some time off, from that emotion Time to pick my heart up off the floor When our love comes down, with that devotion Gonna take a strong man baby, but Im Showin you that door, cause I gotta have - faaaiith Faaaiith Faaaiith Faaaiith Baby baby baby, uhh I know youre askin me to stay Say Please, please, please dont go away Because Im givin you the blues baby baby baby uhh You like me, but all them words you say I cant help but think of yesterday And another who tied me down to the leather board please Before this weather, becomes that notion Fore you pick my heart up off the floor When our loves come down, with that devotion Gonna take a strong man baby, but Im Showin you that door, cause I gotta have - faaaiith Faaaiith Faaaiith Faaaiith Can you walk like a pimp, is your Bizkit Limp? I got Faith like Miss Evans, make you run like the reverend Will Smith you get Jiggy, yo Ill stick Biggie Its Life After Death and I be livin proof The roof is on fire, it cant get much higher Im rockin this spot so hot, youve expired You call me a liar, I might get upset Kick a hole in the speaker, pull the plug then I jet Before this weather, becomes that notion Fore you pick my heart up off the floor When our loves come down, with that devotion Gonna take a strong man baby, but Im Showin you that door, cause I gotta have - faaaiith Faaaiith Faaaiith Faaaiith Showin you that door, cause I gotta have - faaaiith Faaaiith Faaaiith Faaaiith

Oh, girl, I tell you somethin I think youll understand When I say that somethin, oh, yes, I will I wanna hold your hand Hey, baby, I wanna hold your hand Im gonna hold your hand, oh, yeah Sing it with me, brother Oh, please stay with me, pretty baby, ooh And let me be your man, yeah Ah, please say to me, baby, ooh Youll let me hold your hand Oh, I wanna hold, baby I wanna hold your hand, baby, baby Right now, I wanna to hold your hand, yeah Girl, when I touch you I feel happy inside Oh, so happy, baby Its such a feeling A feeling that my love No, I cant hide, no I just cant take it no more You should be lovin me, baby You should be lovin me Said Im down on my knees beggin you girl, please Because youve got that somethin I know, I know, I know, hey, you will understand Im talkin to you, babe When I feel that somethin, that somethin, baby Makes me wanna hold your hand Hey, baby I wanna hold your hand I wanna hold your hand And together we will fly, you and I

Out the blue, you came to me And blew away lifes misery Out the blue, lifes energy Out the blue, you came to me Every day, I thank the Lord and Lady For the way that you came to me Anyway, it had to be Two minds, one destiny Out the blue, you came to me And blew away lifes misery Out the blue, lifes energy Out the blue, you came to me All my life has been a long slow knife I was born just to get to you Anyway, I survived Long enough to make you my wife Out the blue, you came to me And blew away lifes misery Out the blue, lifes energy Out the blue, you came to me Like a U.F.O., you came to me And blew away lifes misery Out the blue, lifes energy Out the blue, you came to me

Wella hella hella Even after all these years I miss you when youre not here I wish you were here, my dear Yoko Even if its just a day I miss you when youre away I wish you were here today, dear Yoko Even if its just one night I miss you and it dont feel right I wish you were here tonight, dear Yoko Even if its just one hour I wilt just like a fading flower Aint nothing in the world like our love, dear Yoko Oh, oh, Yoko Im never, ever, ever, ever, ever gonna let you go Oh, oh, Yoko Im never, ever, ever, ever, ever gonna let you go Even when Im miles at sea And nowhere is the place to be Your spirits watching over me, dear Yoko Even when I watch T.V Theres hole where youre supposed to be Theres nobody lying next to me, dear Yoko Oh, oh, Yoko Im never, ever, ever, ever, ever gonna let you go Oh, oh, Yoko Im never, ever, ever, ever, ever gonna let you go Even after all this time I miss you like the sun dont shine Without you, Im a one track mind, dear Yoko After all is really said and done The two of us are really one The goddess really smiled upon our love, dear Yoko

