Drum Solo Songtext - Five Finger Death Punch

Drum Solo - Five Finger Death Punch

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, "it's not my fault"

and the number proceeds.


SHOT of sudden horror on JOHN's face. PAUL follows his eye line only to

see the old man has doffed his cap and is busily collecting money from

a disconcerted crowd. PAUL dives hastily into the crowd, and with

suitable apologies extracts the old man and with a long suffering sigh

drags him back to the group. GEORGE and PAUL hold him firmly as they

finish the number, the old man standing there between them.


As the number finishes and the girls scream and shout with delight, the

guard blows his whistle. NORM and SHAKE grab the instruments and the

drums, and with the rest piles the lot into the guards' van. The BOYS

head into their reserved compartment pursued by the fans but the train

moves off. They have successfully repelled all extra boarders.


THE BOYS stand and wave to the fans until out of sight line ... the

girls running along to the end of the platform waving and calling out.


4. INTERIOR RESERVED COMPARTMENT IN THE TRAIN


The boys relax, sitting down on one side of the compartment. They are

about to settle down and make themselves at home when first RINGO

nudges GEORGE who in turn nudges JOHN. Opposite them is sitting the

LITTLE OLD MAN. He is holding himself stiff, erect and very aloof.


The three boys look at him enquiringly but with an elaborate sniff he

looks away from them and out of the window.


PAUL catches his eye and winks at the LITTLE OLD MAN. He winks back at

PAUL, scowls at the other three then looks firmly out of the window

again.


The boys turn on PAUL crowding around him.


JOHN

Eh ... pardon me for asking but who's that

little old man?


PAUL

What little old man?


JOHN

(pointing)

That little old man.


PAUL

Oh, that one. That's me Grandfather.


GEORGE

That's not your Grandfather.


PAUL

It is, y'know.


GEORGE

But your Grandfather lives in your house. I've

seen him.


PAUL

Oh, that's me other Grandfather, but this one's

me Grandfather and all.


JOHN

How d'you reckon that one out?


PAUL

Well ... everyone's entitled to two, aren't

they, and this is me other one.


JOHN

(long suffering)

Well we know that but what's he doing here?

PAUL

Well, me mother thought the trip 'ud do him

good.


RINGO

How's that?


PAUL

Oh ... he's 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

(whispering)

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

(seriously)

No ... it was his sweetbreads. She was dead

kinky for sweetbreads. Anyroad, me mother

thought it'ud give him a change of scenery,

like.


JOHN

Oh, I see.


He inspects GRANDFATHER carefully.


JOHN

(to PAUL)

Eh, he's a nice old man, isn't he?


PAUL

Oh yeah, he's very clean, y'know.


They all agree with PAUL.


JOHN has been examining GRANDFATHER. He now leans forward to him.


JOHN

(in an over-friendly voice)

Hello, Grandfather!


GRANDFATHER

Hello.


JOHN

(delightedly)

He can talk then?


PAUL

(indignantly)

Course he can talk. He's a human being, like.

Isn't he?


RINGO

(grinning)

Well ... if he's your Grandfather, who knows?


The lads all laugh.


JOHN

And we're looking after him, are we?


GRANDFATHER

I'll look after meself.


PAUL

Aye, that's what I'm afraid of!


JOHN

He's got you worried, then?


PAUL

Him, he costs you a fortune in breach of

promise cases. He's a villain and a right mixer

as well.


GEORGE

(disbelieving)

Gerron.


PAUL

No, straight up.


GRANDFATHER

The lad's given you the simple truth. I'm

cursed wid irresistible charm, I'm 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

We're here. Norm'll be along in a mo' with the

tickets.


He sees GRANDFATHER.


SHAKE

Morning!

(whispers)

Who's that little old man?


GEORGE

It's Paul's grandfather.


SHAKE

Oh aye, but I thought ...


JOHN

(cutting in)

No, that's his other one.


