- •Improvised dialog is indicated in parentheses.
- •Interior, reserved train compartment
- •Irresistible charm, I'm too attractive to be let loose.]
- •Interior of railway compartment
- •Interior, further down the corridor
- •Interior of compartment
- •It's all your fault.
- •Interior, dancing club
- •Interior, le circle club
- •Interior, [dress circle lounge] ballroom
- •Interior, theatre dress circle
- •Interior, stage
- •Is furious.
- •Interior, ramp
- •In the dressing room till you do.
- •Interior, backstage theatre corridor
- •Interior, dressing room
- •Interior, corridor on way to dressing room
- •Indicates the girl on the poster.) Alright, Sonny Jim, this is all going
- •Interior, t.V. Studio floor
- •Interior, t.V. Control room
- •Interior, make up room
- •In the uniform of officers in Wellington's army. Together with the boys
- •Interior, t.V. Studio floor
- •Ignored by the girls who don't recognise him. Realising this he goes back
- •Interior, t.V. Control room
- •I get paid for doing something I love doing. (He laughs and with a
- •It was so in the end I wound up giving it all away... But I didn't
- •It for them.]
- •Interior, t.V. Theatre near stage door
- •In the tiled room and out come the rubber hoses [but I'll defy you
- •In the cloth cap while I sort this lot out.
- •Villains.
- •Is entirely empty and no one is even in sight. As he reaches the top of
- •Interior, police station
- •Interior, tv theatre auditorium
- •Interior, studio corridor
Interior, tv theatre auditorium
Songs: "Tell Me Why," "If I Fell" (reprise), "I Should Have Known Better"
(reprise), "She Loves You."
We see the audience of girls streaming in and settling down in their
places for the show. [There is the usual business of getting the show
ready and we see SHOTS of the girls' faces, then JOHN, PAUL, RINGO and
GEORGE looking at them.] At last on cue from the floor manager the BOYS
start their act to the audience's screams. During the number we
constantly CUT away to the audience with various SHOTS of the ecstatic
girls. In the middle of these shots we see NORM standing at the side of
the audience his face glowing with satisfaction. We follow his gaze and
from NORM'S P.O.V. we see GRANDFATHER handcuffed to SHAKE, but in spite
of this, the old man is enjoying himself. The BOYS now perform a medley
of numbers, i.e., a little of all the songs we have heard during the
story. While they are doing so they look again in the general direction
of SHAKE and GRANDFATHER and from their P.O.V., we see SHAKE is beating
time to the music but from his wrist dangles an empty set of handcuffs.
GRANDFATHER has gone again. As the BOYS are reacting to GRANDFATHER's
disappearance once again, the trap door on the stage opens and
GRANDFATHER appears in the centre of the group as they finish their act
and take their final bows.
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 them.
NORM: I've got the stuff. Come here.
PAUL: Aren't we...
NORM: No, we're not!
He hurries them along.
NORM: The office was on the phone, they think it'd be better if we pushed
straight to Wolverhampton.
JOHN: Tonight? We can't make it...
NORM: You've got a midnight matinee.
JOHN: Now look here Norm.
NORM: No, you look here John. I've only one thing to say to you, John
Lennon.
JOHN: What?
NORM: You're a swine. [So hurry up... we're travelling!]
NORM turns down a side exit where the door is open to the field. In it is
an eight-passenger helicopter.
EXTERIOR, STAGE DOOR T.V. THEATRE
Song "A Hard Day's Night"
The BOYS and NORM come out of the building and start to run towards the
helicopter.
[PAUL: (looking behind him) Where's my grandfather?
[NORM: (arriving at helicopter door) Don't 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: (beckoning them in with his free hand which holds the
photos) Come on, you're hanging up the parade.]
The boys shout "Get rid of those things." etc.
EXTERIOR, FIELD
The final shot is of the helicopter rising up
(SHOT FROM BELOW). As it disappears, a shower of photos come from its
window.
[We cut to a close-up of one signed photo as it hits the ground and super
the closing credits over it.]