1. EXTERIOR STREETS OUTSIDE RAILWAY TERMINAL DAY The film opens with crowds of girls, shot in a sequence of CLOSE-UPS, chasing after GEORGE, JOHN and RINGO. The boys hare off just ahead of them. They take a turn down a back alley way and the crowds of screaming girls are after them. 2. EXT. TERMINAL They rush on through the narrow cobbled passageway and into the main station, quickly show their tickets at the barrier for the London train, and get onto the platform as hordes of yelling and screaming girls reach the closed gates. 3. EXT. TERMINAL PLATFORM We see the fans rushing to the few platform ticket machines, and endless pennies being dropped and tickets torn out in their haste to get onto the platform to see the boys. NORM has been waiting for the boys and he hurries them to where all their baggage, instruments and the drums are waiting, piled up to be put into the guards van. The boys turn and see the oncoming stream of girls pushing through the barriers and descending on them with yells and shouts. They grab their instruments, RINGO makes for the drums. NORM plugs into a handy transformer and using their instruments like a gun volley to stop the onrush of females, the boys blast fire into a number and start to sing. This stops the girls in their tracks and they settle down on whatever they can to listen to them playing. As the boys are playing, we CUT BACK into the crowds. In the centre we see PAUL struggling and pulling to fight his way through the girls to join the other boys. He is dragging a very reluctant old man behind him. The old man seems most disgruntled and we can see by his gestures how unwilling he is to be pulled and pushed forward through all the girls. At last PAUL reaches the other boys. He sits the old man down on a pile of cases and joins in the number to the squeals of delight from the fans. The old man sits aloof and proud ignoring the whole proceedings. JOHN, GEORGE and RINGO look enquiringly at PAUL who gives a noncommittal shrug of the shoulders as if to say, its not my fault and the number proceeds. SHOT of sudden horror on JOHNs 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 whos that little old man? PAUL What little old man? JOHN That little old man. PAUL Oh, that one. Thats me Grandfather. GEORGE Thats not your Grandfather. PAUL It is, yknow. GEORGE But your Grandfather lives in your house. Ive seen him. PAUL Oh, thats me other Grandfather, but this ones me Grandfather and all. JOHN How dyou reckon that one out? PAUL Well ... everyones entitled to two, arent they, and this is me other one. JOHN Well we know that but whats he doing here? PAUL Well, me mother thought the trip ud do him good. RINGO Hows that? PAUL Oh ... hes nursing a broken heart. The lads all look intently at the GRANDFATHER. JOHN Aah ... the poor old thing. He leans across to GRANDFATHER. JOHN Eh, Mister... are you nursing a broken heart then? The GRANDFATHER nods soulfully glares at him, in a way that indicates yes. PAUL You see, he was going to get married but she threw him over for a butcher. GEORGE A butcher? PAUL Yeah, she was fickle. JOHN Aye and fond of fresh meat and all. PAUL No ... it was his sweetbreads. She was dead kinky for sweetbreads. Anyroad, me mother thought itud give him a change of scenery, like. JOHN Oh, I see. He inspects GRANDFATHER carefully. JOHN Eh, hes a nice old man, isnt he? PAUL Oh yeah, hes very clean, yknow. They all agree with PAUL. JOHN has been examining GRANDFATHER. He now leans forward to him. JOHN Hello, Grandfather! GRANDFATHER Hello. JOHN He can talk then? PAUL Course he can talk. Hes a human being, like. Isnt he? RINGO Well ... if hes your Grandfather, who knows? The lads all laugh. JOHN And were looking after him, are we? GRANDFATHER Ill look after meself. PAUL Aye, thats what Im afraid of! JOHN Hes got you worried, then? PAUL Him, he costs you a fortune in breach-of-promise cases. Hes a villain and a right mixer as well. GEORGE Gerron. PAUL No, straight up. GRANDFATHER The lads given you the simple truth. Im cursed wid irresistible charm, Im too attractive to be let loose. At this moment, SHAKE, a tall man who works with the BOYS, pulls open the door of the compartment. SHAKE You got on all right then? BOYS Hi, Shake. SHAKE Were here. Normll be along in a mo with the tickets. He sees GRANDFATHER. SHAKE Morning! Whos that little old man? GEORGE Its Pauls grandfather. SHAKE Oh aye, but I thought ... JOHN No, thats his other one. SHAKE Thats all right then. JOHN Clean though, isnt he? SHAKE Oh yes, hes clean all right. NORM the road manager appears behind SHAKE. NORM Morning, lads. BOYS Morning ... Hi, Norm. NORM Well, thank God youre all got here. Now, listen, Ive had this marvellous idea ... now just for a change, lets all behave like ordinary responsible citizens. Lets not cause any trouble, pull any strokes or do anything Im going to be sorry for, especially tomorrow at the television theatre, because ... He looks sharply at JOHN who is polishing his nails. NORM Are you listening to me, Lennon? JOHN Youre a swine, isnt he George? GEORGE Yeah ... a swine. NORM Thanks... He sees the GRANDFATHER. NORM Eh ... . BOYS IN CHORUS ... Whos that little old man? NORM Well, who is he? RINGO He belongs to Paul. NORM Ah well, there you go. Look, Im going down the diner for a cup of coffee, are you coming? PAUL Well 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 dont want to find youve lost him. NORM Dont be cheeky, Ill bind him to me with promises. Come on, Grandad. GRANDFATHER joins SHAKE and NORM. NORM Hes very clean, isnt 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 Do you mind if we have it opened? JOHNSON Yes, I do. JOHN Yeah, but there are four of us, like, and wed like it open, if its all the same to you, that is. JOHNSON Well, it isnt. I travel on this train regularly twice a week, so I suppose Ive 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 well 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 Im perfectly within my rights. He smiles frostily. PAUL Yeah, but we want to hear it and theres more of us than you. Were 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 Gies a kiss! PAUL Shurrup! Look, Mister, weve paid for our seats too, you know. JOHNSON I travel on this train regularly, twice a week. JOHN Knock it off, Paul, y cant win with his sort. After all, its his train, isnt it, Mister? JOHNSON And dont you take that tone with me, young man! GEORGE But... JOHNSON I fought the war for your sort. RINGO Bet youre sorry you won! JOHNSON Ill call the guard! PAUL Aye ... but what? They dont take kindly to insults you know. Ah, come on, you lot. Lets get a cup of coffee and leave Toby the manger. The boys troop out of the door into the corridor. JOHNSON smiles triumphantly. He is about to settle down to his paper when there is a tap on the corridor window. He looks up and we see pressed against the window a collection of hideous Beatle faces. PAUL Eh, Mister ... can we have our ball back! The man jumps to his feet. 5. INTERIOR OF THE CORRIDOR The boys run away like a pack of school boys and disappear round the corner. 6. INTERIOR OF THE TRAIN CORRIDOR From the P.O.V. of the door leading to the restaurant car. The boys come down the corridor in full flight, laughing away like happy idiots. GEORGE and PAUL pull open the sliding doors. The boys look inside. 7. INTERIOR RESTAURANT CAR From their P.O.V. we see the car is half empty and at a table in the centre SHAKE and NORM and GRANDFATHER are sitting. On the table is a pile of photos of the boys. NORM and SHAKE are arguing. NORM is being very aggressive, much to SHAKEs discomfort. NORM Yeah, you want to watch it. SHAKE Its not my fault. NORM Well, you stick to that story, son. SHAKE I cant help it, Im just taller than you. GRANDFATHER They always say that. NORM Yeah, well I got me eye on you. SHAKE Im sorry Norm, but I cant help being taller than you. NORM Well, you dont have to rub me nose in it. Ive a good mind to ... JOHN If youre going to have a barney Ill hold your coats. NORM He started it. SHAKE No, I didnt you did ... GEORGE Well, what happened? SHAKE The old fella wanted these pictures and Norm said he couldnt have em, all I said was aw go on, be big about it. PAUL And? NORM Your Grandfather pointed out Shake was always being taller than me just to spite me. PAUL I knew it, he started it, I should have known. NORM Ywhat? PAUL You two have never had a quarrel in your life and in two minutes flat hes got you at it. Hes a king mixer. Adam and Eve, meet the serpent. Anthony and Cleopatra, theres your asp. Divide and Conquer, thats this ones motto. He hates group unity so he gets everyone at it. The BOYS, i.e., JOHN, GEORGE and RINGO, look at each other then at PAUL. PAUL Aye and well have to watch it and all. GEORGE I suggest you just give him the photos and have done with it. NORM Youre right. Here you are, old devil. SHAKE and NORM leave. GRANDFATHER grins triumphantly and collects them, then with a sweet smile he turns to PAUL. GRANDFATHER Would you ever sign this one for us, Pauly? PAUL does so automatically but in the middle of signing he gets suspicious. GRANDFATHER smiles at him charmingly so PAUL finishes signing. JOHN Come on lets get this coffee. GRANDFATHER Before you go, I think its only fair to warn you about me Grandson ... dont let our Paul have his own way all the time, cos if you do he wont respect you! JOHN, RINGO and GEORGE take this up straight away. They all pretend to be girls, RINGO jumps into PAULs arms. GEORGE Oh, Paul, you cant have your own way!!! JOHN If I let you have your own way, you little rascal, will you respect me? PAUL Ill murder you, Grandfather! JOHN waltzes PAUL down to an empty table and the lads sit down. GEORGE Eh, look at that talent. They all gaze across the aisle. From their P.O.V. we see two very attractive young girls, RITA and JEAN, having coffee. JOHN Give em a pull. PAUL Shall I? GEORGE Aye, but dont rush. None of your five bar gate jumps and over sort of stuff. PAUL Now whats that supposed to mean? GEORGE I dont really know, but it sounded distinguished, like, didnt it? JOHN George Harrison, The Scouse of Distinction. We follow PAUL as he crosses over to the two girls. He places a bowler on his head. PAUL Excuse me, but these young men Im sitting with wondered if two of us could join you; Id ask you meself only Im shy. The two girls giggle together. JOHN and GEORGE are about to move over when GRANDFATHER suddenly appears by their sides. GRANDFATHER Im sorry, miss, but you mustnt fraternise with my prisoners. JEAN Prisoners!! GRANDFATHER Convicts in transit to Wormwood Scrubs. Typical old lags, the lot of em. THE BOYS Ywhat!!! GRANDFATHER Quiet, you lot, or Ill give you a touch of me truncheon. That little ones the worst. If we dont keep him on tablets he has fits. RINGO Now look here!! GRANDFATHER grabs two lumps of sugar from the table and forces them into RINGOS mouth. GRANDFATHER Get out while you can, ladies, his times coming round for one of his turns. The frightened girls scurry out of the restaurant car. The boys look in amazement and horror at GRANDFATHER. They are completely flabbergasted. GRANDFATHER smiles at them benignly. 8. INTERIOR OF RAILWAY COMPARTMENT SHAKE and NORM are seated. SHAKE is buried in a science fiction book. NORM looks at his watch, slightly worried. NORM Hes been gone a long time. SHAKE Who? NORM Pauls grandfather. SHAKE Oh, I didnt notice, whered he go? NORM Down the ... er ... SHAKE Oh, down the ... er ...? NORM Yeah, down the ... er ... SHAKE Well, give a couple of minutes ... He resumes reading. But NORM goes on worrying. 9. INTERIOR OF ANOTHER RAILWAY COMPARTMENT Grandfather is in full flight of conversation with a charming elderly lady, AUDREY, who is listening intently. GRANDFATHER Yes, Im their manager, I discovered them. LADY AUDREY Did you indeed, Mr. McCartney? GRANDFATHER Now, Audrey, I told you, the names John. We show biz people are a friendly lot. AUDREY Of course, John. GRANDFATHER Yes, they were playing the queues outside the picture palaces of Liverpool. Scruffy young lads, lacking even the price of a jam roll. Orphans, every Paddys son of em. I saw their potential at once although I had me doubts about the little fella, a savage primitive, that Ringo, but it was him what gave in first. He picked up a brick and heaved it at me and I quelled him wid one fierce flash of me eyes. Mister, can you spare us a copper? he said. I was disarmed by the grubby little outstretched mauler ... So, I took them under me managerial banner. AUDREY The usual ten per cent? GRANDFATHER Oh, not at all, I let them have twenty-five; sure arent there four of them? AUDREY How fascinating. Do go on ... ... John. GRANDFATHER ... Oh, Im all heart, Maam, all heart ... Well, I let ... 10. INTERIOR CORRIDOR OF TRAIN NORM and SHAKE meet with the BOYS as they are returning from coffee. NORM Eh, have you got Pauls grandfather? JOHN Of course, hes concealed about me person. NORM No ... hes must have slipped off somewhere. PAUL Have you lost him? NORM Dont exaggerate. PAUL Youve lost him. SHAKE Put it this way, hes mislaid him. PAUL You cant trust you with anything, Norm, if youve lost him, Ill cripple you. SHAKE He cant be far. JOHN I hope he fell off. PAUL Dont be callous. RINGO He doesnt like me, honest, I can tell ... Its cos Im little. GEORGE Youve got an inferiority complex, you have. RINGO Yeah, I know, thats why I took up the drums. Its 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 RINGOS 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, shell only reject me in the end and Ill 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 Weve broken out, oh, the blessed freedom of it all! Eh, have you got a nail file, these handcuffs are killing me. I was framed. I was innocent. PAUL Will you stop it! Sorry to disturb you, miss... He starts to drag JOHN after him. JOHN I was innocent. I was framed. I wont go back. JOHN is now by the door; he leers at the girls horribly. JOHN I bet you can guess what I was in for. He cackles like a maniac before disappearing, the door closing after him. A waiter carrying a tray with champagne and glasses on it passes into one of the compartments with the blinds down. PAUL How about that one? He moves towards the compartment. PAUL Did you look in here? GEORGE No. I mean, its probably a honeymoon couple or a company director or something. PAUL Well, lets broaden our outlook. PAUL opens the door of the compartment. 13. INTERIOR OF COMPARTMENT From the BOYS P.O.V. we see GRANDFATHER and the elderly lady, AUDREY, sipping champagne and nibbling caviar on toast. GRANDFATHER Congratulate me, boys, Im engaged. PAUL enters and crosses over to him. PAUL Oh no, youre not. Youve gone too far this time ... and whos paying for all this? GRANDFATHER Its all taken care of. Its down on our bill. PAUL Oh, well thats all right. What? AUDREY Young man, kindly moderate your tone when you address my fiance. PAUL Im sorry, Missus, but the betrothals off. Ill refuse me consent, hes over-age! AUDREY grabs GRANDFATHERs other arm and pulls back. AUDREY Leave him alone, after all hes done for you is this the way you repay him? A tug of war now starts between PAUL and AUDREY. PAUL Him? hes never done anything for anybody in his life. AUDREY You dare to say that when even those ridiculous clothes you are wearing were bought when you forced him to sell out his gilt edged Indomitables!! JOHN and GEORGE jump on the seat egging PAUL and AUDREY on. JOHN Come on, Auntie, youre winning. GEORGE Get in there, Paul, shes weakening. RINGO attempts to interfere. RINGO Look, Missus, this is all a misunderstanding, you see, hes ... AUDREY Keep away from me, you depraved lout, I know all about your terrible past. RINGO Ywhat? She hits RINGO with her handbag and continues struggling with PAUL for GRANDFATHER. RINGO grabs her handbag to stop her hitting him. RINGO Hes given me a bad character, blackguarding me name to all and sundry. Hes got to be stopped. Its not fair. RINGO pushes out into the corridor, forgetting that he is holding the womans handbag. A voice shouts off from outside. VOICE OFF Thats one of them ... stop thief! 14. INTERIOR CORRIDOR From Ringos P.O.V. we see down to the right the city man, JOHNSON, approaching with a GUARD. RINGO turns the other way to the left when he is joined by three other boys. From their P.O.V. down the corridor we see the two girls, autograph books in hand, followed by ten girls from the same school. Both groups are closing in on the BOYS. Theres no escape. RINGO Oh Mother!! 15. INTERIOR LUGGAGE VAN Very dark, and behind bars we see GRANDFATHER. He is sitting crouched up on a wooden box tea chest and looks pretty miserable. He turns towards the CAMERA; in the foreground of the SHOT we see PAUL standing. In the background an impassive GUARD is reading a paper which he does throughout the scene. GRANDFATHER And to think me own grandson would have let them put me behind bars! PAUL Dont 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 Lets face it, youre lucky to be here. If theyd have had their way youd 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, youve got to admit youve upset a lot of people. At least I can keep my eye on you while youre stuck in here. GRANDFATHER turns away again. PAUL All right, how about Ringo? I mean ... hes very upset, you know ... and as far as your girlfriend, little Audreys concerned, shes finished with men for the rest of her natural, and another thing ... GRANDFATHER A harmless bit of fun, aah, none of you have any sense of humour left these days. PAUL Oh, its all right for you but those two girls were scared to death! Honest, Grandad, why? I mean, why do you do these things? GRANDFATHER Youre left-handed, arent you, Paul? PAUL Yeah ... so what? GRANDFATHER Why do you always use your left hand? PAUL Well, dont be daft, Ive got to. GRANDFATHER And I take a left-handed view of life, Ive got to. PAUL grins. After a moment of looking at him, PAUL opens the door of the luggage compartment and joins GRANDFATHER on a box. PAUL Shove up! GRANDFATHER produces a penny. GRANDFATHER Odds or evens? PAUL sighs. PAUL Odds. GRANDFATHER flips the coin. The guards van door opens and JOHN, GEORGE and RINGO come in, with them are the girls, RITA and JEAN. JOHN Dont worry, son, well get you the best lawyer trading stamps can buy. PAUL Oh, its a laugh a line with Lennon. Anyroad up ... Its all your fault. RINGO Me? Why? GEORGE Bag-snatcher. GRANDFATHER Thats right; convict without trial ... Habeas corpus. JOHN Every morning. JOHN has been looking around the guards van. JOHN Gaw, its depressing in here, isnt it? Funny... cos they usually reckon dogs more than people in England, dont they? Youd expect something a little more palatial. Come on. Lets have a little action. Lets do something, then. PAUL Like what? JOHN Well, Ive got me gob stopper. Look, a genuine Stradivarius, hand tooled at Dagenham. And to RINGOs beat on a tea chest they are off, PAUL and GEORGE improvising other sounds, much to the GIRLS delight. During the number, GRANDFATHER quietly lets the latch off the chicken crate and chickens begin to wander through the scene. 16. EXTERIOR TRAIN IN MOTION FROM ABOVE While the number is progressing, the train is getting nearer and nearer to London. 17. EXTERIOR PLATFORM TERMINUS SHOTS of the station full of GIRLS waiting for the BOYS. 18. INTERIOR GUARDS VAN By the time the number finishes the train pulls up with a sharp halt that sends them all sprawling, BOYS and GIRLS. NORM enters the guards van. NORM Dont move, any of you. Theyve gone potty out there. The whole place is surging with girls. JOHN Please, can I have one to surge with? NORM No. JOHN Ah, go on, you swine. NORM No, you cant. Look, as soon as I tell you, run through this door here and into the big car thats waiting. He points and we see a big car parked across the road. The BOYS prepare to depart, lining up with GRANDFATHER at the door. 19. EXTERIOR PLATFORM TERMINUS Just as they are ready to go, a line of taxis draws up parallel to the train and now separates them from the big car waiting for them. NORM Oh no! GRANDFATHER pushes past the BOYS, holding his coat closed. GRANDFATHER All right, lads, follow me. And before NORM can stop him, he darts out of the door, PAUL after him. The fans further down the platform see PAUL and charge forward ... in a panic NORM and the others follow, JOHN just having time to kiss both the girls. JOHN Vive lamour! NORM drags him away. 20. EXTERIOR RAILWAY STATION The BOYS manage to follow GRANDFATHER by leaping onto a motorized luggage carrier, GEORGE driving and the other three posing as a frozen tableau on the back. GRANDFATHER has arrived at a taxi door. He flings it open and runs through, opening the other door, thus making a safe bridge to the car. The BOYS follow and manage to make it to the big car safely. They run towards grandfathers taxi. The FANS have followed the BOYS and we see streams of GIRLS piling through all the taxis one of which contains JOHNSON the city man, opening and shutting the doors to get through, much to the indignation of the TAXI DRIVERS. 21. INTERIOR BIG CAR NORM is sitting in front with the driver, FRANK. The four BOYS and GRANDFATHER are squashed together in the back. NORM Go like the clappers, son! FRANK That was my entire intention, sir. 22. EXTERIOR STATION The car moves off surrounded by the FANS; from a height we see them converge on the car but it moves forcefully out of the station and off. It moves into the traffic in the main road and the journey to the hotel begins. 23. INTERIOR HOTEL SUITE NIGHT There is a reception room and off it lead rooms that are presumably bedrooms, bathroom, etc. JOHN is lying sprawled out on a settee listening to a transistor radio, demolishing a basket of fruit. PAUL is sitting at an upright piano and GRANDFATHER is mooching about the room. One of the doors opens and GEORGE enters followed by RINGO, none of the BOYS are wearing coats. RINGO I dont snore. GEORGE You do - repeatedly. RINGO Do I snore? JOHN Youre a window rattler, son. RINGO Well, thats just your opinion. Do I snore, Paul? PAUL With a trombone hooter like yours itd be unnatural if you didnt. GRANDFATHER Dont mock the afflicted, Pauly. PAUL Oh for Petes sake, Its only a joke. GRANDFATHER Well, it may be a joke, but its his nose. He cant help having a horrible great nose, its the only one hes got. And his poor little heads 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 Thatll keep you busy. GRANDFATHER Its your nose, ysee. Fans are funny that way. Take a dislike to things. Theyll 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 Ringos 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 Well. RINGO opens his letter and reads it. It contains a large embossed card. RINGO Eh, whats Boyds Club? The lads gather round him and PAUL takes the card from him and reads. PAUL The Management of Boyds takes pleasure in requesting the company of Mr Richard Starkey--thats you--in their recently refinished gaming rooms. Chemin de Fer. Baccarat, Roulette, and Champagne Buffet. Blimey! RINGO And they want me? JOHN Oh, its got round that youre a heavy punter. NORM Well youre not going. RINGO Ah. GRANDFATHER 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 Thats mine. NORM Have done, and you lot get your pens out. BOYS Why? NORM Its homework time for all you college puddings. I want this lot all answered tonight. The BOYS all protest. NORM Ill brook no denial! JOHN Its all right for you, you couldnt get a pen in your foot, you swine. NORM Come on, Shake, well leave em to their penmanship. He goes followed by SHAKE. There is a pause and JOHN deliberately rises slowly and crosses to his coat. He puts it on and walks to the door. JOHN While the swines away the piglets can play. Well, come on, what are we waiting for? With a whoop PAUL, GEORGE and RINGO collect their coats and head for the door. GRANDFATHER What about all these letters? BOYS Read em! They disappear. After a moment GRANDFATHER takes out Ringos 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 waiters 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 BOYDS 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 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, Msieur? GRANDFATHER Souflée. He turns to the buxom BLONDE, who is dripping over him. GRANDFATHER I bet youre a great swimmer. My turn? Bingo! CROUPIER Pas Bingo, Msieur... Banco. GRANDFATHER Ill take the little darlings anyway. He takes up the cards and cant understand that they are unnumbered. GRANDFATHER Two and one is three, carry one is four. The buxom BLONDE leans over him. BLONDE Lay them down. GRANDFATHER Eh? BLONDE Lay them down. GRANDFATHER Wed be thrown out. BLONDE Your cards... lay them down... face up. He does so. CROUPIER Huit à la pointe... et sept. BLONDE You had a lovely little pair, ysee. GRANDFATHER I did? CROUPIER taps impatiently on box . BLONDE Theyre yours. GRANDFATHER They are? BLONDE The cards... youre bank. 26. INTERIOR DANCING CLUB The BOYS are having a rare old time and the place is really moving. 27. INTERIOR BOYDS CLUB GRANDFATHER is playing and a waiter is checking the requirements of the players. GRANDFATHER Bingo! CROUPIER Mlord dit Bingo. WAITER A little light refreshment. GRANDFATHER A glass of the old chablis to wash down a gesture of giblets wouldnt go amiss. Souflée, chop chop. The CROUPIER uses the spatula to pick up a card. GRANDFATHER grabs it and scoops some sandwiches off a passing tray. 28. INTERIOR DANCING CLUB The BOYS are at their table again laughing and enjoying themselves, when suddenly their faces freeze. From their P.O.V. we see NORM standing glowering down at them. With him is SHAKE. Reluctantly the BOYS arise and follow NORM out. 29. INTERIOR BOYDS 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! 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 Hes right, yknow. BOYS Ah well, there you go. SHAKE enters front door, goes to hang up coat and drags WAITER out. SHAKE Eh, whats all this? PAUL Oh, him... Hes been lurking. JOHN Aye, he looks a right lurker. SHAKE Youre undressed. Where are your clothes? WAITER The old gentlemen borrowed them to go gambling at Boyds. PAUL No! RINGO Oh, hes gone to my club, has he? PAUL Yeah, Its all your fault, getting invites to gambling clubs. Hes 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 BOYDS GRANDFATHER is drinking champagne in locked arms with BLONDE. WAITER Encore de champagne, Monsieur? GRANDFATHER Yes, and Ill have some more champagne as well. He takes another swig of his glass. MANAGER Lord John McCartney, hes the millionaire Irish Peer, filthy rich of course. CUSTOMER Oh I dont know, looks rather clean to me. The MANAGER comes to grandfathers side. MANAGER Play is about to resume, mlord. GRANDFATHER Lead me to it, Ive 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 BOYDS CLUB JOHN, PAUL, GEORGE, RINGO, NORM and SHAKE are trying to gain entrance. ATTENDANT Im sorry sir, members and invited guests only. PAUL, GEORGE, RINGO, JOHN Ive got to get in. Its urgent and important. Ive had an invite. Take me to your leader. NORM Shurrup. The BOYS do and meanwhile the MANAGER has walked into SHOT. He recognises the BOYS and welcomes them with false enthusiasm. They all start to enter the main room. NORM All we want to know is have you got a little old man in there? MANAGER Do you mean Lord McCartney? CLOSE-UP PAUL PAUL Hes at it again. Look, Im his grandfather... I mean... BLONDE Oh, it must be the dolly floor show. JOHN Stay where you are everybody this is a raid and we want him. GRANDFATHER Who are these ruffians?... Ive never seen them before in my life! ... They grab the protesting GRANDFATHER and drag him into the reception area. He keeps trying to return to BLONDE and table. GEORGE and RINGO each take an end of the velvet cord hanging between the two stanchions. They exchange ends and re-hook it, thus encircling GRANDFATHER by the entrance desk. They then go to settle up. MANAGER Before you go, gentlemen, theres the small matter of the bill. He snaps his fingers and a waiter hands him the bill. NORM Ill settle that. He glances at it. NORM A hundred and eighty pounds! MANAGER I beg your pardon, guineas. At that moment a WAITER appears with a tray full of pound notes. WAITER Your winnings, my lord, one hundred and ninety pounds. The MANAGER tears up the bill and takes the money. GRANDFATHER How about me change? MANAGER Cloak room charge. He hands GRANDFATHER his old mackintosh. RINGO Ah well, easy come, easy go. The others glower at him. RINGO Well. 33. INTERIOR BIG CAR The BOYS have settled down. JOHN Should I say it? GEORGE Follow your impulse. RINGO Itll only get you into trouble. JOHN Aah, shurrup, misery! JOHN slouches forward. JOHN O.K. Driver, follow that car!! The driver is an urbane young man in a handsome grey uniform. FRANK Would you like to be a little more precise, sir? JOHN Well, thats the wrong line for a start. FRANK Sorry? GEORGE Oh, dont pay any attention to him, he was just fulfilling a lifelong ambition. FRANK I see. JOHN Yeah, you know, O.K. Buster, follow that car, theres a sawbuck in it for you if you get real close! FRANK Oh, yes, now Im with you. But, gee, Mister, Ive got my license to think of ... were doing a hundred now ... The car is stopped in traffic behind a bus. JOHN gets out of car and walks to the front. JOHN leans in window delightedly, he flashes his wallet. JOHN Ever seen one of these before? FRANK Ah ... a shamus, eh? JOHN I see you go to the night court. FRANK Ive made the scene. JOHN Well, remember, its Leathery Magee up ahead in that convertible, so cover me in the stake-out. GEORGE I dont think that bits right. JOHN What do you expect from an ad lib ... Raymond Chandler? 34. EXTERIOR STREET As the big car overtakes a Company Directors Rolls. JOHN lowers his window and the boys let out an imaginary hail of bullets at the Executive in the back. He reacts violently and starts to shout at them. As he does so, he presses the button of his window, so that we hear only part of it. But what we do is unpleasant. He immediately presses the button and the window rises. RINGO and PAUL jump out of the car. RINGO takes two drumsticks from his coat pocket and, using them as banderillas, inserts them with style into the radiator grill . PAUL, then, using his coat as a matadors cloak, does a butterfly pass at the car which has just started up, narrowly missing him, but he keeps in the matador position. 35. INTERIOR CAR NORM Will you all stop it, youre like a gang of school kids. I knew this was going to happen one day. JOHN Well, you shouldnt have had bacon for your breakfast, you cannibal. FRANK Were nearly there, sir. JOHN Eh ... dont call him sir, hes got enough delusions of power as it is. CLOSE SHOT of a long suffering NORM. NORM And I was happy in the bakery. Ill never know why I left. 36. EXTERIOR OF AN OLD VICTORIAN MUSIC HALL THEATRE Which has been converted to the T.V. studios. There are a few groups of GIRL FANS standing outside the front of the theatre, but against the kerb of the pavement is a night-watchmans 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-watchmans 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 Press conference, theyre waiting for you. NORM Give us a couple of shakes to get our breath. FIRST P.R.O. MAN Theyre waiting now! And without more ado they grab an arm each and march the protesting NORM towards the stairs that lead to the dress circle. PAUL Eh this lot means it. Theyre even taking hostages. The BOYS, SHAKE and GRANDFATHER rush after the rapidly disappearing NORM, who by now is half way up the stairs. 39. INTERIOR OF DRESS CIRCLE LOUNGE BALLROOM It is empty except for two barmaids poised ready to serve, standing behind trestle tables full of drinks and sandwiches. The dark suited MEN enter with NORM and close behind them follow GRANDFATHER, SHAKE and the boys. The group arrives at the centre of the lounge and have time to look about and see the food but before they can get to it, from all directions NEWSPAPERMEN and PHOTOGRAPHERS converge upon them.. Now begins an elaborate tug-of-war between various PHOTOGRAPHERS using their flash attachments and REPORTERS to capture a Beatle and in the midst of this running battle a man with a portable recorder is trying to interview them. Together and singly the BOYS are pushed about the room and while this goes on a hard core of NEWSPAPERMEN are busily devouring sandwiches and pouring themselves drinks, to the annoyance of the BARMAIDS. Every time one of the BOYS attempts to get a sandwich or a drink, it is either too late, the plate is empty, or they are intercepted. The single and constant thing we see in the scene is the pushing and pulling, heavy impersonal handling, the boys are just things to be placed like still life in one advantageous position after another. During the scene these individual exchanges take place: SOUND REPORTER Whats your philosophy of life? JOHN Im torn between Zen and Im all right, Jack. REPORTER Has success changed your life? RINGO Yes. REPORTER Do you like playing the guitar? GEORGE Next to kissing girls its favourites. PAUL is surrounded by newspapermen. PAUL No, actually, were just good friends. HIGH SHOT of the press reception and we see the BOYS ease their way out until they get to the curtained entrance to the dress circle; completely unnoticed, they slip through. 40. INTERIOR THEATRE DRESS CIRCLE The BOYS come up the stairs into the Dress Circle proper. GRANDFATHER and SHAKE are sitting there having a picnic of beer and sandwiches. PAUL Anything to spare? GRANDFATHER Weve just finished, Pauly. Hey George, write us your John Henry on this picture. GEORGE Sure. . PAUL Ah well. Eh, look! He points, and from PAULS 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 Lets 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 Im 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, Im out on strike. FLOOR MANAGER Arent you being rather arbitrary? RINGO Thats right retreat behind a smoke screen of bourgeois cliches. I dont 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 Hes very touchy about those his drums, they loom large in his legend. RINGO gives his drums a defiant crash and JOHN and PAUL stop whatever they are up to and hurry over. PAUL Whats up? GEORGE Hes sulking again. JOHN Ill show him. He picks up a set of drum sticks and bashes back at RINGO, who does a more complicated drum roll. GEORGE now joins in and to PAULS encouragement a drum duel starts completely naturally and improvised. During this encounter the work proceeds around them and the guitars are brought on and SHAKE sets them to working order. PAUL first, then JOHN and GEORGE take up their own instruments and out of the drum duel emerges one of their numbers. 42. INTERIOR RAMP As the number finishes a baldheaded man storms down the ramp that leads from the control box under the dress circle. DIRECTOR All right Im sorry and lets hear no more about it. If thats your opinion, youre probably right. Look, if you think Im unsuitable lets have it out in the open, I cant 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 Arent you tending to black and white this whole situation? DIRECTOR Well, quite honestly I wasnt expecting a musical arranger who would question my ability ... picture-wise. JOHN I could listen to him for hours. PAUL Heave to, whats 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, theyre trying to fob you off wid this musical charlatan but Ive given him the test. DIRECTOR Im quite happy to be replaced. GRANDFATHER Hes a typical buck-passer. DIRECTOR I won an award. JOHN A likely story. DIRECTOR Its 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 dont need this lot, Ill lock em up in the dressing room till you do. DIRECTOR Please do, Ill 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, its a plot, I see it now, its all a plot. They go left towards the back-stage. NORM Now, come on, Ive 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 Lets have you. JOHN Come on speedy! PAUL Ringo! GEORGE Wake up! RINGO glares at them and follows quickly. As the BOYS move off after NORM, they pass the next act waiting for rehearsal. It is an elegant man in full-tail suit meticulously adjusting his cuff-links. Beside him is a free-standing sign reading Leslie Jackson and his ten disappearing doves. The BOYS pass him and go through the door. GRANDFATHER stops and looks at the performer with respect. GRANDFATHER I cant tell you how much Ive enjoyed your act. He slaps the man on the back with happy camaraderie. There is the sound of a dove, a few feathers fall out of the sleeve of the mans 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 performers 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 Gear costume! ACTOR Swap? NORM Right, first floor and no messing about. NORM, leading the way, goes up the stairs but as they turn the first corner they are confronted by a group of girls, a game of manners starts, after you, No, after you. NORM who is ahead of the group looks down on them in disgust. NORM Lennon, leave them girls alone or Ill report you. The BOYS let the GIRLS pass and resume the journey, always surrounded by people. 44. INTERIOR DRESSING ROOM AND CORRIDOR RINGOS attention is caught by a door. He crosses and opens it, looking out to a fire escape. The others join him and the four boys step through the door and onto the fire escape. 45. EXTERIOR TOP OF FIRE ESCAPE From the BOYS P.O.V. we see down below into the property yard behind nthe theatre. It is a long narrow yard full of old coaches, motor cars and all the general debris of hundreds of sets from past theatre shows. Through the piles of heaped high junk there are a couple of narrow alleyways. The BOYS scamper down the fire escape. When they reach the bottom of the alleyways, there is a large door. They open it and look through. From their P.O.V. we see a large green field quite empty. The boys step through the doorway into the field. We now see from a HELICOPTER SHOT the four BOYS standing together surrounded by space. It is the first time they have been alone and unconfined all day. They look at each other and grin ... then first GEORGE and PAUL let out a whoop and run towards the centre of the field, after a moment JOHN and RINGO follow them. The BOYS pick up some loose straw and insert it under JOHNS cap and sleeves, turning him into a scarecrow. The four BOYS dash about madly calling out to one another and generally horsing around. Out of this emerges an imaginary game of soccer and although there is no ball the game is fast and furious. After a few moments the long shadow of a man falls across the grass. MANS VOICE 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 mans eye, mooch back towards the gateway they came in by. JOHN is the last to go through. He turns to the man. JOHN Sorry if we hurt your field, Mister. 