SHAKE

That's all right then.


JOHN

(displaying Grandfather)

Clean though, isn't he?


SHAKE

Oh yes, he's clean all right.


NORM the road manager appears behind SHAKE.


NORM

Morning, lads.


BOYS

Morning ... Hi, Norm.


NORM

(checking them quickly)

Well, thank God you're all got here. Now,

listen, I've had this marvellous idea ...

now just for a change, let's all behave like

ordinary responsible citizens. Let's not cause

any trouble, pull any strokes or do anything

I'm going to be sorry for, especially

tomorrow at the television theatre,

because ...


He looks sharply at JOHN who is polishing his nails.


NORM

Are you listening to me, Lennon?


JOHN

(off-hand)

You're a swine, isn't he George?


GEORGE

(disinterested)

Yeah ... a swine.


NORM

(just as indifferent)

Thanks...


He sees the GRANDFATHER.


NORM

Eh ... .


BOYS IN CHORUS

... Who's that little old man?


NORM

Well, who is he?


RINGO

He belongs to Paul.


NORM

(accepting the situation)

Ah well, there you go. Look, I'm going down the

diner for a cup of coffee, are you coming?


PAUL

We'll follow you down.


GRANDFATHER rises.


GRANDFATHER

I want me coffee.


NORM

He can come with Shake and me if you like.


PAUL

Well, look after him. I don't want to find

you've lost him.


NORM

Don't be cheeky, I'll bind him to me with

promises. Come on, Grandad.


GRANDFATHER joins SHAKE and NORM.


NORM

(over Grandfather's head)

He's very clean, isn't he?


SHAKE and NORM collect GRANDFATHER and are in the process of leaving

the compartment when a fat upper class city Englishman, JOHNSON,

attempts to enter. There is a bit of confusion and they get tangled up

with each other.


JOHNSON

Make up your minds, will you!


At last SHAKE, NORM and GRANDFATHER sort themselves out and JOHNSON

enters with his case. The other three go to coffee.


JOHNSON puts his case up on the luggage rack, then sits down. All his

movements are disgruntled ... he finally picks up his copy of the

Financial Times and burying himself behind it, starts to read. After a

moment he looks up, notices the compartment window is open. He gets up

and without so much as a "by your leave" he closes it, glares at the

BOYS and sits down again.


The boys exchange looks as if to say ... "Hello, Saucy!!"


PAUL

(politely)

Do you mind if we have it opened?


JOHNSON

(briefly)

Yes, I do.


JOHN

Yeah, but there are four of us, like, and we'd

like it open, if it's all the same to you, that

is.


JOHNSON

(rudely)

Well, it isn't. I travel on this train

regularly twice a week, so I suppose I've some

rights.


RINGO

Aye, well, so have we.


He disappears behind his paper before the BOYS can say another word.


RINGO pulls a face at the raised paper and switches on his portable

radio. A pop number is playing.


JOHNSON puts down his paper firmly.


JOHNSON

And we'll have that thing off as well, thank

you.


RINGO

But I ...


JOHNSON leans over and switches it off.


JOHNSON

An elementary knowledge of the Railway Acts

would tell you I'm perfectly within my rights.


He smiles frostily.


PAUL

Yeah, but we want to hear it and there's more

of us than you. We're a community, like, a

majority vote. Up the workers and all that

stuff!


JOHNSON

Then I suggest you take that damned thing into

the corridor or some other part of the train

where you obviously belong.


JOHN

(leaning forward to him)

Gie's a kiss!


PAUL

Shurrup! Look, Mister, we've paid for our seats

too, you know.


JOHNSON

I travel on this train regularly, twice a week.


JOHN

Knock it off, Paul, y' can't win with his sort.

After all, it's his train, isn't it, Mister?


JOHNSON

And don't you take that tone with me, young

man!


GEORGE

But...


JOHNSON

(accusingly)

I fought the war for your sort.


