A Hard Day's Night - The Original Script
Producer Walter Shenson
hired Liverpool writer Alun Owen to write the script of what became "A Hard Day's
Night" in late 1963. Shenson, Owen and director Richard Lester decided early on to
make the film a comedy - depicting a fictionalized version of a day (or two) in the life
of the Beatles. Lester decided it should be shot in a quasi-documentary style.
To help him prepare for the project - Owen accompanied the Beatles
on a couple of tour dates - which provided much of the inspiration for his script.
He delivered the first version of the script in early 1964. There
was just one further draft - and then the film was shot a couple of weeks later. Things
moved very fast in the halcyon early 1960's!
The original script was then tucked away in a file and forgotten
until late 2000, when Beatles scholar Martin Lewis discovered it in the vaults of the
film's producer - the late Walter Shenson. The original script is reproduced here for the
very first time.
And to provide maximum pleasure and perspective for readers - the transcript has some
additional features.
This presentation of the script also features a parallel
transcription of the text on pages which match the original page numbers. Simply put -
there are four different types of text in this transcript (see below for color coding).
A) ORIGINAL SCRIPT - RETAINED IN FILM
Words typed in the original first version of the script - which were subsequently shot and
retained in the finished film.
There were inevitably some very minor chanegs in some of the
dialogue. In those instances - this transcript adheres to the original script - rather
than the slight variations featured in the film.
Such parts of the script are the main text of this transcript.
B) ORIGINAL SCRIPT - NOT IN FILM
There were naturally quite a few scenes and quite a lot of dialogue which appeared in the
first draft of the film - but which did not make it into the finished film. Some scenes
and lines of dialogue were simply dropped between the first draft and the shooting script.
Other scenes and dialogue were filmed - but not incorporated in the finished film.
Such parts of the script are indicated by being shown in grey and
italic.
C) SCENES IN FILM - NOT IN ORIGINAL SCRIPT
As with any film - there were also some scenes and lines of dialogue which were NOT in the
original script.
All such scenes and dialogue have been transcribed from the film
(including descriptive passages) - and have been inserted into this transcript.
Such transcriptions of the film are indicated by being shown in
green and italic.
D) HANDWRITTEN NOTES ON THE ORIGINAL SCRIPT
Many of the changes between the original script and the second (shooting) script - were
noted on this original script in handwriting (a popular form of notation before
computers!)
To help readers decipher handwritten notes on the script - these
have been transcribed.
Such transcriptions of handwritten notes are indicated by being
shown in red and italic.
FINAL NOTE
There are also some points in the script where scenes became incorporated in the finished
film in a different sequence. Where possible - this transcript makes a notaton to this
effect.
So enjoy and have a look at this newly found piece of Beatles history available for the
very first time.
PAGE 1
1. EXTERIOR, STREETS OUTSIDE RAILWAY TERMINAL, DAY
Song: "A Hard Day's Night"
The film opens with crowds of girls, shot in a
sequence of closeups, 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. They rush on through the narrow cobbled passageway and into the main
station.
2. EXT
TERMINAL
Quickly show their tickets at the barrier for the London
train. We see various bits of byplay: Paul, in a false beard, and an old man hide
behind newspapers on a bench; George, John and Ringo vault a barrier and hide in a photo
booth. and get onto the platform as hoards 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.
NELL 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. NELL 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
PAGE 2
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 non committal 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. NELL & MAL 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.
PAGE 3
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: Er What little old man?
JOHN: (pointing) That little old man.
PAUL: Oh, that one. That's me Grandfather.
GEORGE: That’s not your Grandfather.
GEORGE: Your Grandfather?
PAUL: Yeah.
GEORGE: That's not your grandfather.
PAUL: It is, y'know.
GEORGE: But your Grandfather lives in your house. I’ve
seen him.
GEORGE: But I've seen your grandfather. He lives in your
house.
PAGE 4
PAUL: Oh, that’s me other Grandfather, but this
one’s me Grandfather and all.
PAUL: Oh, that's me other Grandfather, but he's my
Grandfather as well.