46. INTERIOR CORRIDOR BACK-STAGE GRANDFATHER is sneaking down the corridor, a pile of photos under his arm. 47. INTERIOR T.V. THEATRE UNDERNEATH THE STAGE Under the stage the usual set of wooden columns that support the stage with lots of furniture and a single light is on; it is placed by the orchestras 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 Theres no one here. SHAKE This is the only way they could have gone. We now see GRANDFATHER holding himself stiffly in, he is on some sort of raised platform and he fidgets and in doing so he knocks a lever of some sort. Slowly GRANDFATHER ascends out of shot with a light that grows bigger above him. 48. INTERIOR T.V. THEATRE STAGE A rehearsal of the toast scene from a Strauss Operetta. The entire stage is full of SINGERS, glasses in hand they are singing away at each other but in true opera tradition they are addressing out to the audience. Slowly in-between the leading man and leading woman, who are about to embrace, a stage trap opens and a blinking, surprised, GRANDFATHER appears. Here we INTERCUT to the T.V. Control Room for amazed reaction shots of the DIRECTOR and control room CREW. Back now on the stage the toast song reaches its climax and the leading man and woman rush into each others arms, GRANDFATHER sandwiched between them. 48A. INTERIOR CORRIDOR AS BOYS PASS THRU ON WAY TO DRESSING ROOM JOHN is behind them. JOHN, BOYS and MILLIE are walking towards each other. MILLIE Hello. JOHN Hello. MILLIE Oh, wait a minute, dont tell me youre ... JOHN No, not me. MILLIE Oh you are, I know you are. JOHN No, Im not. MILLIE You are. JOHN Im not, no. MILLIE Well, you look like him. JOHN Oh do I? Youre the first one who ever said that. MILLIE Oh you do, look. JOHN looks at himself in the mirror. JOHN examines himself in the mirror carefully. JOHN My eyes are lighter. MILLIE Oh yes. JOHN And my nose... MILLIE Well, yes your nose is. Very. JOHN Is it? MILLIE I would have said so. JOHN Aye, but you know him well. MILLIE No I dont, hes only a casual acquaintance. JOHN Thats what you tell me. MILLIE What have you heard? JOHN Its all over the place, everyone knows. MILLIE Is it? Is it really? JOHN Mind you, I stood up for you, I mean I wouldnt have it. MILLIE I knew I could rely on you. JOHN Thanks. MILLIE touches his arm then walks away. After a moment she turns. MILLIE You dont look like him at all. JOHN winks at her and she winks back. 49. INTERIOR DRESSING ROOM NORM and SHAKE enter the room. The BOYS TAILOR is there waiting for the BOYS. SHAKE Oh theyve probably gone to the canteen, cup of tea, like. NORM Thats too easy for Lennon. He crosses to door leading to fire escape. NORM Hes out there somewhere, causing trouble just to upset me. SHAKE Youre imagining it. Youre letting things prey on your mind. NORM Oh no... this is a battle of nerves between John and me. SHAKE But John hasnt got any. NORM What? SHAKE Nerves. NORM I know, thats the trouble. He puffs nervously at his cigarette. NORM Oh, Ive toyed with the idea of a ball and chain but hed 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, theyre coming. Someones coming. Quick, hide! The two men hide behind the door. The boys enter the room, as JOHN is last he shuts the door and faces SHAKE and NORM. JOHN What are you doing there? SHAKE Hiding. JOHN I think youre soft or something. NORM We werent hiding. TAILOR Now? NORM Now. We were trying to catch you redhanded. I thought I told you lot to stay here? RINGO Well ... NORM When I tell you to stay put, stay put. JOHN Dont cane me, sir, I was led astray. NORM Oh shurrup and come on John. Theyre waiting for you in the studio. RINGO Oh dear, I feel like doing a bit of work. NORM Good lad, Ringo. PAUL Oh, listen to teachers pet. GEORGE You crawler. JOHN Hes betrayed the class. RINGO Oh, leave off!!! JOHN Temper! Temper! RINGO Well ... CLOSE-UP on NORMs long suffering face. NORM Will you all get a move on! Theyre waiting for you! By this time the TAILOR has his tape stretched between his hands to measure GEORGEs shoulders. But since GEORGE has moved away, he is measuring space. JOHN takes up his scissors and cuts the tape. JOHN I now declare this bridge open. The BOYS run out the door. 50. INTERIOR BACKSTAGE AREA Five beautiful MODELS are standing about in costume. One is knitting a loose wool sweater which is almost completed. There is the sound of a juggling acts music off and a few of the girls are looking off towards the centre stage. At the edge of frame is a collapsible table covered with green baize. On it are three spaced white plates. From the door off stage, above which is a sign To Canteen and Production Offices, GRANDFATHER enters eating a plate of spaghetti on toast. The knitting GIRL sees him and, in mime, asks him to stand still so that she can measure the sweater against him. GRANDFATHER, eager to help, puts his plate of food on the green table between plates two and three. He goes to be measured with the sweater. From the onstage area, a jugglers ASSISTANT in costume backs up and with the usual theatrical flourishes picks up, without looking, plate number ONE and throws it off screen towards centre stage. There is a drum roll from orchestra. She then throws plate number TWO. We CUT on stage to the JUGGLER now balancing the two spinning plates on two poles, one in each hand. He has another pole in his mouth and nods to his ASSISTANT, asking for the THIRD plate. We CUT BACK to the ASSISTANT who, still not looking, throws plate THREE which is GRANDFATHERs. There is the sound of an orchestra raggedly stopping and all the hangers-on in the scene look off interestedly. We hear the DIRECTORs voice. DIRECTOR All right, hold it, hold it... O.K. John, wipe him down and well carry on with the next act. We CUT TO centre stage. The JUGGLER is as before but the spaghetti is covering his head, having slipped off the third plate. The FLOOR MANAGER is bustling around, trying to help. We CUT BACK to back-stage. GRANDFATHER has finished being measured and goes to the green table where he put his plate down. He picks up the only remaining plate, looks at it, wondering where his food has gone, shrugs and heads back towards the exit door as we hear the DIRECTORs VOICE. 51. INTERIOR T.V. STUDIO FLOOR CLOSE-UP on the distraught DIRECTOR. DIRECTOR Where are they? I said, where are they? Where are they? FLOOR MANAGER Theyre coming, I promise you. DIRECTOR Now look, if theyre not here on this floor in thirty seconds theres going to be trouble ... understand me ... trouble!!! Two STAGE HANDS are walking disinterestedly past, they look at the DIRECTOR. 1st STAGE HAND Whats he on about, Taff? WELSH STAGE HAND Well ... hes being the director. Of course, he lives in a world of his own, mind. At this moment the boys, NORM, SHAKE and GRANDFATHER appear. The BOYS grab their instruments and prepare to play. JOHN Standing about, eh? Some people have it dead easy, dont they? The director is about to blow his top but manages to hold on and mutter to the heavens. DIRECTOR Of course, once youre over thirty, youre finished. Its a young mans medium and I just cant take the pace. RINGO Are you as young as that, then? BOYS Shurrup! GRANDFATHER Isnt it always the way? Picking on us little fellas. PAUL Shove the gentleman jockey in the make-up room or something and keep your eye on him, will you? SHAKE Im an electrician, not a wet nurse, yknow. PAUL Ill set John on you! SHAKE Oh, anything you say, Paul. He leads GRANDFATHER away. The BOYS are placed in position, instruments ready. The boom moves in near them. There is a mike hovering just over JOHNS head. JOHN starts attacking it. DIRECTORS VOICE Run through the number and try not to jiggle out of your positions. The BOYS start the number, as the stage hands adjust their settings. When theyve finished, they stand about spare. 52. INTERIOR T.V. CONTROL ROOM The room is crowded with the usual personnel, P.A., elecs, racks, etc.... make-up supervisor and wardrobe mistress. DIRECTOR That was more or less all right for me. Ill give them one more run through then leave them alone until the dress ... Oh how about make-up? MAKE-UP WOMAN Not really, they dont need it any. Well just powder them off for shine. DIRECTOR Good. Norm, get them along to make-up will you? NORM Sure. DIRECTOR And hurry, theyre not looking too happy. From the directors P.O.V. we see into the monitor. The boys crowding around RINGO. We cut through the monitor into the same position in the studio. 53. INTERIOR T.V. STUDIO FLOOR PAUL Whats the matter with you? You were bashing away like a madman. RINGO You were twanging too loud. JOHN Howd you like a dirty great drum roll giving you a clout right in the middle of your solo? GEORGE Youre getting out of hand. I dont know whats come over you today. RINGO Thats right. Its always me, isnt it? JOHN Since you ask, yes. Aah, come on, Ring, we love you. He puts his arm around Ringos shoulder. RINGO Well! JOHN Hell get over it. NORM appears down the ramp speaking as he approaches. NORM All right, our lot, make-up. 54. INTERIOR MAKE UP ROOM 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 girls name: Betty, Angela, Deirdre, Jenny. SHAKE and GRANDFATHER are sitting in splendid isolation. They are staring each other out. SHAKE You blinked! GRANDFATHER I never did, you did. The BOYS enter. SHAKE Hello, hes not talking to me. Hes having a sulk. GEORGE Well, it must be catching. Hes given it to the champ here. He indicates RINGO who ignores him. NORM Stop picking on him. RINGO I dont need you to defend me, yknow, Norm. JOHN Leave him alone, hes 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 Wellingtons 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 ayes 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! Well never get you all done in time. ACTOR Well, youll just have to do us first... It makes no difference to them whether theyre made up or not. And whos me, then? JOHN My names Betty... Do you want a punch up your frogged tunic? NORM fights his way to JOHN. NORM Now listen, John, behave yourself or Ill murder you and, Shake, take that wig off, it suits you. SHAKE has a long blond girls 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 Guardsmans busby wedged down almost over his eyes and is sitting with it under a hair drier, reading a copy of Queen Magazine. NORM What do you think are youre up to? RINGO Someone put it on me. JOHN Excuses, thats all we get and you know you fancy yourself in the Coldstreams. The GIRLS now move in and put make up bibs on the BOYS and start to powder them off. JOHN You wont interfere with the basic rugged concept of my personality, will you, girl? PAUL Eh, dont take out me lines. GEORGE Yeah, they give him that Je ne sais quoi rakish air. The lads laugh with pleasure. RINGO decides to try a little joke. RINGO (indicating the busby he is still wearing) Short back and sides, please. The other look at him with mock disgust. PAUL Behave... JOHN Foreign devil ... GEORGE Control yourself... GRANDFATHER has been watching the powdering process. GRANDFATHER In my considered opinion youre a bunch of sissies. JOHN grabs a powder puff from his girl. JOHN You know youre only jealous! And dabs the old man liberally with the powder much to GRANDFATHERs annoyance. NORM Leave him alone, Lennon, or Ill tell them all the truth about you. JOHN You wouldnt! NORM I would though. NORM goes out. PAUL Whats he know? JOHN Nothing, hes trying to brainwash me and give me personality doubts ... oh, hes a swine but a clever swine, mind. GRANDFATHER Lookit, I thought I was supposed to be getting a change of scenery and so far Ive seen a train and a room, a car and a room and a room and a room. Well, thats maybe all right for a bunch of powdered gee-gaws like you lot but Im feeling decidedly strait-jacketed. This is no life for a free-booting agent of my stamp. Im a frustrated man and that class of McCartney is a dangerous McCartney. GIRL What a clean old man. GRANDFATHER Youre too young for a fella of my cosmopolitan tastes, so dont press your luck. JOHN Hes sex-obsessed, the older generation are leading this country to galloping ruin. NORM returns leaving the door open, the boys hear the sound of music coming from the studio. NORM Theyre nearly ready for you. Theyre just finishing the band call. JOHN Gear! Come on, girls, lets have a bit of a dance. JOHNS GIRL I dont think its allowed. JOHN Well ... it wouldnt be any fun if it was! The BOYS drag the make-up GIRLS out of the room and into the studio. The GIRLS are still trying to finish making the BOYS up. As the BOYS and MAKE-UP GIRLS dance past, we see one of the Strauss singers combing his long hair straight back. Two STAGE HANDS swing a wind machine past him and his hair is blown straight forward into a Beatle cut. JOHN Never. During dance, GEORGE takes off wig and places it on dummy, revealing identical hair underneath. 55. INTERIOR T.V. STUDIO FLOOR The work is still going on and the music is up full blast, the BOYS enter and with the GIRLS they start a wild dance, hippy, shake, zulu, blue beat, the lot. LIONEL and DANCERS are doing their routine on one side of the stage ... it becomes a challenge dance between both groups. JOHN swings his GIRL onto the motorized CAMERA, Western style, and starts to track through the GROUP. GEORGE is on another CAMERA. 56. INTERIOR CONTROL ROOM The whole control room crew are watching the dance on all the monitors. The DIRECTOR is about to stop the boys but his GIRL P.A. glares at him, with a shrug he lets the dance go on. We now cut between the dancers on the monitors and the boys actual dancing down on the studio floor. When the recorded music stops, they grab their instruments and go into a number. So we can watch every aspect of their work and with so many monitors it gives the impression that there are many more boys than just four. When the number finally ends we are back in the studio on the floor. 57. INTERIOR T.V. STUDIO FLOOR DIRECTORS VOICE OVER TANNOY Thank you gentlemen, you can break now while we push on with the show. The boys acknowledge this with a quaver of guitar chords and a drum roll. NORM is on them at once. NORM That was great, youve got about an hour but dont leave the theatre. JOHN grabs the arm of a sexy girl dancer. JOHN Shes going to show me her stamp collection. PAUL Sos mine. NORM John, Im talking to you. This final run through is important. Understand? Important. JOHN Oink! Oink! They dash off with the two beauties. GRANDFATHER is hovering in the background with SHAKE. GRANDFATHER I want me cup of tea. NORM Shake. SHAKE Im adjusting the decibels on the inbalance. NORM Clever. George. But GEORGE is disappearing out of the door. NORM turns to RINGO. NORM Look after him. RINGO But... NORM Do I have to raise me voice? RINGO Oh, all right. Come here, Grandad. And the two of them walk off, Ringo leading. 57A. INTERIOR BACKSTAGE A man, whose act is playing tunes by hitting himself on the head, is swallowing a handful of aspirin tablets. He starts rehearsing his act, which consists of throwing his head back and slapping his cheeks. Next to him, a JUGGLER is practising with four table tennis balls. GRANDFATHER passes him and bumps his arm slightly. Only 3 balls come down. There is the sound of coughing off. We CUT TO THE HEAD-PLAYER being patted on the back. The ball drops out of his mouth and bounces slowly on the studio floor. 58. INTERIOR T.V. STUDIO CANTEEN 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 GRANDFATHERs 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 Will you ever look at him, sitting there wid his hooter scraping away at that book! RINGO Well ... whats the matter with that? GRANDFATHER Have you no natural resources of your own? Have they even robbed you of that? RINGO 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 youre not thumping them pagan skins, youre tormenting your eyes wid that rubbish! RINGO Books are good! GRANDFATHER Paradings better! RINGO Parading? GRANDFATHER Thats it, parading the streets ... trailing your coat ... bowling along ... living! RINGO Well, I am living, arent I? GRANDFATHER Youre 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 ... youre a bit old for that sort of chat, arent you? GRANDFATHER At least Ive a backlog of memories, but all youve got is that book! RINGO Aaah ... stop picking on me... youre as bad as the rest of them. GRANDFATHER So you are a man after all. RINGO Whats that mean? GRANDFATHER Do you think I havent noticed ... do you think I wasnt aware of the drift? Oh ... you poor unfortunate scuff, theyve driven you into books by their cruel, unnatural treatment, exploiting your good nature. RINGO Oh ... I dunno. GRANDFATHER And that lots never happier than when theyre jeering at you ... and where would they be without the steady support of your drum beat, Id like to know. RINGO Yeah ... thats right. GRANDFATHER And whats it all come to in the end? RINGO Yeah ... whats in it for me? GRANDFATHER A book! RINGO Yeah ... a bloomin book! He throws the book down. GRANDFATHER When you could be out there betraying a rich American widow or sipping palm wine in Tahiti before youre too old like me. A fine neat and trim lad the class of you should be helping himself to lifes goodies before the sands run out. Being an old age pensioners a terrible drag on a man and every second you waste is bringing you nearer the Friday queue at the Post Office. RINGO Yeah ... funny really, cos Id never thought of it but being middle-aged and old takes up most of your time, doesnt it? GRANDFATHER Youre only right. RINGO Im not wrong. There is a pause, then RINGO rises and crosses to the door. GRANDFATHER Where are you off to? RINGO Im going parading before its too late! RINGO leaves and GRANDFATHER laughs at what he has done, then realizes its full meaning and looks worried. 59. INTERIOR CORRIDOR and STAIRWAY RINGO comes along the corridor then down the narrow stairs. Half-way down he comes face to face with GEORGE who is coming up the stairs. GEORGE Eh, Ringo, do you know what happened to me? RINGO No. I dont. As he goes round the corner RINGO turns on the surprised GEORGE. RINGO You want to stop being so scornful, its twisting your face. 60. INTERIOR T.V. THEATRE NEAR STAGE DOORMANS OFFICE JOHN and PAUL are chatting up a couple of girls, when they see RINGO approaching they break off the conversation. JOHN Here he is, the middle-aged boy wonder. RINGO looks at JOHN hard. PAUL Eh. I thought you were looking after the old man. RINGO Get knotted! 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 Weve got only half an hour till the final run-through. He cant walk out on us. JOHN Cant he? Hes done it, son! GEORGE runs towards them. GEORGE Eh, I dont know if you realise it, but ... PAUL We do. GEORGE Yes. Your grandfathers stirred him up. PAUL He hasnt. GEORGE Yes, hes filled his head with notions seemingly. PAUL The old mixer, come on well 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 Well split up and search for him, he cant 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 Its happened at last, weve become a limited company. GEORGE Ill 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 dont 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 Ringos 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 doesnt 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 Aint you got no more bleeding sense than to go round chucking bricks about. Before RINGO has time to answer the man has disappeared. RINGO Southerner! He looks at the canal water moodily; at this moment a large lorry tyre rolls down the incline and bashes him slap in the back, sprawling him on the path, the tyre on top of him. A small boy appears after the tyre and stands over the prostrate RINGO. BOY Here, mate, thats my hoop, stop playing with it. RINGO Hoop, this isnt a hoop, its a lethal weapon. Have you got a licence for it? BOY Oh dont be so stroppy! RINGO Well! A boy of your age bowling hoop at people. How old are you anyway? BOY Nine. RINGO Bet youre only eight and a half. BOY Eight and two thirds. RINGO Well, there you are and watch it with that hoop. BOY Gerron out of it, youre only jealous cause youre old. RINGO Shurrup! BOY I bet youre -- sixteen! RINGO Fifteen and two thirds, actually. BOY Well -- RINGO All right, take your hoop and bowl. He moves off and the BOY follows. BOY Oh you can have it, Im packing it in -- it depresses me. RINGO Ywhat? BOY You heard, it gets on my wick. RINGO Well thats lovely talk, that is. And another thing, why arent you at school? BOY Im a deserter. RINGO Are you now? BOY Yeah, Ive blown school out. RINGO Just you? BOY No, Ginger, Eddy Fallon and Ding Dong. RINGO Ding Dong? Oh Ding Dong Bell, eh? BOY Yeah, thats right, they was supposed to come with us but they chickened. RINGO Yeah? And theyre your mates are they? BOY Yeah. RINGO Not much cop without em, is it? BOY Oh, its all right. RINGO Yeah? BOY Yeah. RINGO What they like? BOY is glad to have something to talk about. BOY Gingers mad, he says things all the time and Eddys good at punching and spitting. RINGO How about Ding Dong? BOY Hes a big head and he fancies himself with it but you know its all right cos hes one of the gang. RINGO nods his head understandingly and they mooch on together. BOY Why arent you at work? RINGO Im a deserter, too. BOY Oh. At this moment a childs voice shouts out Charley and from RINGOS P.O.V. we see three kids. RINGO turns to the BOY and looks at them enquiringly. BOY See you. The BOY runs off to join his mates. As he joins them they punch and scuffle together. They are obviously a gang. RINGO is left alone. 64. INTERIOR CORRIDOR T.V. THEATRE 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 building. 65. INTERIOR OFFICE 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, Im sorry, I must have made a mistake. SECRETARY You havent, youre just late. Oh, yes, hes going to be very pleased with you. GEORGE Is he? SECRETARY Yes, youre quite a feather in the cap. Hello, Ive got one ... oh, I think so ... yes, he can talk ... Well ... I think you ought to see him. Of course, right away. She crosses to the inter-office door. On the door is written SIMON MARSHAL ... she opens it. SECRETARY Well ... come on. GEORGE Sorry. He follows her quickly in. 66. INTERIOR THE INNER OFFICE 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 Queens 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 Will this do, Simon? SIMON Not bad, dolly, not really bad. Turn around, chicky baby. GEORGE does so. SIMON Oh yes, a definite poss. Hell look good alongside Susan. All right, Sunny Jim, this is all going to be quite painless. Dont breathe on me, Adrian. ADRIAN has recognised GEORGE and is trying to stop SIMON. GEORGE Look, Im terribly sorry but Im afraid theres been some sort of a misunderstanding. SIMON Oh, you can come off it with us. You dont have to do the old adenoidal glottal stop and carry on for our benefit. GEORGE Im afraid I dont understand. SIMON Oh, my God, hes a natural. SECRETARY 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 hes 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, Id be quite prepared for that eventuality. SIMON Well, not your real opinion, naturally. Itll be written out and youll learn it. Can he read? GEORGE Of course I can. SIMON I mean lines, ducky, can you handle lines? GEORGE Ill have a bash. SIMON Good. Hart, get him whatever it is they drink, a cokearama? GEORGE Ta. SIMON Well, at least hes 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, youll like these. You really dig them. Theyre fab and all the other pimply hyperboles. GEORGE I wouldnt be seen dead in them. Theyre dead grotty. SIMON Grotty? GEORGE Yeah, grotesque. SIMON Make a note of that word and give it to Susan. I think its rather touching really. Heres this kid trying to give me his utterly valueless opinion when I know for a fact within four weeks hell be suffering from a violent inferiority complex and loss of status if he isnt wearing one of these nasty things. Of course theyre grotty, you wretched nit, thats why they were designed, but thats what youll want. GEORGE But I wont. SIMON You can be replaced you know, chicky baby. GEORGE I dont care. SIMON And that pose is out too, Sunny Jim. The new thing is to care passionately, and be right wing. Anyway, you wont meet Susan if you dont cooperate. GEORGE And whos this Susan when shes at home? SIMON Only Susan Campey, our resident teenager. Youll have to love her. Shes 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 Shes a trend setter. Its her profession! GEORGE Shes a drag. A well-known drag. We turn the sound down on her and say rude things. SIMON Get him out of here!! GEORGE Have I said something amiss? SIMON Get him out of here. Hes knocking the programmes image!! The underlings hustle GEORGE to the door. GEORGE Sorry about the shirts. He is ejected through the door. SIMON Get him out. You dont think hes a new phenomenon, do you? SECRETARY You mean an early clue to the new direction? SIMON Wheres the calendar? No, hes just a trouble maker. The change isnt due for three weeks. All the same, make a note not to extend Susans contract. Lets not take any unnecessary chances! 67. EXTERIOR STREET PUB ON THE CORNER The sign on the pub is Liverpool Arms. RINGO is standing looking up at it. He decides to go in and does so. 68. INTERIOR T.V. CONTROL ROOM 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 Im sorry lads, I didnt mean it, honest. DIRECTOR If he says that again, Ill strike him. SHAKE Theyll be back, theyre good lads, theyll be back. DIRECTOR Yes? Well theyve 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 God knows what youve unleashed on the unsuspecting South. Itll be wine, women and song all the way with Ringo once hes 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. BARMAID That was fresh this morning. We now see the pub is full of enormous cockney workmen downing pints. RINGO is very much alone. He moves away from the bar towards a group that is standing together, theyve an average height of over six-foot. There is a group at a dart board. Another group is playing bar skittles and a third group is around a pin-ball table. Near the bar is a shove-halfpenny board with two players. There is a caged parrot nearby. BARMAID Thatll 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 Ringos 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 Ywhat? 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. 71. EXTERIOR STREET PAUL comes down the street looking about him for RINGO. In the street is an old building, the sort of place that is highly favoured for TV rehearsals. There is a sign on the door, TV Rehearsal Room. As PAUL draws near, a load of actors and extras, etc. are leaving, they are in costume, they are the ones who earlier had been going to a word rehearsal. When PAUL gets near the entrance he decides to go inside. 72. INTERIOR HALL PAUL enters and wanders about. He reaches a door, pushes it open and looks in. He sees a GIRL clad in period costume. She is moving around the room and obviously acting. PAUL watches her for a moment and then decides to go in. 73. INTERIOR REHEARSAL ROOM PAUL goes into the room. The GIRL is in mid-flight. She is very young and lovely and completely engrossed in what she is doing. The room is absolutely empty except for PAUL and herself. She is acting in the manner of an eighteenth-century coquette, or, to be precise, the voice English actresses use when they think they are being true to the costume period ... her youth however makes it all very charming. GIRL If I believed you, sir, I might do those things and walk those ways only to find myself on Problems Path. But I cannot believe you, and all those urgings serve only as a proof that you will lie and lie again to gain your purpose with me. She dances lightly away from an imaginary lover and as she turns she sees PAUL who is as engrossed in the scene as she was. GIRL Oh! PAUL Well ... go head, do the next bit. GIRL Go away! Youve spoilt it. PAUL Oh, sorry I spoke. He makes no attempt to go. He simply continues to look steadily at the girl; then he smiles at her. She is undecided what to do next. GIRL Are you supposed to be here? PAUL Ive got you worried, havent I? GIRL Im warning you, theyll be back in a minute. PAUL Dyou know something, They dont worry me at all. Anyroad, I only fancy listening to you ... thats all but if it worries you ... well ... GIRL Youre from Liverpool, arent you? PAUL Howd you guess? GIRL Oh, its the way you talk. PAUL Is it ... is it, really? GIRL Are you pulling my leg? PAUL Something like that. GIRL I see. Do you like the play? PAUL Yeah ... I mean, sure, well, I took it at school but I only ever heard boys and masters saying those lines, like, sounds different on a girl. Yeah, its gear on a girl. GIRL Gear? PAUL Aye, the big hammer, smashing! GIRL Thank you. PAUL Dont mench ... well, why dont you give us a few more lines, like? GIRL pouts. PAUL You dont half slam the door in peoples faces, do you? I mean, what about when youre playing the part, like, hundreds of peoplell see you and ... GIRL Im not ... PAUL Oh, youre the understudy, sort of thing? GIRL No. Im a walk-on in a fancy dress scene. I just felt like doing those lines. PAUL Oh, I see. You are an actress though, arent you? GIRL Yes. PAUL Aye, I knew you were. GIRL Whats that mean? PAUL Well, the way you were spouting, like .... I dont believe you, sir... and all that. Yeah, it was gear. GIRL The big hammer? PAUL Oh aye, a sledge. GIRL But the way you did it then sounded so phony. PAUL No ... I wouldnt say that ... just like an actress ... you know. He moves and stands about like an actress. GIRL But thats not like a real person at all. PAUL Aye well, actresses arent like real people, are they? GIRL They ought to be. PAUL Oh, I dont know, anyroad up, they never are, are they? GIRL What are you? PAUL Im in a group ... well ... there are four of us, we play and sing. GIRL I bet you dont sound like real people. PAUL We do, you know. We sound like us having a ball. Its fab. GIRL Is it really fab or are you just saying that to convince yourself? PAUL What of? Look, I wouldnt do it unless I was. Im dead lucky cos I get paid for doing something I love doing. He laughs and with a gesture takes in the whole studio PAUL ... all this and a jam butty too!! GIRL I only enjoy acting for myself. I hate it when other people are let in. PAUL Why? I mean, which are you, scared or selfish? GIRL Why selfish? PAUL Well, youve got to have people to taste your treacle toffee. She looks at him in surprise. PAUL No, hang on, Ive not gone daft. You see, when I was little me mother let me make some treacle toffee one time in our back scullery. When Id done she said to me, Go and give some to the other kids. So, I said I would but I thought to meself, She must think Im soft. Anyroad, I was eating away there but I wanted somebody else to know how good it was so in the end I wound up giving it all away ... but I didnt nmind, mind, cos Id made the stuff in the first place. Well ... thats why you need other people... an audience ... to taste your treacle toffee, like. Eh ... does that sound as thickheaded to you as it does to me? GIRL Not really but Im probably not a toffee maker. How would you do those lines of mine? PAUL Well, look at it this way, I mean, when you come right down to it, that girl, shes a bit of a scrubber, isnt she? GIRL Is she? PAUL Of course ... Look, if she was a Liverpool scrubber ... Eh, fella, you want to try pulling the other one, its got a full set of bells hanging off it ... Ywhat? ... I know your sort, two cokes and a packet of cheese and onion crisps and suddenly its love and were stopping in an empty shop doorway. Youre just after me body and ycant have it ... so there!! GIRL And you honestly think thats what she meant? PAUL Oh, definitely, it sticks out a mile, shes trying to get him to marry her but he doesnt want ... well ... I dont reckon any fellas ever wanted to get married. But girls are like that, clever and cunning. Youve got to laugh. He laughs. GIRL Well, its nice to know you think were clever. PAUL And cunning. GIRL And what do you do about it? PAUL Me? Oh, I dont have the time, Im always running about with the lads ... no, we dont have the time. GIRL Pity. PAUL Aye, it is but as long as you get by, its all right, you know ... bash on, happy valleys when they let you stop. Anyroad, Id better get back. GIRL Yes. PAUL See you. GIRL Of course. PAUL stands at the doorway, shrugs then goes out. 74. EXTERIOR STREET 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 workmans arms. The workman rises out of the manhole until he is waist height. At this point an elegantly dressed gentleman appears he looks at his wife in the workmans arms and hits the workman. RINGO backs away through the puddles, and is nicked by the POLICEMAN. 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 Well, thats it, two minutes to the final run-through... theyre bound to miss it... NORM Ill 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 itud be a pity to miss the show, wouldnt it like. NORM Shurrup, cheerful. The horrible prospect hits the DIRECTOR. DIRECTOR You dont think... NORM Theyll be here. DIRECTOR Oh now, they cant do that to me. Its all your fault. Oh yes it is and if they dont turn up I wouldnt be in your shoes for all the... SHAKE ... tea in China. Oh youre 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. SHAKE Of course. 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 Hi Norm! NORM Hi, our lot! The BOYS walk on when after a moment NORM snaps to. NORM Our lot! GEORGE Did you want something. NORM I could eat the lot of you. JOHN Youd look gear with an apple in your gob. DIRECTOR Do you realise you could have missed the final run-through? GEORGE Sorry. SHAKE Eh, theres 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 youre one short. JOHN Control yourself or youll spurt. Hes bound to be somewhere. NORM Aye, lets try the dressing room. Everyone starts along the passage. NORM and PAUL last. PAUL Eh, wheres my grandfather? NORM Dont 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, Im Ringo Starr... Ive got a show to do in a few minutes youve got to let me go... Im Ringo... POLICEMAN Sure, they all say that these days ... Anyway ... I dont care who you are... you can save that for the stipendary. Here you are, Sarge. SERGEANT What is he? POLICEMAN Ive 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, hes done it. SERGEANT Oh, a little savage, is he? POLICEMAN A proper Aborigine. RINGO I demand to see me solicitor. SERGEANT Whats his name? RINGO Oh, well if youre 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, its going to be one of those nights, is it? 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 Ill take one of you with me. Oh, I know your game, get me in the tiled room and out come the rubber hoses but Ill 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 Ill 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 Whats he on about? GRANDFATHER Im soldier of the Republic, youll need the mahogany truncheon for this boyo. A nation once again. SERGEANT 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? RINGO Well Im not exactly a voluntary patient. GRANDFATHER Shush! Have they roughed you up yet? RINGO What? GRANDFATHER Keep your voice down, this lotll paste you, just for the exercise. Oh theyre a desperate crew of drippings and theyve fists like matured hams for pounding defenceless lads like you. RINGO Have they? GRANDFATHER That sergeants a body-blow veteran if ever I measured one. One of us has got to escape. Ill get the boys. Hold on son, Ill be back for you. RINGO Me! GRANDFATHER And if they get you on the floor watch out for your brisket. RINGO Oh, they seem all right to me. GRANDFATHER Thats what they want you to think. All coppers are villains. SERGEANT Would you two like a cup of tea? GRANDFATHER You see, sly villains. RINGO No thanks, Mr. Sergeant, sir. We now have a CLOSE SHOT of POLICEMEN around the sergeants desk. SERGEANT So you just brought the old chap out of the crowd for his own good. POLICEMAN Yeah, but he insisted on us bringing him to the station. SERGEANT Well, he cant stop here. Shot of GRANDFATHER watching POLICEMEN intently and muttering words as he does. RINGO What are you doing? GRANDFATHER Lip reading. RINGO What are they saying? GRANDFATHER Nothing good. The POLICEMEN make a move towards GRANDFATHER and RINGO. GRANDFATHER Well son, its now or never. He jumps to his feet and scurries towards the door. GRANDFATHER All right, you paid assassins. Johnny McCartneyll give you a run for your threepence hapenny. He dashes out of the door followed by the POLICEMAN who has his pile of photos. SERGEANT Now, whats he up to? RINGO Hes allergic to Bobbies, especially English Bobbies. The POLICEMAN with the photos returns. POLICEMAN Your man disappeared like a leveret over a hill. RINGO Turncoat! The POLICEMEN turn on RINGO and walk towards him. CLOSE-UP RINGO RINGO Mother! 80. EXTERIOR STREET GRANDFATHER is running at top speed down the street. He is breathing heavily and runs as if pursued by the hounds of hell. The street however is entirely empty and no one is even in sight. As he reaches the top of the street he pauses and turning, looks around him. From his P.O.V. we see just how empty the street is and heaving a sigh of relief GRANDFATHER cackles to himself. His triumph is short lived. At this precise moment down the street comes a parade of police vehicles, a Black Maria, an escorting police motor bike patrol and an ordinary squad car. The procession draws up and the street is full of policemen getting out of the Black Maria and squad car and off motor bikes. CLOSE-UP GRANDFATHERs horrified face. GRANDFATHER Be God, theyve called up reinforcements, the dragnets out! He dashes off wildly in the general direction of the theatre. He has been completely unnoticed by the policemen who are lining up for a last minute inspection by the inspector in charge. The inspector is like a commander-in-chief of a spear-head attack force. They smartly march off in the direction taken by GRANDFATHER. 81. INTERIOR T.V. THEATRE CONTROL ROOM DIRECTOR Only half an hour and youre on! GEORGE Can I say something? The director clutches at any straw. DIRECTOR Yes, anything. GEORGE Its highly unlikely well 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 Ill 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 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 Its all right, leave him alone. PAUL Grandad, wheres Ringo? GRANDFATHER The police have the poor unfortunate lad in the Bridewell. BOYS The police station. GRANDFATHER Hell be pulp by now. JOHN What are we waiting for? GEORGE Come here. PAUL, JOHN and GEORGE rush off. CLOSE-UP DIRECTOR DIRECTOR Weve 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 Hold on until we get our breath. The BOYS and POLICEMEN pant on until JOHN seems to have recovered. SERGEANT All right now? JOHN Sure. Ready? The BOYS nod and without further ado they turn and run through the surprised rank of POLICEMEN and out into the street. 87. EXTERIOR STREET THE CHASE CARRIES ON. Shots of BOYS being pursued by police, including the sergeant with one shot where the BOYS are chasing the POLICEMEN. Finally, as they approach the theatre, they are seen by the girl fans who swarm around the police, over running them. The boys grin to each other and are about to make off when from their P.O.V. we see the INSPECTOR and POLICEMEN blocking it. JOHN Ah well, it was worth a try. INSPECTOR What do you think youre up to? SERGEANT Arrest those boys, sir. INSPECTOR Thats all we need to start a real riot! Come on lads, theyre waiting for you. ### INTERIOR THEATRE BACKSTAGE 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 dont know what this means to me. If you hadnt come back it would have been the epilogue or the news in Welsh for life. NORM Arent you supposed to be in that box? The DIRECTOR gives NORM a final glare and dashes off. PAUL And another thing, wheres 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, hes back, isnt he? And its not his fault hes old. PAUL Whats old got to do with it? JOHN You neednt bother. PAUL Ywhat? JOHN Practising to be thick-headed, youre there already. PAUL Look hes a mixer and a trouble maker! JOHN Thats right, but hes only asking us to pay attention to him, arent you? From JOHNs P.O.V. we see GRANDFATHER. He looks what he is, a tired old man. JOHN You see. You know your trouble -- you should have gone West to America. Youd have wound up a Senior Citizen of Boston. As it is you took the wrong turning and what happened, youre a lonely old man from Liverpool. GRANDFATHER But Im clean. The BOYS giggle and slap him on the back. 88. INTERIOR TV THEATRE AUDITORIUM 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 audiences 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 NORMS 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 GRANDFATHERs 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 Ive got the stuff. Come here. PAUL Arent we ... NORM No, were not! He hurries them along. NORM The office was on the phone, they think itd be better if we pushed straight to Wolverhampton. JOHN Tonight? We cant make it ... NORM Youve got a midnight matinee. JOHN Now, look here, Norm ... NORM No, you look here, John. Ive only one thing to say to you. JOHN What? NORM Youre a swine. So hurry up ... were travelling! NORM turns down a side exit where the door is open to the field. In it is an eight-passenger helicopter. 90. EXTERIOR STAGE DOOR T.V. THEATRE The BOYS and NORM come out of the building and start to run towards the helicopter. PAUL Wheres my grandfather? NORM Dont start. Look. The boys look in the passenger bay and there is GRANDFATHER. He is still handcuffed to SHAKE but clutching his pile of photos. GRANDFATHER Come on, youre 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 . 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.