RINGO

Bet you're sorry you won!


JOHNSON

I'll call the guard!


PAUL

Aye ... but what? They don't take kindly to

insults you know. Ah, come on, you lot. Let's

get a cup of coffee and leave Toby the manger.


The boys troop out of the door into the corridor. JOHNSON smiles

triumphantly. He is about to settle down to his paper when there is a

tap on the corridor window. He looks up and we see pressed against the

window a collection of hideous Beatle faces.


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 SHAKE's discomfort.


NORM

Yeah, you want to watch it.


SHAKE

(unhappily)

It's not my fault.


NORM

Well, you stick to that story, son.


SHAKE

I can't help it, I'm just taller than you.


GRANDFATHER

(To NORM slyly)

They always say that.


NORM

Yeah, well I got me eye on you.


SHAKE

I'm sorry Norm, but I can't help being taller

than you.


NORM

Well, you don't have to rub me nose in it. I've

a good mind to ...

(he is about to thump SHAKE.)


JOHN

(enjoying himself)

If you're going to have a barney I'll hold

your coats.


NORM

He started it.


SHAKE

No, I didn't you did ...


GEORGE

Well, what happened?


SHAKE

The old fella wanted these pictures and Norm

said he couldn't have 'em, all I said was

'aw go on, be big about it.'


PAUL

And?


NORM

Your Grandfather pointed out Shake was always

being taller than me just to spite me.


PAUL

I knew it, he started it, I should have known.


NORM

Y'what?


PAUL

You two have never had a quarrel in your life

and in two minutes flat he's got you at it.

He's a king mixer. Adam and Eve, meet the

serpent. Anthony and Cleopatra, there's your

asp. Divide and Conquer, that's this one's

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 we'll have to watch it and all.


GEORGE

I suggest you just give him the photos and have

done with it.


NORM

You're 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 let's get this coffee.


GRANDFATHER

Before you go, I think it's only fair to warn

you about me Grandson ... don't let our Paul

have his own way all the time, 'cos if you do

he won't respect you!


JOHN, RINGO and GEORGE take this up straight away. They all pretend to

be girls, RINGO jumps into PAUL's arms.


GEORGE

(coyly)

Oh, Paul, you can't have your own way!!!


JOHN

(invitingly, in a Marlene Dietrich

voice)

If I let you have your own way, you little

rascal, will you respect me?


PAUL

(choked)

I'll 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 don't rush. None of your five bar gate

jumps and over sort of stuff.


PAUL

Now what's that supposed to mean?


GEORGE

(grinning)

I don't really know, but it sounded

distinguished, like, didn't 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

(in posh accent)

Excuse me, but these young men I'm sitting with

wondered if two of us could join you; I'd ask

you meself only I'm shy.


The two girls giggle together.


JOHN and GEORGE are about to move over when GRANDFATHER suddenly

appears by their sides.


GRANDFATHER

(sternly)

I'm sorry, miss, but you mustn't fraternise

with my prisoners.


JEAN

Prisoners!!


GRANDFATHER

Convicts in transit to Wormwood Scrubs. Typical

old lags, the lot of 'em.


THE BOYS

Y'what!!!


GRANDFATHER

Quiet, you lot, or I'll give you a touch of me

truncheon.

(He points at Ringo)

That little one's the worst. If we don't keep

him on tablets he has fits.


RINGO

(protesting)

Now look here!!


GRANDFATHER grabs two lumps of sugar from the table and forces them

into RINGO'S mouth.


GRANDFATHER

Get out while you can, ladies, his time's

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

He's been gone a long time.


SHAKE

(without looking up)

Who?


NORM

Paul's grandfather.


SHAKE

Oh, I didn't notice, where'd 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

(proudly)

Yes, I'm their manager, I discovered them.


LADY AUDREY

Did you indeed, Mr. McCartney?


GRANDFATHER

Now, Audrey, I told you, the name's 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 Paddy's 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 aren't there four of them?