JOHN: How d'you reckon that one out?
PAUL: Well . . . everyone's entitled to two, aren't they and this is me
other one.
RINGO: Oh definitely.
JOHN: I see, so the one who lives in your house is your other
one?
PAUL: Aye, that’s right.
RINGO: Well, who’s this one?
PAUL: And this one’s me other one.
JOHN: (long suffering) Well
we know that but what's he doing here?
PAUL: Ah, well, you see, he was going to get married.
JOHN: Now look, Paul, let’s all sit down and take this
one nice and easy.
They all are eyeing the GRANDFATHER. As they do, the old
man scowls back at them.
JOHN: Now what’s he doing here with you?
PAGE 5
PAUL: Oh, I had to bring him.
JOHN: Why?
PAUL: Well, me mother thought the trip u'd do him good.
RINGO: How's that?
PAUL: Oh . . he's nursing a broken heart.
JOHN: (off) Lah!
The lads all look intently at the GRANDFATHER.
GEORGE: Is he?
PAUL: Yeah.
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.
JOHN GEORGE: A Butcher?
PAGE 6
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 be a good idea if I brought
him with us . . you know. . just to give him a bit of 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 ain’t he?
PAUL: Oh yeah, he’s very clean, y’know.
They all agree with PAUL
RINGO: Oh yeah.
GEORGE: Scubbed, Id’ say.
JOHN: And clean as well....so he’s
coming with us?
GRANDFATHER preens himself proudly
JOHN: So he’s coming us?
PAUL: Yeah.
PAGE 7
GEORGE: All the way to London?
RINGO: Well, you couldn’t very well drop him off at
Crowe, could you?
GEORGE: Why not? Crowe could be a gear place.
JOHN has been examining GRANDFATHER. He now leans forward to him and
crosses to sit beside him.
JOHN: (in an over-friendly voice) Hello, Grandfather!
GRANDFATHER: Hello.
JOHN: (delightedly) He can talk then, can he?
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.
GRANDFATHER (raising his fists): Put ‘em up, Lofty!
RINGO: You what?
GRANDFATHER dances around boxer -like in front of RINGO
PAGE 8
GRANDFATHER: You broke the donkey’s back when you
insulted Battling John McCartney. It’s fisticuff’s and blooded noses now!
PAUL: Down, Grandfather , Down boy, you’re out of
training.
GRANDFATHER: (raging) I’ll take him on wid one hand tied
behind me back!
PAUL:(whispering to Ringo) Apologise or he’ll have you.
RINGO:Will he?
PAUL: They don’t call him One Round McCartney for
nothing.
RINGO: I’m sorry, Grandfather.
GRANDFATHER: (smiling) Granted as soon as asked.
JOHN: Honest to Charley, it’s going to be charming
looking after a hard case like this one.
JOHN: And we're looking after him, are we?
GRANDFATHER: I'll look after meself.
PAUL: standing up Aye, that's what I'm afraid of!
JOHN: He's got you worried, then?
PAGE 9
PAUL: Him? Listen, son, he’s a villain. A right mixer
tearaway and at a drop of a hat, he’s engaged. He costs you a fortune in breach of
promise cases. He’s the Frank Sinatra of the Derby and Joan club.
PAUL: (combing hair) He's a villain, and a real mixer and He
costs you a fortune in breach of promise cases.
JOHN GEORGE:
(disbelieving) Gerron.
GEORGE: You’re kidding.
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.
RINGO: (interested) Is it a knack, like, or were you born
with it?
GRANDFATHER: (confidingly) A mixture of hereditry and
experience. An unbeatable combination, son.
PAUL: Aye and there’s one other thing he forgot to
mention. He’s the biggest bloomin’ liar that ever turned right past the isle of
Men for Liverpool.
GRANDFATHER: (beaming) He knows me well.
At this moment, MAL, a tall man who works with the BOYS, pulls
open
the door of the compartment.
MAL: Hi, yer.
PAUL: Hello Mal.
GEORGE: Hello Mal.
MAL: You got on alright then?
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