There may be not much difference Between Chairman Mao and Richard Nixon We strip them naked There may be not much difference Between Marilyn Monroe and Lenny Bruce We check their coffins There may be not much difference Between White House and Hall of People We count their windows There may be not much difference Between Raquel Welch and Jerry Rubin We hear their heartbeat Were all water from different rivers Thats why its so easy to meet Were all water in this vast, vast ocean Someday well evaporate together There may be not much difference Between Eldridge Cleaver and Queen of England We bottle their tears There may be not much difference Between Manson and the Pope We press their smile There may be not much difference Between Rockefeller and you We hear you sing There may not be much difference Between you and me We show our dreams Hey! Theres no difference! Whats the difference? Whats the difference? What? What? Theres no difference! Theres no difference! Whats the difference?

We lost our green land We lost our clean air We lost our true wisdom And we live in despair Oh sisters, oh sisters, lets stand up right now Its never too late to start from the start Oh wisdom, oh wisdom, thats what we ask for And yes, my dear sisters, we must learn to ask Wisdom, oh wisdom, thats what we ask for Thats what we live for now Oh wisdom, oh wisdom, thats what we ask for Thats what we live for now Oh sisters, oh sisters, lets wake up right on Its never too late to shout from our hearts Oh freedom, oh freedom thats what we fight for And yes my dear sisters, we must learn to fight Oh freedom, oh freedom, thats what we ask for Thats what we live for now Oh freedom, oh freedom, thats what we ask for Thats what we live for now Oh sisters, oh sisters, lets give up no more Its never too late to build a new world Oh new world, oh new world Thats what we live for And yes, my dear sisters, we must learn to live New world, oh new world, thats what we live for Thats what we all must all learn to build Oh new world, oh new world, thats what we live for Thats what we must now learn to build New world, oh new world, thats what we live for Thats what we must now learn to be Oh new world, oh new world, thats what we live for Thats what we all must learn to be