AUDREY

(her eyes lighting up)

How fascinating. Do go on ...

(pause)

... John.


GRANDFATHER

... Oh, I'm all heart, Ma'am, 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 Paul's grandfather?


JOHN

Of course, he's concealed about me person.


NORM

No ... he's must have slipped off somewhere.


PAUL

(accusingly)

Have you lost him?


NORM

Don't exaggerate.


PAUL

You've lost him.


SHAKE

Put it this way, he's mislaid him.


PAUL

You can't trust you with anything, Norm, if

you've lost him, I'll cripple you.


SHAKE

He can't be far.


JOHN

I hope he fell off.


PAUL

(mildly)

Don't be callous.


RINGO

He doesn't like me, honest, I can tell ... It's

'cos I'm little.


GEORGE

You've got an inferiority complex, you have.


RINGO

Yeah, I know, that's why I took up the drums.

It's me active compensatory factor.


JOHN and PAUL run down the corridor. SHAKE and NORM turn from the door

and go in the opposite direction, GEORGE and RINGO follow after the

other two boys.


11. INTERIOR CORRIDOR OF TRAIN


PAUL and JOHN look into various compartments. CLOSE SHOT of RINGO

looking into compartments in the manner of Groucho Marx. In one of the

compartments we see from RINGO'S P.O.V. the occupant, a glamorous

woman, TANIA, with a small lap dog.


She is beautifully and most expensively dressed. She looks up and sees

RINGO.


RINGO smiles at her and she smiles back. She then beckons him to join

her.


He looks around to see if she means someone else. She nods a negative.

RINGO looks back enquiringly then points at himself as if to say: "Who,

me?"


TANIA smiles enthusiastically.


GEORGE has been watching all this.


GEORGE

Are you going in?


RINGO

No, she'll only reject me in the end and I'll

be frustrated.


GEORGE

You never know, you might be lucky this time.


RINGO

No, I know the psychological pattern and it

plays hell with me drum skins.


He blows the glamorous lady a kiss, then moves sadly on.


12. INTERIOR FURTHER DOWN THE CORRIDOR


PAUL enters a compartment followed by JOHN. The TWO GIRLS, RITA and

JEAN, from the restaurant car are sitting there.


PAUL

Excuse me but have you seen that little old

man we were with?


The girls jump up, surprised.


JOHN

We've broken out, oh, the blessed freedom of it

all!

(he extends his hands

as if handcuffed)

Eh, have you got a nail file, these handcuffs

are killing me. I was framed. I was innocent.


PAUL

Will you stop it! Sorry to disturb you, miss...


He starts to drag JOHN after him.


JOHN

I was innocent. I was framed. I won't 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

(to Ringo and George)

Did you look in here?


GEORGE

No. I mean, it's probably a honeymoon couple or

a company director or something.


PAUL

Well, let's 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

(looking up)

Congratulate me, boys, I'm engaged.


PAUL enters and crosses over to him.


PAUL

Oh no, you're not. You've gone too far this

time ... and who's paying for all this?


GRANDFATHER

It's all taken care of. It's down on our bill.


PAUL

Oh, well that's all right.

(realising)

What?


AUDREY

Young man, kindly moderate your tone when you

address my fiance.


PAUL

I'm sorry, Missus, but the betrothal's off.

(He grabs GRANDFATHER

by the arm.)

I'll refuse me consent, he's over-age!


AUDREY grabs GRANDFATHER's other arm and pulls back.


AUDREY

Leave him alone, after all he's done for you is

this the way you repay him?


A tug of war now starts between PAUL and AUDREY.


PAUL

(pulling)

Him? he's never done anything for anybody in

his life.


AUDREY

(pulling)

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, you're winning.


GEORGE

Get in there, Paul, she's weakening.


RINGO attempts to interfere.


RINGO

Look, Missus, this is all a misunderstanding,

you see, he's ...