I saw him standing there I saw him standing there You were just seventeen Way beyond compare Well, he was just seventeen And you know what I mean And the way he looked Was way beyond compare I never danced with another Whoo When I saw him standing there Well he looked at me And I I couldnt see That before too long Id fall in love with him He never danced with another Whoo When I saw him standing there Well, my heart went boom As I crossed the room And I held his hand in mine Oh, we danced through the night And we held each other tight And before too long I fell in love with him He never danced with another Whoo When I saw him standing there Well, my heart went boom As I crossed the room And I held his hand in mine Oh We danced through the night And we held each other tight and And before too long I fell in love with him He never danced with another Whoo When I saw him standing there I saw him standing there Well Since I saw him standing there Ow! I saw you standing there I saw you standing there You were just seventeen Way beyond compare I saw you standing there I saw you standing there Dont ever dance Dont ever dance with another nobody Nobody

Words are flowing out like endless rain into a paper cup They slither as they pass, and slip away across the universe Pools of sorrow, waves of joy are drifting through my open mind Possessing and caressing me Jai Guru Deva, om Nothings gonna change my world Nothings gonna change my world Nothings gonna change my world Nothings gonna change my world Images of broken light which dance before me like a million eyes They call me on and on across the universe Thoughts meander like a restless wind inside a letter box They tumble blindly as they make their way across the universe Jai Guru Deva, om Nothings gonna change my world Nothings gonna change my world Nothings gonna change my world Nothings gonna change my world Sounds of laughter shades of life are ringing through my open ears Inciting and inviting me Limitless undying love which shines around me like a million suns And calls me on and on across the universe Jai Guru Deva, om Nothings gonna change my world Nothings gonna change my world Nothings gonna change my world Nothings gonna change my world Jai Guru Deva Jai Guru Deva Jai Guru Deva Are you gonna save my world, my world Are you gonna save my world, my world Nothings gonna change my world, my world Are you gonna save my world, my world Nothings gonna change my world, my world Jai Guru Deva Jai Guru Deva Jai Guru Deva

Blackbird singing in the dead of night Take these broken wings and learn to fly All your life You were only waiting for this moment to arise Blackbird singing in the dead of night Take these sunken eyes and learn to see All your life You were only waiting for this moment to be free Blackbird fly Blackbird fly Into the light of the dark black night Blackbird fly Blackbird fly Into the light of the dark black night Blackbird singing in the dead of night Take these broken wings and learn to fly All your life You were only waiting for this moment to arise You were only waiting for this moment to arise You were only waiting for this moment to arise

They tell us that we lost our tails Evolving up from little snails I say its all just wind and sails Are we not men, we are Devo Are we not men, D E V O Smoke on the water And fire in the sky Smoke on the water Im a boy Well, Im your mother Im a one night stand Am I by Im your slave Im a little girl when we make love together Hey, hey, hey Jude, dont make it bad Take a sad song and make it better Remember to let her into your heart Then you can start to make it Better, better, better, better, better, better, yeah L. A. Woman, youre my woman Got my mojo risin, Mr. Mojo risin, hey In-a-gada-da-vida, honey Dont you know that I love you In-a-gada-da-vida, baby Dont you know that Ill always be true Hey Joe, where you goin with that gun in your hand Hey Joe, where you goin with that gun in your hand Gonna shoot my old lady Caught her messin round with another man Yoddle-ay-ee, yoddle-ay-he-hoo. Yoddle-ay-ee, yoddle-ay-he-hoo Yoddle-ay-ee, yoddle-ay-he-hoo. Yoddle-ay he-hoo Yoddle-ay-ee, yoddle-ay-he-hoo. Yoddle-ay-ee, yoddle-ay-he-hoo Yoddle-ay-ee, yoddle-ay-he-hoo. Yoddle-ay he-hoo Im an ordinary guy burnin down the house Im hot blooded, check it and see Got a fever of a hundred and three Come on, baby, do you do more than dance Im hot blooded, hot blooded Every breath you take Every move you make Every bond you break, every step you take Ill be watchin you Darling, you gotta let me know Should I stay or should I go If you say that you are mine Ill be here till the end of time But you gotta let me know, woh, woh, woh Should I stay or should I go But its all right now, in fact its a gas But its all right, Jumpin Jack Flash is a gas, gas, gas People try to put us down Just because we get around Things they do look awful c-c-cold Hope I die before I get old This is my generation This is my generation, baby My, my, my, my, my, my generation Well, talkin bout my g-g-g-g-g-g-g-g-g-g-g-g-g-generation

My intentions are good, I use my intuition It takes me for a ride But I never understood other peoples superstitions It seemed like suicide As I play the game of life I try to make it better each and every day And when I struggle in the night The magic of the music seems to light the way Ah, intuition takes me there Intuition takes me everywhere Well my instincts are fine I had to learn to use them in order to survive And time af Ter time confirmed an old suspicion Its good to be alive And when Im deep down and out and lose communication With nothing left to say Its then I realize its only a condition Of seeing things that way Ah, intuition takes me there Intuition takes me anywhere Takes me anywhere, alright Ah, intuition takes me there Intuition takes me there Intuition takes me there Intuition takes me there Intuition takes me there Intuition takes me there

Yeah, Ill tell you something I think youll understand When Ill say that something I wanna hold your hand I wanna hold your hand I wanna hold your hand Oh please, say to me Youll let me be your man And please, say to me Youll let me hold your hand Now let me hold your hand I wanna hold your hand And when I touch you, I feel happy inside Its such a feeling that my love I cant hide I cant hide, I cant hide Yeah, youve got that something I think youll understand When Ill feel that something I wanna hold your hand I wanna hold your hand I wanna hold your hand I wanna hold your hand

Nine! From Liverpool to Tokyo What a way to go From distant lands one woman, one man Let the four winds blow Three thousand miles over the ocean Three thousand light years from the land of the rising sun Love has opened up my eyes Love has blown right through Wherever you are, you are here Wherever you are, you are here Three thousand miles over the ocean Three thousand light years from the land of surprising sun Well now east is east and west is west The twain shall meet East is west and west is east Let it be complete Three thousand miles over the ocean Three thousand light years from the land of the morning star

When I get to the bottom I go back to the top of the slide Where I stop, I turn, and I go for a ride When I get to the bottom and I see you again Yeah, yeah, yeah When I get to the bottom I go back to the top of the slide Where I stop, I turn, go for a ride When I get to the bottom and I see you again Yeah, yeah, yeah Dont you, dont you want me to make you? Im coming down fast and Im miles above you Tell me, tell me, tell me, tell me the answer Well, you may be a lover but you aint no dancer So look out Helter skelter, na la la la la la la Helter skelter, na la la la la la la Helter skelter, na la la la la la la Helter skelter, na la la la la la la When I get to the bottom I go back to the top of the slide Where I stop, I turn, go for a ride When I get to the bottom and I see you again Yeah, yeah, yeah Dont you, dont you want me to make you? Im coming down fast but dont let me take you Tell me, tell me, tell me, tell me the answer Well you may be a lover but you aint no fucking dancer So look out Helter skelter, na la la la la la la Helter skelter, na la la la la la la Helter skelter, na la la la la la la Helter skelter Helter skelter Helter skelter Im coming down fast When I get to the bottom I go back to the top of the slide Where I stop

She came in through the bathroom window Protected by a silver spoon But now she sucks her thumb and wonders By the banks of her own lagoon She said shes always been a dancer She worked at fifteen clubs a day And though I thought I knew the answer I just knew what I could not say Didnt anybody tell her Didnt anybody see Sundays on the phone to Monday Tuesdays on the phone to me And so I quit the police department To get myself a steady job And though she tried her best to help me She could steal, but she could not rob Didnt anybody tell her Oh, didnt anybody see Sundays on the phone to Monday Tuesdays on the phone to me Didnt anybody tell her Oh, didnt anybody see Sundays on the phone to Monday Tuesdays on the phone to me

Ah, ah, ah Ah, look at all the lonely people Eleanor Rigby picks up the rice in the church where a wedding has been Lives in a dream Waits at the window, wearing the face that she keeps in a jar by the door Who is it for? All the lonely people Where do they all come from? All the lonely people Where do they all belong? Father McKenzie writing the words of a sermon that no one will hear No one comes near Look at him working, darning his socks in the night when theres nobody there What does he care? All the lonely people Where do they all come from? All the lonely people Where do they all belong? Ah, look at all the lonely people Ah, look at all the lonely people Eleanor Rigby died in the church and was buried along with her name Nobody came Father McKenzie wiping the dirt from his hands as he walks from the grave No one was saved All the lonely people Where do they all come from? All the lonely people Where do they all belong? Ah, ah, ah

Yesterday, all my troubles seemed so far away Now they look as though theyre here to stay Oh I believe in yesterday, oh I believe in yesterday Suddenly Im not half the man I used to be Theres a shadow hanging over me, oh yesterday came suddenly Why she had to go I dont know, she wouldnt say I said something wrong, now I long for yesterday Yesterday, love was such an easy game to play Now I need a place to hide away, oh I believe in yesterday Why she had to go I dont know, she wouldnt say I said something wrong , now I long for yesterday Yesterday, love was such an easy game to play Now I need a place to hide away, oh I believe in yesterday

One... Hey, hey! Dont want to be a drag Everybody got to bag I know you know About the emperors clothes You dont know what you got until you lose it You dont know what you got until you lose it You dont know what you got until you lose it Oh, baby, baby, baby, give me one more chance Well, its Saturday night and I just got to rip it up Sunday morning, I just got to give it up Come Monday, momma, and I just got to run away You know its such a drag to face another day You dont know what you got until you lose it You dont know what you got until you lose it You dont know what you got until you lose it Oh, baby, baby, baby, give me one more chance You know the more it change The more it stays the same You got to hang on it You got to cut the string You dont know what you got until you lose it You dont know what you got until you lose it You dont know, you dont know what you got until you lose it Oh, baby, baby, baby, give me one more chance Come on, girl, hey, alright Hey, alright

All my little plans and schemes Lost like some forgotten dream Seems like all I really was doing Was waiting for you Just like little girls and boys Playing with their little toys Seems like all they really were doing Was waiting for love Dont need to be alone No need to be alone Its real love, yes its real love Oh, Its real love, yes its real love From this moment on I know Exactly where my life will go Seems that all I really was doing Was waiting for love Dont need to be afraid No need to be afraid Its real love, yes its real love Oh, Its real love, yes its real love Thought Id been in love before But in my heart I wanted more Seems like all I really was doing Was waiting for you Its real love, yes its real love Oh, Its real love, yes its real love

Only people know just how to talk to people Only people know just how to change the world Only people realize the power of people Well, a million heads are better than one So come on, get it on Well I know how we tried The millions of tears that we cried Now we are hipper, we been through the trip And we cant be denied with woman and man side by side Make no mistake its our future were making Bake the cake and eat it too We dont want no big brother scene Only people know just how to talk to people Only people know just how to change the world Only people realize the power of people Well, a million heads are better than one So come on, get it on Well its long overdue There aint nothing better to do Now we are hipper, we been through the trip We can fly right on through Theres nothing on earth we cant do Fish or cut bait, its our future were making All together now pull the chain We dont want no big brother scene Only people know just how to talk to people Only people know just how to change the world Only people know just how to talk to people Only people know just how to change the world Only people know just how to talk to people Only people know just how to change the world Only people know just how to talk to people Only people know just how to change the world Only people know just how to talk to people Only people know just how to change the world

Blackbird singing in the dead of night Take these broken wings, and learn to fly All your life, you were only waiting for this moment to arise Blackbird singing in the dead of night Take these sunken eyes, and learn to see All your life, you were only waiting for this moment to be free Blackbird, fly Blackbird, fly Into the light of the dark black night Blackbird, fly Blackbird, fly Into the light of the dark black night Blackbird singing in the dead of night Take these broken wings, and learn to fly All your life, you were only waiting for this moment to arise You were only waiting for this moment to arise You were only waiting for this moment to arise

Oh yeah, Ill tell you something I think youll understand When I say that something I wanna hold your hand I wanna hold your hand I wanna hold your hand Oh, please say to me Youll let me be your man And, please, say to me Youll let me hold your hand Now let me hold your hand I wanna hold your hand And when I touch you I feel happy inside Its such a feeling that, my love I cant hide I cant hide I cant hide Yeah, you got that something I think youll understand When I say that something I wanna hold your hand I wanna hold your hand I wanna hold your hand And when I touch you I feel happy inside Its such a feeling that, my love I cant hide I cant hide I cant hide Yeah, you got that something I think youll understand When I feel that something I wanna hold your hand I wanna hold your hand I wanna hold your hand I wanna hold your hand

Un ... deux Ein, zwei, hickle pickle Say youre looking for a place to go Where nobody knows your name Youre looking for oblivion With one eye on the Hall of Fame I dont want to face it, oh no I dont want to face it, no no no no Well, I can dish it out But I just cant take it Say youre looking for some peace and love Leader of a big old band You want to save humanity But its people that you just cant stand I dont want to face it oh no I dont want to face it no, no, no, no Well, I can sing for my supper But I just cant make it Well, now youre looking for a world of truth Trying to find a better way The time has come to see yourself You always look the other way I dont want to face it, no no I dont want to face it, no no no no Well, I can see the promised land And I know I can make it I dont want to face it, I know I dont want to face it, oh no I dont want to face it, oh no I dont want to face it Ow, I dont want to face it I just cant face it no more Every time I look in the mirror I dont see anybody there, woo

Yes, Im your angel Ill give you everything In my magic power So make a wish And Ill let it come true for you Tra, la, la, la Yes, youre my fairy You give me everything I ever wanted from life Have I made a wish And is that why I have you Tra, la, la, la We believe in pumpkins that Turn into princesses And frogs that turn into princes We believe in moons that smile to us When we hurry home before midnight strikes Tra, la, la, la Yes Im so pretty Youre so dizzy And were so happy every day Lets make a wish And let it come true for us Im in your pocket Youre in my locket And were so lucky in every way We make a wish And let it come true for us We believe in houses built in the sky And love that lifts us high We believe in sun that looks over our Shoulders and brings our shadows together Tra, la, la, la Yes Our hearts are one Our bodies, too And its so good everytime We make a wish And let it come true for you, too Tra, la, la, la Happy birthday, my love Im your angel Ill give you everything In my magic power So make a wish And Ill let it come true for you

Beautiful, beautiful, beautiful, beautiful Boy Close your eyes Have no fear The monsters gone Hes on the run And your mummys here Beautiful, beautiful, beautiful, beautiful Boy Before you go to sleep Say a little prayer Every day in every way Its getting better and better Out on the ocean, sailing away I can hardly wait To see you come of age But I guess well both just have to be patient Cause its a long way to go A hard row to hoe Yes its a long way to go But in the meantime Before you cross the street Take my hand Life is just what happens to you while youre busy making other plans

Turn off your mind, relax and float downstream It is not dying, it is not dying We were talking About the space between us all And the people Who hide themselves behind a wall of illusion Never glimpse the truth Then its far too late When they pass away We were talking About the love we all could share When we find it To try our best to hold it there with our love With our love, we could save the world If they only knew Try to realize its all within yourself No one else can make you change And to see youre really only very small And life flows on within you and without you Enihsnus Enihsnus ho

It aint fair, John Sinclair In the stir for breathing air Wont you care for John Sinclair In the stir for breathing air Let him be Set him free Let him be like you and me They gave him ten for two And what else can the judges do You got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to Got to set him free If he had been a soldier man Shooting gooks in Vietnam If he was the CIA Selling dope and making hay Hed be free Theyd let him be Breathing air like you and me Right on They gave him ten for two What else can the judges do You got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to Got to set him free Free They gave him ten for two They got ole Leotis too They got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to Got to set him free Was he jailed for what hed done Representing everyone Free John now if we can From the clutches of the man Let him be Lift the lid Bring him to his wife and kids Alright They gave him ten for two What more can the bastards do You got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to, got to Got to set him free

Save your sweet talk for when you score Keep your Monday kisses for your glass lady I want the truth and nothing more Im moving on, moving on youre getting phony You didnt have to tell a white lie You know you scored me for life Dont stick your fingers in my pie You know Ill see through your jive I want the truth and nothing more When you were angry you had love in your eyes When you were sad you had a dream in your voice But now your giving me your window smile

I was dreaming of the past And my heart was beating fast I began to lose control I began to lose control I didnt mean to hurt you Im sorry that I made you cry I didnt want to hurt you Im just a jealous guy I was feeling insecure You didnt love me anymore I was swallowin my pain I was swallowin my pain I didnt mean to hurt you Im sorry that I made you cry Oh lord, I didnt want to hurt you Im just a jealous guy I was trying to catch your eye I thought that you were trying to hide I was shiverin inside I was shiverin inside I didnt mean to hurt you Im sorry that I made you cry I didnt want to hurt you Im just a jealous guy I didnt mean to hurt you Im sorry that I made you cry Oh lord, I didnt want to hurt you Im just a jealous guy

Why dont we sing this song all together Open our minds let the pictures come And if we close all our eyes together Then we will see where we all come from Pictures of us in the circling sun Pictures of the show that were all one

Were playing those mind games together Pushing the barrier, planting seeds Playing the mind guerilla Chanting the mantra, peace on Earth We all playing those mind games forever Some kind of Druid dude, lifting the veil Doing the mind guerilla Some call it magic, the search for the grail Love is the answer And you know that, for sure Love is the flower You gotta let it, gotta let it grow So keep on playing those mind games together Faith in the future, out of the now You just cant beat on those mind guerillas Absolute elsewhere, in the stones of your mind Yeah, were playing those mind games forever Projecting our images in space and in time Yes is the answer And you know that for sure Yes is surrender You gotta let it, you gotta let it go So keep on playing those mind games together Doing the ritual, dance in the sun Millions of mind guerillas Putting their soul power to the karmic wheel Keep on playing those mind games forever Raising the spirit of peace and love Love I want you to make love, not war I know you heard it, you heard it before I want you to make love, not war I know you heard it all, you heard it before

Step inside love and stay Step inside love Step inside love Step inside love I want you to stay You look tired, love Let me turn down the light Come in out of the cold Rest your head on my shoulder And kiss me goodnight We are together Now and forever, come my way (Joe Prairies and the Prairie Wallflowers Los Paranoias Ha ha!) Los Paranoias Invites you to To just enjoy us Come on you can do it Baby, come on and join the Los Paranoias Just enjoy us Los Paranoias Oh! Los Paranoias! Come on and join us Harmony Los Paranoias Come on and join us Were the Los Paranoias Were here to sing for you And what if you want us to We will sing a little song for you Los Paranoias

John and I are both deeply inspired by the music of the 1960s We stand in the shadow of timeless and monumental artists like the Beatles and Stevie Wonder, Bob Dylan, Marvin Gaye, Aretha Franklin The forever changed what popular music could say and what it could mean The masterpiece were about to play tonight was written by Paul just as the Beatles were breaking up. Paul dreamt of his mother Mary, who he lost when he was 15, comforting him and telling him everything was gonna be ok. Its a song that comforted generations with its beauty and its message When I find myself in times of trouble Mother Mary comes to me Speaking words of wisdom, let it be And in my hour of darkness She is standing right in front of me Speaking words of wisdom, let it be Let it be, let it be, let it be, let it be Whisper words of wisdom, let it be When the brokenhearted people Living in the world agree There will be an answer, let it be For though they may be parted There is still a chance that they will see There will be an answer, let it be Let it be, let it be, let it be, let it be Yeah, there will be an answer, let it be Let it be, let it be now, let it be, let it be Whisper words of wisdom, let it be Let it be, let it be, let it be, let it be There will be an answer, let it be When the night is cloudy There is still a light that shines on me Shine until tomorrow, let it be I wake up to the sound of music Mother Mary comes to me Speaking words of wisdom, let it be Oh, let it be, let it be, let it be, let it be There will be an answer, let it be Let it be, let it be, let it be, let it be Whisper words of wisdom, let it be Oh, now let it be