AUDREY

Keep away from me, you depraved lout, I know

all about your terrible past.


RINGO

Y'what?


She hits RINGO with her handbag and continues struggling with PAUL for

GRANDFATHER. RINGO grabs her handbag to stop her hitting him.


RINGO

He's given me a bad character, blackguarding me

name to all and sundry. He's got to be stopped.

It's not fair.


RINGO pushes out into the corridor, forgetting that he is holding the

woman's handbag.


A voice shouts off from outside.


VOICE OFF

That's one of them ... stop thief!


14. INTERIOR CORRIDOR


From Ringo's 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 [the] 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. There's no escape.


RINGO

(looking down at the

handbag in his hand)

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

(bitterly)

And to think me own grandson would have let

them put me behind bars!


PAUL

Don't dramatise.


The CAMERA PULLS BACK and we see GRANDFATHER in the luggage compartment

of the guards' van. In with him are a crate of chickens and a dog. The

chickens peck at him; GRANDFATHER moves listlessly away.


PAUL

Let's face it, you're lucky to be here. If

they'd have had their way you'd have been

dropped off at Stafford already.


GRANDFATHER proudly turns away from PAUL who dodges round so he can

still see his face.


PAUL

Well, you've got to admit you've upset a lot of

people. At least I can keep my eye on you while

you're stuck in here.


GRANDFATHER turns away again.


PAUL

All right, how about Ringo? I mean ... he's

very upset, you know ... and as far as your

girlfriend, little Audrey's concerned, she's

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, it's all right for you but those two girls

were scared to death! Honest, Grandad, why? I

mean, why do you do these things?


GRANDFATHER

(cutting in)

You're left-handed, aren't you, Paul?


PAUL

Yeah ... so what?


GRANDFATHER

Why do you always use your left hand?


PAUL

Well, don't be daft, I've got to.


GRANDFATHER

And I take a left-handed view of life, I've 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

(as he sees PAUL behind the bars)

Don't worry, son, we'll get you the best

lawyer trading stamps can buy.


PAUL

Oh, it's a laugh a line with Lennon.

(to Ringo)

Anyroad up ... It's all your fault.


RINGO

Me? Why?


GEORGE

Bag-snatcher.


GRANDFATHER

That's right; convict without trial ... Habeas

corpus.


JOHN

(casually)

Every morning.


JOHN has been looking around the guards' van.


JOHN

Gaw, it's depressing in here, isn't it?

Funny...

(he pats the dog)

'cos they usually reckon dogs more than people

in England, don't they? You'd expect something

a little more palatial.

(he shudders)

Come on. Let's have a little action. Let's do

something, then.


PAUL

Like what?


JOHN

Well, I've got me gob stopper.

(he produces his mouth organ.)

Look, a genuine Stradivarius, hand tooled at

Dagenham.


And to RINGO's 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 (NIGHT)


While the number is progressing, the train is getting nearer and nearer

to London.


17. EXTERIOR PLATFORM TERMINUS (NIGHT)


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

Don't move, any of you. They've 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 can't. Look, as soon as I tell you, run

through this door here and into the big car

that's 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 l'amour!


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 grandfather's 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

(to the driver)

Go like the clappers, son!


FRANK

(smoothly)

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 don't snore.


GEORGE

You do - repeatedly.


RINGO

(to John)

Do I snore?


JOHN

(eating a banana)

You're a window rattler, son.


RINGO

Well, that's just your opinion. Do I snore,

Paul?


PAUL

(stopping playing)

With a trombone hooter like yours it'd be

unnatural if you didn't.


GRANDFATHER

Don't mock the afflicted, Pauly.


PAUL

Oh for Pete's sake, It's only a joke.


GRANDFATHER

Well, it may be a joke, but it's his nose. He

can't help having a horrible great nose, it's

the only one he's got. And his poor little

head's trembling under the weight of it.


NORM enters with three piles of fan mail and places them in front of

JOHN on a table. RINGO is almost in tears, examining his nose in a

mirror.


NORM

Paul, John, George - get at it.


JOHN

Hello the income tax have caught up with us at

last.


PAUL and GEORGE gather round the low table. RINGO is left out of it.


RINGO

None for me, then?


NORM

Sorry.


John hands RINGO a single envelope.


JOHN

That'll keep you busy.


GRANDFATHER

It's your nose, y'see. Fans are funny that way.

Take a dislike to things. They'll pick on a

nose...


RINGO

You go and pick on your own.


SHAKE enters with a stack of mail about three times larger than all the

others put together.


JOHN

Is that yours?


SHAKE

For Ringo.


He dumps it in Ringo's arms who staggers into an armchair. The BOYS

send him up.


JOHN

That must have cost you a fortune in stamps,

Ringo.


GEORGE

He comes from a large family.


RINGO

(dumping the letters)

Well.


RINGO opens his letter and reads it. It contains a large embossed card.


RINGO

Eh, what's Boyd's Club?


The lads gather round him and PAUL takes the card from him and reads.


PAUL

"The Management of Boyd's takes pleasure in

requesting the company of Mr. Richard Starkey,

that's you, in their recently refinished gaming

rooms. Chemin de Fer. Baccarat, Roulette, and

Champagne Buffet." Blimey!


RINGO

(surprised)

And they want me?


JOHN

Oh, it's got round that you're a heavy punter.


NORM

(snatching the card)

Well you're not going.


RINGO

Ah.


GRANDFATHER

(taking card from Norm)

Quite right, invites to gambling dens full of

easy money and fast women, chicken sandwiches

and cornets of caviar, disgusting!


He pockets the card himself.


RINGO

That's mine.


NORM

Have done, and you lot get your pens out.


BOYS

Why?


NORM

It's homework time for all you college

puddings. I want this lot

(he indicates the fan letters)

all answered tonight.


The BOYS all protest.


NORM

I'll brook no denial!


JOHN

It's all right for you, you couldn't get a pen

in your foot, you swine.


NORM

Come on, Shake, we'll leave 'em to their

penmanship.


He goes followed by SHAKE.


There is a pause and JOHN deliberately rises slowly and crosses to his

coat. He puts it on and walks to the door.


JOHN

While the swine's 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 Ringo's card.


C.U. GRANDFATHER


GRANDFATHER

And a free champagne buffet.


He grins to himself. At this moment a WAITER enters with a tray. He is

clad in tails and GRANDFATHER eyes them longingly, measuring himself

the while alongside the startled waiter. He leaves us with no doubt in

our minds what he wants, i.e., the waiter's suit.



24. INTERIOR DANCING CLUB NIGHT


The club is the latest in modern decor and full of teenagers all

enjoying themselves. The CAMERA wanders around the club till it finally

picks out JOHN, PAUL, GEORGE and RINGO all crowded around one small

table. The music is blaring away from a juke box and the BOYS join the

dancers. They are recognised and given smiles and nods of encouragement

by all the other customers. During this scene we


CUT AWAY


25. INTERIOR BOYD'S CLUB NIGHT


The whole atmosphere is of quiet elegance and loud wealth. Around the

baccarat table the rich, bored customers sit barely moving a face

muscle as they languidly murmur "suivez" and "banco" to the dealer as

he operates the shoe. The manager of the club is beaming with

satisfaction as he surveys his customers. One of these customers is

clad in evening dress and he has his back to us. The rest of the

players (male) are in suits. By each of them is standing a lush lady

with a bored sophisticated face that looks as if it has been painted

on. From the REVERSE of the LAST SHOT we now see the solitary evening

dress player is GRANDFATHER. He looks around him and wipes off his look

of enjoyment and elaborately out-bores everyone in the room.


DEALER

Alors, M'sieur?


GRANDFATHER

(nonchalant)

Soufl


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