When I get to the bottom I go back to the top of the slide And I stop and I turn and I go for a ride And I get to the bottom and I see you again Yeah, yeah Do you, dont you want me to love you? Im coming down fast, but Im miles above you Tell me, tell me, tell me, come on, tell me the answer Well, you may be a lover, but you aint no dancer Look out, Helter Skelter Helter Skelter Helter Skelter Will you, wont you want me to make you? Im coming down fast, but dont let me break you Tell me, tell me, tell me the answer You may be a lover, but you aint no dancer Look out, Helter Skelter Helter Skelter Helter Skelter Look out When I get to the bottom I go back to the top of the slide I stop and I turn and I go for a ride And I get to the bottom and I see you again Yeah, yeah Well, do you, dont you want me to make you? Im coming down fast, but dont let me break you Tell me, tell me, tell me the answer You may be a lover, but you aint no dancer Look out, Helter Skelter Helter Skelter Helter Skelter Look out Yes, she is Helter Skelter, baby Coming down, fast

RS2! You Never Give Me Your Money You never give me your money You only give me your funny paper And in the middle of negotiations You break down I never give you my number I only give you my situation And in the middle of investigation I break down Out of college, money spent See no future, pay no rent All the moneys gone, nowhere to go Any job, I got the sack Monday morning, turning back Yellow lorry slow, nowhere to go But oh, that magic feeling, nowhere to go Oh, that magic feeling, nowhere to go Nowhere to go One sweet dream Pick up the bags and get in the limousine Soon well be away from here Step on the gas and wipe that tear away One sweet dream came true today Came true today Came true today Yes, it did 1, 2, 3, 4, 5, 6, 7 All good children go to Heaven 1, 2, 3, 4, 5, 6, 7 All good children go to Heaven 1, 2, 3, 4, 5, 6, 7 All good children go to Heaven 1, 2, 3, 4, 5, 6, 7 All good children go to Heaven 1, 2, 3, 4, 5, 6, 7 All good children go to Heaven 1, 2, 3, 4, 5, 6, 7 All good children go to Heaven 1, 2, 3, 4, 5, 6, 7 All good children go to Heaven 1, 2, 3, 4, 5, 6, 7 All good children go to Heaven 1, 2, 3, 4, 5, 6, 7 All good children go to... Sun King Here comes the sun king Here comes the sun king Everybody is laughing Everybody is happy Here comes the sun king Quando para mucho mi amore de felice corazón Mundo paparazzi mi amore chicka ferdy parasol Cuesto obrigado tanta mucho que canite carousel Mean Mr. Mustard Mean Mister Mustard sleeps in the park Shaves in the dark trying to save paper Sleeps in a hole in the road Saving up to buy some clothes Keeps a ten-bob note up his nose Such a mean old man Such a mean old man His sister Pam works in a shop She never stops, shes a go-getter Takes him out to look at the Queen Only place that hes ever been Always shouts out something obscene Such a dirty old man Dirty old man Her Majesty Her Majestys a pretty nice girl But she doesnt have a lot to say Her Majestys a pretty nice girl But she changes from day to day I want to tell her that I love her a lot But I gotta get a bellyful of wine Her Majestys a pretty nice girl Someday Im going to make her mine, oh yeah Someday Im going to make her mine Polythene Pam Well, you should see Polythene Pam Shes so good-looking but she looks like a man Well, you should see her in drag dressed in her polythene bag Yes, you should see Polythene Pam Yeah, yeah, yeah Get a dose of her in jackboots and kilt Shes killer-diller when shes dressed to the hilt Shes the kind of a girl that makes The News of the World Yes, you could say she was attractively built Yeah, yeah, yeah Great! Fab! Isnt that great? Its real good, that Real good Listen to that, Mal Oh look out! Its- She Came In Through the Bathroom Window She came in through the bathroom window Protected by a silver spoon But now she sucks her thumb and wanders By the banks of her own lagoon Didnt anybody tell her? Didnt anybody see? Sundays on the phone to Monday Tuesdays on the phone to me She said shed always been a dancer She worked at fifteen clubs a day And though she thought I knew the answer Well, I knew what I could not say And so I quit the police department And got myself a steady job And though she tried her best to help me She could steal, but she could not rob Didnt anybody tell her? Didnt anybody see? Sundays on the phone to Monday Tuesdays on the phone to me, oh yeah Golden Slumbers Once there was a way to get back homeward Once there was a way to get back home Sleep pretty darling, do not cry And I will sing a lullaby Golden slumbers fill your eyes Smiles await you when you rise Sleep pretty darling, do not cry And I will sing a lullaby Once there was a way to get back homeward Once there was a way to get back home Sleep pretty darling, do not cry And I will sing a lullaby Carry That Weight Boy, youre gonna carry that weight Carry that weight a long time Boy, youre gonna carry that weight Carry that weight a long time I never give you my pillow I only send you my invitations And in the middle of the celebrations I break down Boy, youre gonna carry that weight Carry that weight a long time Boy, youre gonna carry that weight Carry that weight a long time The End

Can you turn it up a lil bit? Picture yourself in a boat on the river With tangerine trees and marmalade skies Somebody calls you, you answer quite slowly The girl with kaleidoscope eyes Cellophane flowers of yellow and green Towering over your head Look for the girl with the sun in her eyes And shes gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaaaaaaah Follow her down to a bridge by a fountain Where rocking horse people eat marshmallow pies Everyone smiles as you drift past the flowers That grow so incredibly high Newspaper taxis appear on the shore Waiting to take you away Climb in the back with your head in the clouds And youre gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Gone Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaaaaaaah Picture yourself on a train in a station With plasticine porters with looking glass ties Suddenly someone is there at the turnstile The girl with kaleidoscope eyes Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaaaaaaah Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaaaaaaah Didnt that make you nervous?

Every man has a woman who loves him In rain or shine or life or death If he finds her in this lifetime He will know when he presses his ear to her breast Why do I roam when I know youre the one? Why do I laugh when I feel like crying? Every woman has a man who loves her Rise or fall of her life and death If she finds him in this lifetime She will know when she looks into his eyes Why do I roam when I know youre the one? Why do I run when I feel like holding you? Every man has a woman who loves him If he finds her in this lifetime He will know

When I find myself in times of trouble Mother Mary comes to me Speaking words of wisdom, let it be And in my hour of darkness She is standing right in front of me Speaking words of wisdom, let it be Let it be, let it be, let it be, let it be Whisper words of wisdom, let it be And when the broken hearted people living in the world agree There will be an answer, let it be For though they may be parted There is still a chance that they will see There will be an answer, let it be Let it be, let it be, let it be, let it be, yeah Ther will be an answer, let it be Let it be, let it be, let it be, let it be Whisper words of wisdom, let it be Let it be, let it be, let it be, let it be, yeah, let it be Whisper words of wisdom, let it be

Give Peace A Chance John Lennon And The Plastic Ono Band Two, one two three four Evrybodys talking about Bagism, Shagism, Dragism, Madism, Ragism, Tagism This-ism, that-ism, is-m, is-m, is-m All we are saying is give peace a chance All we are saying is give peace a chance Cmon Evrybodys talking about Ministers Sinisters, Banisters and canisters Bishops and Fishops and Rabbis and Pop eyes And bye bye, bye byes All we are saying is give peace a chance All we are saying is give peace a chance Let me tell you now Evrybodys talking about Revolution, evolution, masturbation Flagellation, regulation, integrations Meditations, United Nations Congratulations Evrybodys talking about John and Yoko, Timmy Leary, Rosemary Tommy Smothers, Bobby Dylan, Tommy Cooper Derek Taylor, Norman Mailer Alan Ginsberg, Hare Krishna Hare, Hare Krishna

Shes not a girl who misses much Do-do-do-do-do, oh yeah Shes well acquainted with the touch of a velvet hand Like a lizard on a window pane Man in the crowd With the multicoloured mirrors On his hobnail boots Lying with his eyes While his hands are busy working overtime The soap impression of his wife Which he ate and donated to the National Trust I need a fix cause Im going down Down to the bits that Ive left uptown I need a fix cause Im going down Mother Superior, jump the gun Mother Superior, jump the gun Mother Superior, jump the gun Mother Superior, jump the gun Mother Superior, jump the gun Mother Superior, jump the gun Happiness is a warm gun Happiness is a warm gun Happiness is a warm gun Happiness is a warm gun Britt Walford: Josephine, do you think you are going bald? Josephine: No. Youve asked me that before and the answer was no then

When I was younger so much younger than today I never needed anybodys help in any way But now these days are gone, Im not so self assured Now I find Ive changed my mind and opened up the doors Help me if you can, Im feeling down And I do appreciate you being round Help me get my feet back on the ground Wont you please, please help me? And now my life has changed in oh so many ways My independence seems to vanish in the haze But every now and then I feel so insecure I know that I just need you like Ive never did before Help me if you can, Im feeling down And I do appreciate you being round Help me get my feet back on the ground Wont you please, please help me? When I was younger, so much younger than today I never needed anybodys help in any way But now these days are gone, Im not so self assured Now I find Ive changed my mind and opened up the doors Help me if you can, Im feeling down And I do appreciate you being round Help me get my feet back on the ground Wont you please, please help me? Wont you please, please help me? Oh please, please Wont you please help me? Ooh

Mucho Mungo, sweet thing Sweetest little thing Ive ever seen Must have been a sweet dream brought you here Brought you through the sorrow and the tears Cest la, cest la, cest la vie Sail upon the ocean, sail with me Sail into tomorrow every day Looking for the sunshine through the haze But wait, whats this I see? Could it be? Mount Elga, Mount Elga, a high mountain I climb as Im dreaming, uh huh Mount Elga, Mount Elga, a high mountain I climb as Im dreaming, catchin me hell To climb this hill The more I try to climb, Im slipping still Me body run down, me feeling weak The more I try to climb up this mountain peak Mucho Mungo, sweet thing Sweetest little thing since sweet sixteen Cest la, cest la, cest la vie Sail across the ocean, sail with me

I look at you all, see the love there thats sleeping While my guitar gently weeps I look at the floor and I see it needs sweeping Still my guitar gently weeps I dont know why nobody told you How to unfold your love I dont know how someone controlled you They bought and sold you I look at the world and I notice its turning While my guitar gently weeps With every mistake we must surely be learning Still my guitar gently weeps I dont know how you were diverted You were perverted too I dont know how You were inverted No one alerted you I look from the wings at the play you are staging While my guitar gently weeps As I’m sitting here, doing nothing but aging Still my guitar gently weeps [Outro} Dab the mic on the piano, and quite low, this, just keep it in like, maracas you know. You know those old pianos Okay were on. Mouth

I used to get mad at my school The teachers who taught me werent cool Youre holding me down Turnin around Feeling me up with your rules Ive got to admit, its getting better A little better all the time I have to admit, its getting better A little better since youve been mine Me used to be an angry young man Me hiding my head in the sand You gave me the word I finally heard Im doing the best that I can Ive got to admit, its getting better A little better all the time I have to admit, its getting better Its getting better since youve been mine Getting so much better all the time Its getting better all the time I---I have to admit its getting better, A little better all the time Youre stressed, I admit its getting better Its getting better since youve been mine Getting so much better all the time

You say yes, I say no You say stop, and I say go, go, go Oh, no You say goodbye, and I say hello Hello, hello I dont know why you say goodbye, I say hello Hello, hello I dont know why you say goodbye, I say hello I say high, you say low You say why, and I say I dont know Oh, no You say goodbye and I say hello Hello, hello I dont know why you say goodbye , I say hello Hello, hello I dont know why you say goodbye , I say hello Why, why, why, why, why Why do you say goodbye, goodbye? Oh, no You say goodbye, and I say hello Hello, hello I dont know why you say goodbye , I say hello Hello, hello I dont know why you say goodbye , I say hello You say yes , I say no You say stop , but I say go, go, go Oh, no You say goodbye and I say hello Hello, hello I dont know why you say goodbye , I say hello Hello, hello I dont know why you say goodbye , I say hello Hello, hello I dont know why you say goodbye, I say hello Hello, hello-o-o Hey-la, hey-hey-hello-la Hey-la, hey-hey-hello-la Hey-la, hey-hey-hello-la Hey-la, hey-hey-hello-la Hey-la, hey-hey-hello-la Hey-la, hey-hey-hello-la Hey-la, hey-hey-hello-la I dont know why you say goodbye, I say hello Hello, hello-o-o

I give him all my love Thats all I do And if you saw my love Youd love him too I love him He gives me everything And tenderly The kiss my lover brings He brings to me And I love him A love like ours Could never die As long as I Have you near me Bright are the stars that shine Dark is the sky I know this love of mine Will never die And I love him Bright are the stars that shine Dark is the sky I know this love of mine Will never die And I love him

Boys and girls all year long Would you like to have a dog? I have a link in the state of Arizona State of Arizona! State of Arizona! There is a grocery in the middle of the night Movie, everyone is watching Kill people better! Kill people better! Betty, all the cookies The city of San Jose Im stuck in bed Check your network to make sure the lens is clean Paul is a white man Flowers are like my lovely hair State of Arizona! State of Arizona! Arizona! Arizona! Arizona! Arizona! We want this city here Everybody hates pumpkins We are happy I think everyone is awesome Adam was a trash bin in the corner No one is waiting for you to jump How are you? Thank you! State of Arizona! Rouge and black, green smoothie Do not be yourself That’s sweet Single word, double word Use the opportunity to shake the cake Monroe died tonight All cookies, all cookies The city of San Jose I am a prostitute and Im sorry Flash mode does not work here Who am I? He said: Who is he? I am afraid, am afraid of my hair I have an umbrella Fill your dreams of terrorism State of Arizona! State of Arizona! Arizona! Arizona! Arizona! Arizona! Arizona! Arizona! Delicious meatballs in the world Life is not enough This is our relationship, but we are not talking The city of San Jose It is now - we do not want to do this right now Korea expects no delight Renovation programs Get it like a rabbit, leather store This is Halloween, and its boring You do not want to provide a special way Jack is from a football club Now everyone has a cup of tea! State of Arizona! State of Arizona! Arizona! Arizona! Arizona! Arizona! And I’ll go back, all people hail from butternut bitches Na, na, na, na, na, na! Na, na, na, na, na, na! Na, na, na, na, na, na! Na, na, na, na, na, na, na! Na, na, na, na, na, na, na! What is this? What is happening? Damn you, Paul McCartney! Na, na, na, na, na, na, na! Na, na, na, na, na, na, na!

Então é Natal, e o que você fez? O ano termina, e nasce outra vez Então é Natal, a festa Cristã Do velho e do novo, do amor como um todo Então bom Natal, e um ano novo também Que seja feliz quem souber o que é o bem Então é Natal, pro enfermo e pro são Pro rico e pro pobre, num só coração Então bom Natal, pro branco e pro negro Amarelo e vermelho, pra paz afinal Então bom Natal, e um ano novo também Que seja feliz quem, souber o que é o bem Então é Natal, o que a gente fez? O ano termina, e começa outra vez Então é Natal, a festa Cristã Do velho e do novo, o amor como um todo Então bom Natal, e um ano novo também Que seja feliz quem, souber o que é o bem Harehama, há quem ama Harehama, ha Então é Natal, e o que você fez? O ano termina, e nasce outra vez Hiroshima, Nagasaki, Mururoa, ha... É Natal, é Natal, é Natal

For the benefit of Mr. Kite There will be a show tonight on trampoline The Hendersons will all be there Late of Pablo-Fanques Fair, what a scene Over men and horses hoops and garters Lastly through a hogshead of real fire! In this way Mr. K. will challenge the world! The celebrated Mr. K Performs his feat on Saturday at Bishopsgate The Hendersons will dance and sing As Mr. Kite flies through the ring dont be late Messrs. K and H. assure the public Their production will be second to none And of course Henry The Horse dances the waltz! The band begins at ten to six When Mr. K. performs his tricks without a sound And Mr. H. will demonstrate Ten somersets hell undertake on solid ground ving been some days in preparation A splendid time is guaranteed for all And tonight Mr. Kite is topping the bill Yeah-yeah-yeah... Yeaahhh, yeah-yeah-yeah... Coming down fast, but Im miles above you... Yeaahhh... Tell me, tell me, tell me, cmon, tell me the answer... Do you, dont you want me to love you? Yeaahhh...

Sweet dream baby Sweet dream baby Sweet dream baby How long must I dream Dream baby got me dreamin sweet dreams the whole day through Dream baby got me dreamin sweet dreams night time too I love you and Im dreaming of you but that wont do Dream baby make me stop my dreamin You can make my dreams come true Sweet dream Baby Sweet dream Baby Sweet dream Baby How long must I dream Dream baby got me dreamin sweet dreams the whole day through Dream baby got me dreamin sweet dreams night time too I love you and Im dreaming of you but that wont do Dream baby make me stop my dreamin You can make my dreams come true Aw, sweet dream baby Yeah, yeah, swee-ee-et dream baby Sweet dream baby How long must I dream Sweet dream baby Sweet dream baby Sweet dream baby

When I find myself in times of trouble Mother Mary comes to me Speaking the words of wisdom, let it be Lord, let it be, ah-ha, yeah And in my hour of darkness She is a-standing right in front of me Whisper words of wisdom, let it be Lord, let it be Yeah, let it be, oh, let it be Lord, let it be, Lord, let it be, ah-ha Whisper words of wisdom, let it be Lord, let it be, ah And when the brokenhearted people Living in the world agree There will be an answer, let it be Lord, let it be, ah-ha And though they may be parted There is a-still a chance that they might see There will be an answer, let it be Lord, let it be, ah Let it be, let it be Lord, let it be, Lord, let it be, ah-ha There will be an answer, let it be Lord, let it be, let it be, ah Let it be, let it be

Here come old flat top He come groovin up slowly He got joo joo eyeballs He one holy rollers He got hair down to his knees Got to be a joker He just do what he please He wear no shoeshine He got toe jam football He got monkey finger He shoot Coca Cola He say I know you and you know me One thing I can tell you is You got to be free Come together, right now Over me He bad production He got walrus gumboot He got Ono sideboard He one spinal cracker He got feet down below his knees Hold you in his armchair You can feel his disease Come together, right now Over me He roller coaster He got early warning He got muddy water He one Mojo filter He say one and one and one is three Got to be good looking Cause hes so hard to see Come together right now Over me Come together Come together, ah Come together, na na na na na na yeah Come together Come together right now Over me

Well I been Meat City to see for myself Well I been Meat City to see for myself Been Meat City, been Meat Just got to give me some rock and roll People were dancing like theres no tomorrow Meat City Finger licking, chicken picking, Meat City shook down U.S.A Pig Meat City Well I been the mountain to see for myself Well I been the mountain to see for myself Been the mountain, been the mountain Just got to give me some rock and roll Snake doctors shaking like theres no tomorrow Freak City Chicken sucking, mother trucking, Meat City shook down U.S.A Pig Meat City Well Im goin to China to see for myself Well Im goin to China to see for myself Goin to China, goin to Just got to give me some rock and roll People were jumping like theres no tomorrow Meat City Finger licking, chicken picking, Meat City shook down U.S.A Pig Meat City Well, Im going to China Yes, Im going to China Well, Im going to China Yes, Im going to China Im going to China Yes, Im going to China Alright

Well the stars, always shine Youll be mine, and I know Youll be mine How they shine Youll be mine As the stars Always shine Youll be mine Youll be mine And the stars Always shine Youll be mine Now, ah, ah, ah, ah... (My darling When you brought me that toast the other morning I, I looked into you eyes And I could see that National Health eyeball And I loved you, like Ive never done Like Ive never done before!) Well the stars They shine And youll be mine Oh, you will be mine Youll be mine At the star Always shining

I think Im going to be sad I think its today, yeah The boy thats driving me mad Is going away Hes got a ticket to ride Hes got a ticket to ride Hes got a ticket to ride And he dont care He said that living with me Was bringing him down, yeah He would never be free When I was around Hes got a ticket to ride Hes got a ticket to ride Hes got a ticket to ride And he dont care Dont know why hes riding so high He ought to do right, he ought to do right by me Fore he gets to saying goodbye He ought to do right, he ought to do right by me I think Im going to be sad I think its today, yeah The boy thats driving me mad Is going away Oh, hes got a ticket to ride Hes got a ticket to ride Hes got a ticket to ride And he dont care, dont care Think Im going to be sad Think Im going to be sad Think Im going to be sad Think Im going to be sad Think Im going to be sad Think Im going to be sad

All day long, I felt like Smashing my face in a clear glass window But instead, I went out And smashed up a phone box round the corner I never had a chance to choose my own parents Id never know why I should be stuck with mine Mommys always trying not to eat And daddys always smelling like hes pickled in booze I never had a chance to choose my own name Id never know why I should be stuck with mine Mommys always talkin bout family pride And daddys always hiding bout his weekend rides All day long, I felt like Smashing my neck in a clear glass window But instead, I went out And smashed up a station wagon round the block I looked at the mirror and told myself Im glad I still dont look like them, at least Mommys like a film star in a distorted mirror Daddys like a guy who lost his stomach in the war I went to shake hands with the president in Miami I went to a rock show to see Mick Jagger And youd never believe it, surprise of my life They had paint on their faces, just like my mommys Am I going crazy, or is it just you, daddy? Am I going nuts, or is it just you, mommy? Am I plain gone, or is it the world? Daddy, id rather have you dead than crazy Trying to talk to them is like eating tv dinner when youre angry Trying to get their love is like watching ice cream ad when youre hungry They gave me a watch thats guaranteed not to break But my mommy and daddy broke up last fall Am I going crazy, or is it just you, daddy? Am I going nuts, or is it just you, mommy? Am I plain gone, or is it the world? Mommy, Id rather have you dead than crazy All day long, I felt like Smashing my head in a clear glass window But instead, I went out And smashed up a churchyard round the corner

Michelle, ma belle These are words that go together well My Michelle Michelle, ma belle Sont les mots qui vont tres bien ensemble Tres bien ensemble I love you, I love you, I love you Thats all I want to say Until I find a way I will say the only words I know that Youll understand Michelle, ma belle Sont les mots qui vont tres bien ensemble Tres bien ensemble I need to, I need to, I need to I need to make you see Oh, what you mean to me Until I do Im hoping you will Know what I mean I love you I want you, I want you, I want you I think you know by now Ill get to you somehow Until I do Im telling you so Youll understand Michelle, ma belle Sont les mots qui vont tres bien ensemble Tres bien ensemble I will say the only words I know That youll understand, my Michelle

Two, one, two, three, four People say Im cool Yeah, Im a cool chick, baby Every day I thank god That Im such a cool chick, baby When Im on the phone, I thank god My voice sounds smooth and clear without a trace of tear When Im at work, I thank god I still have that smile Ma used to say lit her day But something inside me, something inside me died that day People say Im cool Yeah, Im a cool chick, baby Every day I thank god That Im such a cool chick, baby When Im with people, I thank god I can talk hip when Im crying inside When Im with friends, I thank god I can light a cigarette when Im choking inside People say Im cool Yeah, Im a cool chick, baby Every day I thank god That Im such a cool chick, baby A friend lent me shades So I could hide my eyes that day Was a snowy day The shades have seen a lot of things I didnt want to know myself Was like an accident, part of growing up People tell me But something inside me, something inside me died that day What do you do-oo? What can you do? What do you do-oo? What can you do?

Buy me love Money cant buy me love Buy me love Money cant buy me love Buy me love Buy me love Ill buy you diamond rings, my friend If it makes you feel alright Ill give you anything, my friend If it makes you feel alright Ill give you all Ive got to give If you say you love me too I dont care too much for money Cause money cant buy me love Buy me love Money cant buy me love Buy me love Money cant buy me love Buy me love Buy me love You say you dont want no diamond rings And Ill be satisfied Tell me if you want these kind of things That money just cant buy I may not have a lot to give But what I got, Ill give to you I said, I dont care too much for money Cause money cant buy me love Buy me love Money cant buy me love Buy me love Money cant buy me love Buy me love Money cant buy me love Buy me love Money cant buy me love Buy me love Buy me love Buy me love Buy me love

Got to get down, down on my knees Got to get down, down on my knees Doo-doo-doo-doo, doo-doo-doo-doo Going down on love Going down on love Going down, going down, going down When the real thing goes wrong And you cant get it on And your love, she has gone And you got to carry on And you shoot out the light Aint coming home for the night You know you got to, got to, got to pay the price Somebody please, please help me You know Im drowning in the sea of hatred I got to get down, down on my knees I got to get down, down on my knees Doo-doo-doo-doo, doo-doo-doo-doo Going down on love Going down on love Going down, going down, going down Something precious and rare Disappears in thin air And it seems so unfair Nothing doing nowhere Well, you burn all your boats And you sow your wild oats Well, you know, you know, you know the price is right Got to get down, down on my knees Got to get down, down on my knees Got to get down, down on my knees Got to get down, down on my knees

She...!   Its the case of one awful one after another! Whats  it the case of, Mr. Martin? Take four was very good up to the breakdown... Which was take four? ...and it was very good until the end bit there when Paul did his bit that wasnt quite right   My boys are ready to go! John?   Yes? What? It is possible without affecting yourselves too much to turn down a little? Apparently theres been a complaint From who? From somebody outside the building   What are they doing here at this time of night? Its that guy What guy? The last time, he complained... Its his own fault for getting a house in such a lousy district! Well, well try it once more very loud And if we dont get it, well try it quiet like you might do it the other way Okay, the loud one, last go Last chance to be loud! Who says? Cant quite see through these now I just cant see them, they keep merging One-two-three, one-two-three I want you I want you so bad, baby I want you I want you so bad, its driving me mad Its driving me mad I want you I want you so bad I want you I want you so bad, its driving me mad Its driving me... I want you I want you so bad I want you I want you so bad, its driving me mad Its driving me mad I want you You know I want you so bad I want you I want you so bad, its driving me mad Its driving me mad Yeah! Shes so...

So this is Christmas And what have you done? Another year over A new one just begun And so this is Christmas I hope you had fun Near and the dear one The old and the young A very merry Christmas And a happy New Year Lets hope its a good one Without any fear So this is Christmas For weak and for strong For rich and the poor ones The world is so wrong And so happy Christmas For black and for white Yellow and red ones Lets stop all the fight A very merry Christmas And a happy New Year Lets hope its a good one Without any fear And so this is Christmas What have we done? Another year over A new one just begun And so happy Christmas We hope you had fun The near and the dear ones The old and the young A very merry Christmas And a happy New Year Lets hope its a good one Without any fear War is over If you want it War is over Now

Here come old flattop he come grooving up slowly He got joo-joo eyeball he one holy roller He got hair down to his knee Got to be a joker he just do what he please He wear no shoeshine he got toe-jam football He got monkey finger he shoot coca-cola He say I know you, you know me One thing I can tell you is you got to be free Come together right now over me He bag production he got walrus gumboot He got Ono sideboard he one spinal cracker He got feet down below his knee Hold you in his armchair you can feel his disease Come together right now over me Right Come... He roller-coaster he got early warning He got muddy water he one mojo filter He say One and one and one is three Got to be good-looking cause hes so hard to see Come together right now over me Oh Come together Come together Come together...

We were four guys, that, eh... I met Paul, said, Do you wanna join me band?, you know, and then George joined and then Ringo joined. We were just a band who made it very, very big, thats all

Hey! Sweet as the smell of success Her bodys warm and wet She gets me through this god awful lonliness A natural high, butterfly Oh I need, need, need her Just like a willow tree A breath of spring you see And oh boy you dont know what she do to me She makes me sweat and forget who I am Oh, I, I need, need, need, need, need her Well, I was wondering how long this could go on, on and on Well, I thought I could never be surprised But could it be that I bit my own tongue? Oh yeah, its so hard to swallow when youre wrong A bird of paradise The sunrise in her eyes God only knows such a sweet surprise I was blind, she blew my mind, think that I I love, love, love, love, love her I love her, I love her, I love her, I love her Sweet sweet, sweet sweet love Sweet sweet, sweet sweet love Sweet sweet, sweet sweet love Sweet sweet, sweet sweet love Sweet sweet, sweet sweet love Ah yeah Ah yeah

Close your eyes and Ill kiss you Tomorrow Ill miss you Remember Ill always be true And then while Im away Ill write home everyday And Ill send all my loving to you Ill pretend that Im kissing The lips I am missing And hope that my dreams will come true And then while Im away Ill write home everyday And Ill send all my loving to you All my lovin I will send to you All my lovin, darling, Ill be true Close your eyes and Ill kiss you Tomorrow Ill miss you Remember Ill always be true And then while Im away Ill write home everyday And Ill send all my loving to you All my loving, I will send to you All my loving, darling Ill be true All my lovin, All my lovin All my lovin I will send to you

I wanna be your lover, baby I wanna be your man I wanna be your lover, baby I wanna be your man Tell me that you love me, baby Tell me you understand Tell me that you love me, baby Tell me you understand 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 I wanna be your man I wanna be your man I wanna be your man Tell me that you love me, baby Tell me you understand Tell me that you love me, baby Tell me you understand I wanna be your lover, baby I wanna be your man Yes, I wanna be your lover, baby I wanna be your man

If I fell in love with you Would you promise to be true And help me understand Cause Ive been in love before And Ive found that love was more Than just holding hands If I give my heart to you I must be sure from the very start That you would love me more than her If I trust in you, oh please Dont run and hide If I love you too, oh please Dont hurt my pride like her Cause I couldnt stand the pain And I would be sad If our new love was in vain So I hope you see that I Would love to love you If I fell in love with you

In the winter time, keep your feet warm But keep your clothes on and dont forget me Keep your memories But keep your powder dry, too In the summer, by the poolside While the fireflies are all around you Ill miss you when Im lonely Ill miss the alimony, too Dont forget me, dont forget me Make it easy only just for a little while You know I think about you Let me know you think about me, too And when were older and full of cancer It doesnt matter now, come on get happy Cause nothing lasts forever But I will always love you Dont forget me, please dont forget me Make it easy only just for a little while You know I think about you Let me know you think about me, too

Here come old flattop he come grooving up slowly He got joo-joo eyeball he one holy roller He got hair down to his knee Got to be a joker he just do what he please He wear no shoeshine he got toe-jam football He got monkey finger he shoot coca-cola He say I know you, you know me One thing I can tell you is you got to be free Come together right now over me He bag production he got walrus gumboot He got Ono sideboard he one spinal cracker He got feet down below his knee Hold you in his armchair you can feel his disease Come together right now over me He roller-coaster he got early warning He got muddy water he one mojo filter He say One and one and one is three Got to be good-looking because hes so hard to see Come together right now over me

Imagine theres no heaven Its easy if you try No hell below us Above us only sky Imagine all the people Living for today Imagine theres no countries It isnt hard to do Nothing to kill or die for And no religon too Imagine all the people Living life in peace Imagine no possesions I wonder if you can No need for greed or hunger In a brotherhood of man Imagine all the people Sharing all the world You may say im a dreamer But im not the only one I hope some day youll join us And the world will be as one

Imagine theres no heaven Its easy if you try No hell below us Above us, only sky Imagine all the people Living for today Imagine theres no countries It isnt hard to do Nothing to kill or die for And no religion, too Imagine all the people Living life in peace Ooooh You may say Im a dreamer Im not the only one I hope someday youll join us And the world Will live as one Imagine no possessions I wonder if you can No need for greed or hunger A brotherhood of man Imagine all the people Sharing all the world Ooooh You may say Im a dreamer Im not the only one I hope someday youll join us And the world Will be as one

My babe dont buy me presents How can you laugh when you know Im down? Beep-beep, beep-beep, yeah I got something to say That might cause you pain If I catch you talkin To that boy again Gonna let you down And leave you flat Because I told you before You cant do that Its the second time I caught you talkin to him I got to tell you one more time I think its a sin Gonna let you down And leave you flat Because I told you before You cant do that Paperback writer, yeah Everybodys green, sha-la-la-ooh Cause Im the one who stole your love But if its seen, sha-la-la-ooh Me talkin that way Theyd laugh in my face So, please listen to me If you wanna stay mine I cant help this feeling Ill go out of my mind Im gonna let you down And leave you flat Because I told you before You cant believe in yesterday My babe dont buy me presents Beep-beep, beep-beep, yeah Strawberry Beatles forever

Words are flowing out like endless rain into a paper cup They slither wildly as they slip away across the universe Pools of sorrow, waves of joy are drifting through my opened mind Possessing and caressing me Jai Guru Deva, Om Nothings going to change my world Nothings going to change my world Nothings going to change my world Nothings going to change my world Images of broken light which dance before me like a million eyes They call me on and on across the universe Thoughts meander like a restless wind inside a letter box They tumble blindly as they make their way across the universe Jai Guru Deva, Om Nothings going to change my world Nothings going to change my world Nothings going to change my world Nothings going to change my world Sounds of laughter, shades of life are ringing through my open ears Inciting and inviting me Limitless undying love which shines around me like a million suns It calls me on and on, across the universe Jai Guru Deva, Om Nothings going to change my world Nothings going to change my world Nothings going to change my world Nothings going to change my world Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva