Midas Man (2024) Movie Script

1
[Crowd cheers loudly]
[Cheers drown out]
MAN: The Cavern Club, Liverpool,
9th November 1961.
The moment my life changes forever,
and everything suddenly becomes so clear.
But forgive me,
I'm getting ahead of myself.
Let me set the scene.
[Doorbell chimes]
['50s pop song plays]
1959.
This is where I report for duty every day.
A family store opened by my grandfather,
who arrived in this country
with barely a word of English.
He left all this to my father
who plans to leave it to me.
He doesn't love what I do
with the window displays.
He says, "We're not a theatre, Brian.
We're just selling them furniture."
I tell him, "Times are changing.
Now we have to sell them the dream."
Robert, that is exactly what I want.
ROBERT: Trouble is, my dreams are just
a little bit bigger than this shop window.
[Song ends]
WOMAN: How long were you going
to leave me out there?
It was a lovely service.
Only seems like yesterday
that you and your brother were up there.
I was just telling Brian
how well he's doing in the shop.
What did you expect?
He's a star.
He sold a hall mirror
by telling a customer
she looked beautiful in it.
The lad can sell.
Actually I sold
two hall mirrors and a radiogram.
The apple never falls far from the tree.
Oh God forbid, you should encourage him.
He does.
You both do.
But, ehm,
as we're speaking about this,
I actually want to do something new.
Here we go again.
I knew it was too good to be true.
You can't settle, can you?
Even after all those
expensive private schools.
How many was it?
He learned to speak beautifully.
But you were happy when he said
he wanted to be a dress designer.
Nothing wrong with that.
He has the talent.
HARRY: That's why he became an actor,
or tried to.
Another meshugas.
A 5-minute wonder.
Harry, he went to RADA.
Now he's finally found something
that he's actually good at.
BRIAN: Daddy, if you just let me
finish what I'm trying to say.
Speak!
That's what he's trying to do.
I want to do something
different in the shop.
We already sell classical records.
But I want to sell more, more show tunes,
more music that's popular now,
like Lonnie Donegan,
Elvis Presley, and Frankie Vaughan.
I like him.
You know I love music,
and I know what young people
are listening to now.
I mean, I'm already recommending
records to customers
that we don't actually sell.
What?
That's my point exactly.
We should be selling them.
That way, customers will come to us,
instead of our competitors.
I think it's a wonderful idea.
Well, Harry?
So all the music sold will be down to you.
Yes.
- And you think you're ready for that?
- I just need some more space.
I promise you won't regret it.
I better not.
Can we go now?
- I was waiting for you
- Quiet, Queenie.
Show some respect.
[Chuck Berry's "Johnny B. Goode"
plays in background]
BRIAN: In two years, I turned a shelf
at the back of the store
into the talk of Liverpool
and one of the biggest
record stores in the Northwest.
Thank you, Amelia.
Teenage girls,
they'll tell you who's up and coming
and be the first to buy the record,
and they'll attract the boys.
Some are serious about music.
Some are just here for the girls.
The serious ones dream
of being Britain's answer to Elvis.
As you can see.
Classical?
That's more my scene.
Jazz?
I'm working on that.
Show tunes,
personal favourite and big business.
South Pacific
is our top-selling album this year.
[Sings]: I'm going to wash that man
right out of my hair.
Music isn't just what we listen to,
it's who we are, who we love,
where we belong.
[Snaps]
Any disc from anywhere
in less than 5 days.
My big idea.
I've made it company policy
and a matter of pride.
I was right about
this "Johnny Remember Me",
300 copies
and still selling like hotcakes.
When are you ever wrong, Mr Brian, huh?
I shall allow you to tell me.
Alastair Taylor, my right-hand man.
Tea?
My office?
[Music fades]
BRIAN: What's this in the order book?
"My Bonnie.
Check back Monday."
ALASTAIR: It's out of Hamburg.
- I've called a few of the import agents.
- And?
Well, there's a minimum order of 25,
and it's not worth it
for some old sea shanty
on an obscure German label.
Any disc from anywhere?
It takes two weeks to ship from Hamburg.
By the time they arrive,
it'll all have blown over.
Mersey Beat doesn't think so?
They don't sound German.
That's because they're from Liverpool.
They're playing the lunchtime sessions
over at The Cavern.
Let's go, then.
What about this tea?
Come on.
Mr Brian!
[People chatter]
[Soft inquisitive music]
ALASTAIR [Softly]: That's Mr Brian
Epstein, he's here to see the Beatles.
- Is he all right to come in?
- Yes.
ALASTAIR: Mr Brian!
[Chattering gets louder]
[Live guitar music plays]
Are you lost?
Sorry?
Are you lost?
This isn't the Philharmonic?
[She laughs]
Let me take your coat for you.
There's too many scallies.
You'll never see it again.
That's lovely, that.
D'ya get this made special?
Sorry?
Doesn't matter.
WOMAN: Thank you very much.
Now that's how you treat a lady.
Look and learn, lads.
Sorry.
Excuse me.
Right, now, all you cave dwellers,
if we just quieten down
for a moment, please.
Quick question.
Who here's forgot to bring their lunch?
Well, we got four little Hamburgers
just for you.
[Crowd chuckles and groans]
[Crowd cheers]
[Speaks German]
You want to come to the front?
Well, I guess it's better.
PAUL: Oh, I didn't expect to see you here.
You all right?
Lovely
The first song we'd like to play...
we didn't write actually, did we?
No, no, I think this was written
by some other guy.
- [Crowd laughs]
- You like that, didn't you?
[Shouts]: 2, 3, 4!
[They sing "Some Other Guy"]
Some other guy now, has taken my love
away from me, oh now
Some other guy now, has taken away
my sweet desire, oh now
Some other guy now, I just don't want
to hold my hand, oh now
I'm the lonely one,
as lonely as I can feel all right
Some other guy, is sippin' up the honey
like a yellow dog, oh now
Some other guy now, has taken my love
just like I'm gone, oh now
Some other guy now, has taken my love
away from me, oh now
[Music fades, inquisitive music resumes]
[Music swells]
[Sound resumes, crowd cheers loudly]
[Voices chatter behind the door]
- JOHN: Hey, that'll be room service.
- GEORGE: Broom service, more like.
Hello.
My name is Brian Epstein.
[Imitating Brian's posh accent]:
Hello. My name is John Lennon.
[Imitating]:
My name is Paul McCartney.
[Imitating]: My name is George Harrison.
How do you do?
[Normal]: Pete Best.
May I come in?
Ooh if you do,
one of us will have to come out.
[They snicker]
Well, what brings you
to our broom cupboard?
Er, well, ehm...
There you are.
[They chuckle]
We, at NEMS,
have had some queries, several, in fact,
about your German disc, "My Bonnie",
and "Any disc from anywhere".
That's our promise in the store.
We don't stock many local groups.
JOHN:
What about Billy Fury?
No, of course, Billy Fury.
[Burps]
But there's been
tremendous interest in your disc.
You were marvellous, really.
- [Imitating]: Marvellous.
- Splendid.
Thank you.
GEORGE [Imitating]:
You always were, darling.
So, er...
Well, I'll let you get changed.
[Sarcastic]: Into what?
Well, it was very kind of you
to come down, you know.
BRIAN: My pleasure.
Why don't you throw a few shillings
at our Cyril on the way out?
Cyril is your manager?
[They scoff]
No, Priscilla on coats,
you should hear her sing.
She's bloody brilliant, you know.
BRIAN:
Why don't you come by the office?
The NEMS Store on Whitechapel.
Just for a chat.
Why don't you come to our office?
BRIAN: You have an office, do you?
No, but we'll get one just for you.
- Again, really, you were marvellous.
- ALL: Marvellous.
[Stammers]: You were, so erm...
I'll see you at the office.
- [Imitates Brian]: Thank you.
- Thank you.
- Thank you very much.
- Thank you very much.
- Goodbye, now.
- Cheerio.
[Inquisitive music resumes]
- ALASTAIR: Sorry, they were awful.
- I know.
Wasn't it fabulous
what they did to that audience?
Are you serious?
- Really?
- Yes.
I think I should manage them.
You're bloody joking, aren't you?
- They're just scruffy lads.
- I can work on that.
- You've got no experience, Mr Brian.
- How hard can it be?
What about NEMS?
- You've got NEMS to run.
- No, I can do both.
- You've never managed a band before.
- I'd never managed a shop.
They've got a manager, Allan Williams.
[Knocks]
Half of Liverpool will tell you
they discovered The Beatles.
The other half will tell you
they're the fools who turned them down.
Allan Williams is the only man
who managed to do both.
Allan.
Before you say a word,
they're under contract.
- I didn't realise.
- No, you didn't bother to ask, did you?
Otherwise, you'd know
how much I bloody care for them.
BRIAN: I'm sure you do, Allan.
These boys mean a lot to me.
I hired them.
I drove them to Hamburg.
Hired them to paint the lavatories?
Yeah, well, made a bloody mess of that.
I preferred the graffiti
that was there beforehand, actually.
But they did the rest of the club,
and that was fine.
I'm glad to hear it.
You ask anyone around here,
and they'll tell you
they're nowhere without me.
I don't doubt it.
But I asked you here because,
well, I'd like to manage them now,
and if the boys agree, that is.
So, er, if I could see that contract?
You think they're going to be
bigger than the Shadows, don't you?
That'd be a start.
If I could just see the contract?
There was no piece of paper.
It was just an agreement.
But I was the one that had the expenses.
Petrol, the ferry trip to Hamburg,
the van hire, hire of their instruments.
There's still 10% commission I didn't get,
about 9 pounds, 10 shillings.
Haven't seen hide nor hair of.
If they do come with me,
then I'm sure we can discuss expenses.
They're always late.
They don't even own their own instruments.
Think of that.
- I shall bear that in mind.
- You should rename them The Bootles
because from here to Bootle,
that's as far as they're going to go.
Thank you. For...
For what?
They're good musicians,
I'll give them that.
But if I were you, I wouldn't touch them
with a fucking barge pole.
[Inquisitive music resumes]
- Mr Brian, they're...
- All right.
- They're here.
- BRIAN: Good evening.
Come in.
Don't see many of these nowadays, do you?
We can't, er...
We can't start without Paul.
He's in the bath.
He'll be here soon.
He'll be very late.
He'll be very clean.
But being on time is important.
We're a rock and roll band,
not a church choir.
You like the bullfighting, Mr Epstein?
[Stammers]: I do.
- That's very fetching.
- Hey, look.
[Band laughs]
I go to Spain a lot.
There's nothing more exciting.
Man against beast, cheating death.
Chasing death, more like.
Very Ernest Hemingway of you.
So what do you want with us?
It's more what I feel I can do for you.
We don't need nothing.
We're doing great.
Allan Williams took us to Hamburg.
Brian Epstein will take you to New York.
What were you paid for Hamburg?
- It's not about the money.
- That's what they want you to think.
It's called the music business,
and you should think about that,
or you'll be exploited.
If I'd known he'd got all those
washing machines downstairs,
I would have cleaned up right here.
Mr Epstein was just saying
he's taking us all to New York.
Oh wow.
When's that?
You're all clearly very talented,
and your energy is palpable.
My gran takes pills for that.
Your humour is endearing.
[Imitates the Goons]:
'Curses Neddie, he's spotted us'.
But your stage presentation,
it's, er, detractive.
But you don't seem to care
what you look like.
No complaints from our fans.
BRIAN: Those kids at The Cavern.
Easy, there. You know
you're talking about our future wives.
What do you want from these scruffy,
not terribly aware, yet, ehm,
talented and quite attractive youngsters?
I want to represent you, be your manager.
- What other bands do you manage?
- I won't lie, you'll be the first.
I sell more records
than anyone in the Northwest.
I can smell a hit
before the vinyl's even dry.
Yeah.
I speak to the record labels every day,
and if I say you're the next big thing,
they're going to jump at the chance.
Do you have any thoughts?
- What's in it for you?
- 25%.
- Is that normal?
- That's fair.
I'll pay you in cash every week.
Look,
what I'm, I'm trying to say,
not terribly well,
is that I think you're special.
What I saw on that stage,
I will never forget it.
I think you can go all the way.
And I promise
I will look after you.
Is that your Zodiac out front?
Yes, a Zephyr Zodiac.
You know, I think my dad
bought our piano from NEMS.
BRIAN:
Then we're practically related.
We got our sofa here and all.
What does that make us?
Like family, only better.
No secrets from each other.
How about this?
- I don't sign the contract.
- No, Mr Brian...
If ever you're not happy,
you can rip it up
and walk away.
[Inquisitive music resumes]
[Gentle rock music plays]
Help! Hey! Stop it!
You're the worst.
Think about that face.
- George you look marvellous.
- I know that.
PAUL: Come on, Brian.
In the chair.
Don't you dare put it in my face.
All together.
In 3, 2, 1.
From the waist.
[They cheer and imitate Brian]:
Marvellous! Bravo! Good form!
BRIAN:
All right, your turn.
Okay, ready?
Three, two, one.
Perfect.
Something came upon me.
[They sing "Please Mister Postman"]
See the tears fallin' from my eye
Needed something to make me feel better
By leavin' me a card or a letter
Mister Postman
(look and see)
If there's a letter
oh yeah for me
I've been waitin' such a long time
since I heard from that girlfriend of mine
You gotta wait a minute, wait a minute
Oh yeah (Mister Postman)
Wait a minute, wait a minute
Oh yeah, you gotta wait a minute,
wait a minute
Oh yeah
(Mister Postman)
Check it and see
one more time for me
You gotta wait a minute
wait a minute
Oh yeah (Mister Postman)
wait a minute, wait a minute
Oh yeah (Mister Postman)
You gotta Postman
Oh yeah (Mister Postman)
Deliver de letter
De sooner, de better
oh yeah
[Song concludes]
[Crowd claps and cheers]
You're right,
they've got something, Mr Epstein.
And NEMS does a lot
of business with Decca.
Hello, boys.
I'd like you to bring them
to London for an audition.
Thank you, Michael.
Thank you.
[Inquisitive music resumes]
[Band shouts]
What time do you call this?
You tell us,
when we left Liverpool, it was summer.
Brian.
Get in. Go on.
We went out last night
and that's on us as well.
- We shouldn't have done that.
- Great.
Or at least not for as late.
Pete, how much coffee did you have?
- I mean, why was it so fast?
- Did you hear your own voice?
I couldn't hear myself
over you banging away.
- That was...
- Oh, go on.
Well, it wasn't our best, but we've got
the tape and that's what we came for.
Tape.
Great.
Fantastic.
We got that.
Well done, boys.
I did have just one idea, that next time
maybe you could warm up before you start.
Yeah, because being squashed in a van
for 10 hours in a freezing blizzard
is perfect for the harmonies.
But you would know.
How is it for you in your little limo,
Little Lord Fauntleroy?
I just thought, you know,
it'd be best for your voices...
If, if, what?
Worn different ties, we all
bow at exactly the same time.
Why don't you hop
in on the chorus next time?
Tune me guitar.
No, wait, you can't do that, can you?
All right, John, come on,
give him a break.
Calm down, John, and listen.
Just listen.
"Listen" to what Brian has to say.
Because he's going to fix
everything, aren't you?
Hang on.
Why don't we get you some string?
Get some string Pete.
How are you going to control your
magical puppets without your string?
GEORGE: Sorry, Brian.
So what now?
Well, Mike Smith will talk to Dick Rowe,
who's head of A&R at Decca.
Okay, well, that's for you.
Enjoy.
- You all right?
- I am fine.
- Yeah.
- Just give me a moment.
All right.
John,
you will never find anyone
who will work harder for you than me.
Don't forget that.
I know.
I won't.
[Piano plays softly, people chatter]
MAN: If they want to come in,
they can come in.
[Soft conversation]
He is, definitely, yes.
Well, you know,
I spoke with him on the weekend.
Well, he's got confidence.
Mr Rowe, how good to finally meet you.
Very good of you to come down.
Do you know Sidney Arthur Beecher Stevens?
Is that all one person?
I'm the director of sales.
Nice to finally meet you,
Mr Epstein.
So, should we be ordering
something to celebrate?
Well, you have sold a lot of records.
That's not why I'm here.
Where's Mike?
Well, this isn't a Mike conversation.
You've a terrific little business,
Mr Epstein.
You are one of our very
best customers, Mr Epstein.
In fact, I was just saying it,
wasn't I?
Yes, Dick, you were.
Well, that's because
I can recognise talent.
I can always spot a hit
and I know where to sell them.
Well, you keep spotting them
and selling them
and we'll keep making them.
And that's just the way it's going to be.
It's never an easy decision.
BRIAN: I'm a little lost.
- DICK: Wouldn't mean to confuse.
- Oh no, I'm not confused.
I'm lost because I think you're saying
that you don't want to sign my group.
Did you listen to the record?
Absolute bilge.
I'm one of your best customers.
Well, that has nothing to do
with signing your group.
I've been in A&R for years.
I know how these things work.
And groups with guitars
are on their way out.
I'm not satisfied with the sound.
You don't know what you're turning down.
Look, why are you doing this, Mr Epstein?
You have a thriving business.
You make a comfortable living,
which you're good at.
Why would you throw it away
on a bunch of... [Chuckles]
Well,
frankly, yobbos?
[Chuckles]
Thank you for the audition.
I'm sorry we wasted your time.
No, no, no sit down.
Order some food.
I'm starving.
Oh, come on!
They're just a band.
There'll be more, much better bands.
Those boys.
My boys
will be bigger than Elvis.
[The men laugh]
DICK: That's priceless.
You should be the one
on stage, not your boys.
Very good.
Could we have...?
QUEENIE:
There's no need to act condemned.
There will be other opportunities.
I failed the boys.
I failed Dad.
The worst thing is they all know it.
So what?
Just going to give up?
What did you do when
you fell off your bike?
I asked you and Daddy for a car.
You never were like other children.
It's not over yet.
So get some rest and get to work.
I'm going to bed.
[Inquisitive music resumes]
[Music swells]
[Belt unbuckles]
[Brian gasps]
[Whistle blows]
[Sombre music]
[Echoey whistle blows]
[Train rattles]
[Eddie Hodges'
"I'm Gonna Knock on Your Door" plays]
I'm gonna knock on your door,
ring on your bell
Tap on your window too
If you don't come out tonight
when the moon is bright
I'm gonna knock and ring and tap
until you do
I'm gonna knock on your door,
call out your name
Wake up the town, you'll see
I'm gonna hoo-hoot and howl
like the lovesick owl
Until you say
you're gonna come out with me
If you don't come out tonight
when the moon is bright
I'm gonna knock
and ring and tap until you do
I'm gonna knock and ring and tap
And knock and tap
and knock and ring until you do
BRIAN: I'm going to have a chat
with the chaps at Parlophone.
Parlophone?
Parlophone make comedy.
You know, we're a rock and roll band,
not the Goons.
Hey, I can be funny.
Just tell me when.
Look, Parlophone are a part of EMI,
and they want to broaden their range.
- I know it's not our first choice.
- More like our last resort.
BRIAN: They want to hear what we've got.
So I thought while you're in Hamburg,
I'd see what they have to offer.
Well, you made us a joke already.
Why not go the whole way?
PETE: Come on, John.
You look tired, Brian.
You look like shite.
- [They chuckle]
- PAUL: It's just his face.
- GEORGE: Oh, yeah?
- BRIAN: I'm fine.
Thank you for your concern.
Hey, look,
Eppy's on the slimming pills.
Skinny minis,
for the perfect figure
and staying up all night.
- ALL: She ain't skinny, she's...
- Just tall, that's all.
[They laugh]
- Hey, don't never do that again.
- Why not?
It's what you do on stage, isn't it?
No, they don't work that fast, Brian.
Yes, well, they're going
to have to for me, John.
What about skinny Brian?
He ain't lying.
He's just rich.
- That's it.
- [They laugh]
BRIAN: That's not going to sell.
I'm not sure what it is you want me to do.
But they've conquered
all of Liverpool, Mr Martin.
- George.
- George.
You wouldn't want to miss out
on the next stage.
GEORGE: Which is?
I know what people listen to.
I know what they want.
If they can do it in Liverpool,
they can do it all over the world.
Their voices...
One's very sweet.
Yes, that'll be Paul's.
And one definitely isn't.
- Have you spoken to...?
- They all speak to me.
They want to know what's next,
what's good, what are people buying?
But they just don't see that it is this.
I know they're a little rough and ready,
but my God, they can play.
And they write their own songs,
really, really good songs.
And there's lots more coming.
None of which means they'll sell records.
But that's not all you care about,
is it, George?
And you sell comedy.
And you've been very,
very successful at that.
You're a trained musician.
Am I right?
It's music that runs through your veins.
And George, these boys,
they're not like anyone you've ever met.
They're honest.
And the world's changing.
They can see it.
And I think you can see it, too.
I think you're one of us, George.
Well, I can only offer an audition.
No, we've had auditions,
we've had meetings.
They're busy day and night.
If I'm going to bring them down,
it has to be on a contractual basis.
You're telling me
you need a contract, Brian,
for what is essentially
and absolutely only an audition?
I really do, yes.
Okay.
Okay, I'll have something typed out.
Bring them round when they're back
from Hamburg to our place in North London.
Just by Lord's.
On the Abbey Road.
BRIAN: Thank you.
Thank you, George.
Brian.
What is it?
Why here?
Why me?
You make comedy, George.
Spike Milligan, the Goons.
Everywhere I go, people laugh at me.
We could do well together.
[Gentle sombre music]
[Phone rings]
WOMAN: International operator
connecting your call to Hamburg.
Thank you.
[Crackling and muffled voice
speaks in German]
Paul, it's Brian.
How's Hamburg?
JOHN: Never mind that.
How was Parlophone?
We had a good meeting.
JOHN: That's not what I asked.
I got you the contract,
you're signed.
- JOHN: We're bloody signed, boys!
- [Band cheers]
I told him there'd be
no secrets between us.
Or perhaps it's just good management.
The truth is,
I can't bear their disappointment
when they feel I've let them down.
[John cheers]
[Inspirational music plays]
[They sing a rock version
of "Bsame Mucho"]
Besame mucho
Each time I cling to your kiss
I hear music divine
So besame, besame mucho
I love you forever
and say that you'll always be mine
This joy is something new
My arms enfolding you
Never knew this thrill before
BRIAN: This time it's different.
BRIAN: Perhaps it's the studio.
Perhaps it's because the pressure is off.
Or at least they think it is.
But whatever it is,
there's no doubt in my mind they belong.
Let's just hope Mr Martin agrees.
Besame besame mucho
Love me forever,
and make all my dreams come true
This joy is something new
My arms enfolding you
Never knew this thrill before
Whoever thought I'd be
holding you close to me,
Whispering "It's you I adore"
So dearest one,
If you should leave me,
each little dream would take wing
And my life would be through,
So besame, besame mucho,
And I love you forever,
and make all my dreams come true
Ooh love me forever,
and make all my dreams come true
Ooh love me forever,
and make all my dreams come true
Cha cha boom!
Nice. That was all right, not too bad.
I think that's the best we've done it.
How was that Mr Martin?
[Tinny speaker]:Okay, coming down.
- Coming down.
- Okay, right.
Voice of God.
[Laughs]
GEORGE: It wasn't bad.
- Let me talk a minute.
- All right.
- Maybe a little bit of rust, that's all.
- Rust, yeah.
Pete, slow down.
It's good.
It's quite good.
Do you know, I think there's some promise.
Some promise?
Don't overdo it.
[Southern drawl]:
Heavens, I think I might faint.
If I didn't think
there was something there to find,
I wouldn't go into as much detail.
Paul, your voice is quite good.
Thank you.
It's okay.
John, you need better control.
Can you feel that you're straining
on your top notes?
It must be like gargling gravel.
Now, Pete,
how can I say this?
You need more precision.
What sounds good in Hamburg
simply won't wash on a disc.
You need more snap.
Okay, and George...
George, your rhythm is excellent,
but maybe get a little bit more drive.
I think that extra punch underneath
will just help the vocal line soar.
Then we'll be in a good place.
If it's there, you will find it.
It is my task to help you find it.
Well,
anyway, I think
that's enough from me.
Anything you didn't like?
I don't like your tie.
[Band scoffs]
- You don't like it either?
- I've seen worse.
Well, then. Better?
- That's better.
- Yeah, that's better.
I think so.
[Chuckles]
Okay, what do you say?
Another go?
Yeah, one more.
- Another go.
- All right.
MARTIN: Fantastic.
JOHN [Imitating Mr Martin]:
More punch, George.
[Band chatters]
MARTIN: I can hear everything
you're saying, you know.
Sorry.
All right, gravel... Yeah I should stop
gargling the gravel in the morning.
From the top.
Right, just remember...
- They really are something.
- Yes, they are.
But Pete?
I'm not...
I don't know, there's just something...
He's really not suited to the studio.
Those rows of buttons,
your magic desk up there, there must be...
Must be something you can do.
It's not about the buttons, Brian.
I'm guessing you want to sell records
at some point.
And that drumming just
simply isn't suited to the records.
Won't work on a disc.
So I feel you need to make a decision.
How's your mother, Pete?
Yeah, she's good.
Good.
Must be strange to have a baby brother
at this late age.
Yeah, tell me about it.
We're not here to talk about that, are we?
- No.
- Good.
I'm afraid,
I've asked you here
to tell you some bad news.
I've been talking to the others
and we've made the decision.
I'm afraid we're looking
for a new drummer.
[Laughs]
Funny guy, Brian.
All right, boys, you can come out now.
[Pete laughs awkwardly]
You're not serious, are you?
This is a joke, right?
It's nothing personal, Pete.
We're just in a different phase now,
and you heard what George Martin said.
Woah, woah.
Brian, what are you saying?
I'm the beat in The Beatles.
I mean, it's my sound.
They're all doing it now.
Ringo...
Ringo!?
They enjoyed playing with him
when you were unwell.
I was sick, Brian.
I was sick, not dead.
It's just how the business is, I'm afraid.
I'm so sorry.
- The business?
- Ringo is...
Ringo's...
Ringo's...
He's my friend.
I'll tell you something, Brian.
The fans will never forget this.
Pete, I'd like to put you
in a different group.
- Can I just...
- No.
Just give it time.
The fans will forgive you.
I hope Pete can.
He'll put it behind him.
He's tougher than that.
He's a Liverpool lad.
Alastair,
not forgetting is how Liverpool survives.
[Soft jazz music plays]
[Muffled banter;
music continues]
Looks great, Freda.
[Shouts]: Looks great, Freda!
So, 49th in the charts?
- QUEENIE: No business talk at the table.
- Just asking.
It's only the first week.
And how much are you making on that?
- Harry?
- What?
Penny a disc, between five.
QUEENIE:
Clive, stop teasing your brother.
Well,
they're no Frank Sinatra,
but it's a very nice tune.
I telephoned all the radio stations
and I asked them to play it again, twice.
I might have to do some new voices.
They all seem to know who am I.
Wonder if Elvis's mum
had to telephone radio stations.
When I meet him, I'll ask him.
Just give me a bit more time.
You should go back to selling furniture,
because people always need chairs.
QUEENIE: Harry, stop.
QUEENIE: Brian,
please...
[Soft jazz music]
[Dog barks]
[Brian breathes heavily]
[Brian moans]
- Your watch.
- What?
Please, it's my grandfather's.
[He winces]
All right.
I know who you are, Mr Epstein.
BRIAN: Terrible things can happen
when you're forced by law
to live in the shadows.
On another night,
a man beats me
with a broken milk bottle,
goes to prison.
When he gets out, I help him find a job.
I feel sorry for him,
I always do.
But there's no time
to feel sorry for myself.
I'm far too busy.
And if my private life barely charts,
my professional one
is one hit after another.
[Chuckles]
Whatever it is, can't be that bad.
Don't you ever knock?
Not on open doors usually, but,
well, I can go.
No, it's fine. What is it?
I just thought
you'd want to know that
"From Me to You" is number 1.
The Beatles are number 1.
So I suppose it's teas
all round, isn't it?
Or are you saving that
for Cilla Black's first single?
Or Gerry and the Pacemakers'
next number 1?
[Sings]:
Won't you tell me how do you do it?
How do you do what you do?
[Upbeat music plays]
[Gerry & The Pacemakers'
"How Do You Do It" plays in background]
BRIAN:
We sign more groups.
Our roster of artists
spreading the Liverpool sound
to every town in the country.
Gerry and the Pacemakers,
a huge crowd puller
and a huge personality.
Our second signing,
but our first UK number 1.
And don't you forget it.
- Hey, pace yourself.
- Boys, play nice.
Our first signing,
but you know all about them.
Billy J Kramer and the Dakotas.
So handsome, and what a voice.
Tommy Quigley,
he's going to be a star,
mark my words.
Tommy Quickly.
- Much snappier.
- Yeah.
And of course,
my beloved Cilla.
BROADCASTER:The Mersey sound.
A sound that means something
different from what it did
when Liverpool
was just an important port.
Because now, much to its surprise,
the great northern city
has got a new industry
as incongruous as the soot
on its classical buildings.
Then perhaps you'd fall for me
like I fell for you
Hello, love. Well?
You look fantastic.
I got you these.
You didn't have to.
What? Not bring flowers
to me bezzy mate,
when she's supporting
the country's number one band?
Not bloody likely, Cilla White.
- Oh wait, Cilla Black.
- Oh, sorry, I forgot.
So do I, all the time.
God, I'm so nervous.
No need, it's only The Beatles
- and they're never off your mum's sofa.
- Yeah, I know.
If Brian hadn't discovered me,
I'd still be picking coats
off The Cavern floor.
He's a bit of a looker,
that Brian Epstein.
You don't see his sort
'round Scotty road, do you?
He's like a film star.
Who's like a film star?
You should be in there doing
your vocal warm-ups, Ms Black.
- [Bell rings]
- Ah, too late.
These are for you.
You're spoiling me rotten.
Be a love, and take them in there.
Of course. Good luck, Cil.
We say break a leg.
Not in these nylons, we don't.
- They cost a bleedin' fortune.
- Come on.
You look marvellous, by the way.
- Have I told you?
- Thank you.
I just wanted to come
and say best of luck, Cyril.
Oh, bugger off, Ringo.
I'll kill him.
They're not going to call me
Cyril on stage, are they?
BRIAN: Certainly not.
Right, darling.
Time to shine.
I love you, Eppy.
The feeling's mutual.
Yeah, but I've got a fellow.
What about you?
Okay.
[Crowd cheers]
You're my world,
you're every breath I take
You're my world, you're every move
I make
[Door opens]
QUEENIE: Brian?
What are you both still doing up?
HARRY:
We had a call from a young man
who says he knows you
and he wants money.
I'll handle it.
HARRY: Handle it?
You're not paying him off.
We're going to the police station
in the morning.
- We can't.
- Let them handle it.
If we go to the police, I'll get charged.
I could go to jail.
HARRY: No, you won't go to jail.
We'll tell them
that you're were just not well.
Harry, he is not going anywhere.
It's worth a try.
I mean,
you can't be happy like this, Brian.
Harry, I have read about this.
He is not sick.
He just can't change the way that he is.
That's typical of you,
making allowances.
CLIVE: What are you all doing up?
I'll give him money.
It won't be much.
- He'll go away.
- What about the next time?
And the time after that?
What will people say?
Is that all you care about?
Your reputation?
No.
Our reputation, our business, our family!
You need to be more careful,
less trusting.
HARRY: It's not just about you!
And what about your boys and Cilla?
If the papers got hold of this,
it could destroy them.
We're worried about you, love.
I'm sorry.
I'm sorry.
I know how much pain I've caused you.
I won't be here much longer anyway.
I'm moving NEMS Enterprises to London.
It's time.
- What?
- You never said anything to me.
What are you talking about?
Now's not the time.
You have to lay low.
- You have to take it slow.
- Slow down?
I've hardly started.
[Pop music plays]
BRIAN: I've set up the London office
next to the Palladium Theatre,
right in the heart of the West End.
The boys keep growing bigger and bigger,
and that means a lot more people,
press, bookings, publicity.
- Morning, Felicity.
- Morning, Brian.
Finance, more love.
The road team led by Mal Evans,
and little brother Clive's office.
Now co-director, but mostly back home,
dealing with our Liverpool operation.
Father's happy
that we're keeping it in the family.
He has another pair of eyes.
But I don't need them.
I know exactly where we are going.
I've had to sneak in this again.
[Low conversation, music gets louder]
BROADCASTER: All the stars chosen
to appear this evening,
and of course it's a great honour
to be chosen for this performance,
have given their services free.
RINGO:Have I got this right?
Marlene Dietrich is also doing
the Royal Command performance?
Yes, and Burt Bacharach,
Steptoe and Son, Buddy Greco.
Are we the only ones there
that aren't posh BBC types?
Well I mean,
Burt Bacharach's American, for starters.
This is a good point, though.
Why are we appearing
with all these greats?
Our fans
won't even be in the audience.
That's because they can't afford
a bloody ticket.
Well you do need to know
Princess Margaret for an invite.
Brian doesn't know her.
Do you know what it is?
You got to have pots and pots...
[They chatter]
BRIAN:
All right. Thank you, John.
Don't.
Don't what?
Forget my station.
Say something I shouldn't.
On stage I can pretty much say
what I like.
I could even swear.
No.
And I will.
He won't.
- He might.
- He might.
No, it's decided. I'm going to do it.
- [Crowd cheers]
- He will.
Here we go.
Marlene, I'm coming for you.
There's the princess.
Hello!
[Crowd cheers loudly]
[Applause]
Thank you.
For our last number,
we'd like to ask your help.
BRIAN [To himself]: No, don't do it, John.
Don't do it.
Would the people in the cheaper seats
clap your hands?
[Smattering of laughs]
And the rest of you,
you just rattle your jewellery.
[Crowd claps and laughs loudly]
Thank you.
I'd like to sing a song called "Money".
[Rock song starts]
The best things in life are free
But you can keep them
for the birds and bees
Now give me money
That's what I want
That's what I want
That's what I want
Your lovin' gives me a thrill
But your lovin' don't pay my bills
Now give me money
That's what I want
That's what I want
That's what I want
Money don't get everything, it's true
What it don't get, I can't use
Now give me money
That's what I want
That's what I want
That's what I want
This is more than a new kind of music.
It's a new kind of Britain
now for the rest of the world.
[Song continues]
This is where the boys need to be
if they're really going to sell records.
Where they can become global stars.
But they need to be seen:
everywhere and by everyone.
A man watched by 50 million people
every night can make that happen.
That man is Ed Sullivan.
That's what I want
That's what I want
That's what I want
[Song concludes]
BRIAN: He's the youngest, 18.
Thank you.
I took the liberty of ordering for you.
BRIAN: Thank you.
[Classical music plays]
Son, it's a hamburger.
- Eat it with your hands.
- Of course.
I haven't seen this much beef in a year.
That's because you're in New York.
Look, you've got three record releases,
none of them even graze the top 100.
Well, not here, no,
but we're just warming up.
You got any concerts booked?
Two, at Carnegie Hall.
Are you worried it might be too big?
No, I'm worried it won't be big enough.
All right, so what do you want from me?
Three consecutive shows.
For an unknown band from England?
- Hah, I don't think so.
- Better than England: Liverpool.
You can't be serious.
Well, Capitol are spending
$50,000 on promotion.
And I've signed
a nationwide merchandise deal.
They might be unknown today,
but they're going to be bigger than Elvis.
When people ask,
"Where did you first see The Beatles?"
Don't you want the answer to be,
"On the Ed Sullivan show"?
This is a great opportunity for you.
A great opportunity?
Let me tell you something, okay?
You're on my time.
You're in my town.
If I need four musicians from England,
I can get them like that.
Got a lot of nerve.
Mmm.
I heard about your trip to London.
Really?
What did you hear?
Well, I heard that you almost missed
your flight home because of my boys.
Crowd was so big at the airport,
you thought the Queen must have landed.
They call that "Beatlemania".
You pay 10,000 for acts
at top of the bill, right?
- That's right.
- All right, let's try this.
We'll play three shows for 10,000.
All headliners.
[Playful music]
[Music intensifies]
Boychik, you did it.
Nat Weiss, my American business partner,
works hard, plays even harder.
Well, you are some operator.
Three shows at top billing?
Mazel tov.
We're going to struggle
to break even at $10,000.
Brian, you just nailed
the biggest TV show in the country.
There are going to be riots
at Carnegie Hall.
We need a number one over here first.
The boys are worried.
I'm worried.
I see you're a glass-half-full
kind of guy.
You'll sell tickets.
I already bought mine.
[They chuckle]
So, a toast
to ticket sales
and new opportunities.
L'Chaim.
[Guffaws]
L'Chaim.
But you really think
you could've done better than 10%, Clive?
You know about merchandise, do you?
Just let me handle it
when I get back, for God's sake.
MAN: Can I get you another?
Thank you.
I am John Ellington.
People like to call me Tex.
I'm Brian Epstein.
People like to call me Brian.
[Tex chuckles]
So you're a finance guy, Brian?
Is that how I come across?
You look like you were born in that suit.
Well, I suppose I've always felt
more comfortable in uniform.
I don't normally speak
so much about myself.
What is it you do?
TEX: I'm an actor.
Oh, marvellous.
How's that going?
Just great.
I'm in a show right now
just off Broadway.
Well, I'm a theatre fan.
Just tell me where.
Well, it's in a place called
Harry's bar and grill.
I play the part of the lousy waiter
with big dreams.
Well, I admire you for sticking with it.
[Tex chuckles]
I wanted to be an actor once,
and I knew I wasn't good enough.
Oh, I'm good enough.
[Slow jazz music plays in background]
Just need someone to see that,
to believe in me.
Well, I'm sure it'll happen.
You think?
I'm certain.
It's getting late.
I didn't want to keep you.
I was kind of hoping you would.
Don't you ever stop working?
Afraid not.
I guess lazy guys
don't end up in suites like this.
Would you like some coffee?
Time to eat.
I've ordered breakfast.
No, thank you.
I got to get going.
I'll be seeing you.
Wait a minute.
That's my address
and telephone number.
If ever you're in London.
I'll start saving for a flight.
Bye, Tex.
Goodbye, Brian.
BROADCASTER:Paris. City of Gaiety.
[French accordion]
Gay by night, gay and bright by day,
so come down from the clouds
and breathe in some of the atmosphere
in a 24-hour...
Nice, these French breakfasts,
aren't they?
RINGO:
I don't like them, you know?
They give me a bad tummy.
Almost.
RINGO: Pass us one of those French fags,
would you, John?
They're called Gitanes.
Means "gipsy" in French.
You'd know; you're a posh pudding.
Go on, I'll have one of those.
All right.
Hi, Brian.
"I Want to Hold Your Hand"
is number 1 in America.
We're number 1 in America!
[Band cheers]
Let's have it!
Now, lads, let's take it easy.
Pillow fight.
Come here.
Hey, you lost one.
That's mine.
Give it back, Brian.
Brian!
Brian!
And now, for the youngsters,
The Beatles!
"Congratulations on your appearance
on the Ed Sullivan show.
Sincerely, Elvis and the Colonel."
Elvis.
He wasn't the only one watching.
Seventy-four million Americans
saw the show, that's 40% of the country.
Added to A Hard Day's Night
opening in cinemas just before we arrive,
and I feel confident about the tour.
[Snaps]
32 shows
in 25 cities over 31 days.
It's a lot, but I've got it well-planned.
Nice easy start in San Francisco,
where they like to throw jelly beans.
Lots of jelly beans.
We had to stop the show twice.
Then it's Vegas.
Neon lights, no clocks,
and police dogs to protect the boys.
They should be protecting me
from the roulette table.
Next is Seattle,
then nip over the border to Vancouver,
where the support act
complain to me personally
that they can't be heard
over screaming for The Beatles.
Sorry, chaps.
Oh, I know the boys are loved,
but the bedsheets they slept in?
Really?
I should mention it to merchandising.
The cities start to blur into one.
We go everywhere, but we see nothing.
Oh, God.
Philadelphia.
After three days of race riots.
The police chief is panicking.
"We're outnumbered by your fans"
so he's smuggling the boys in
from Atlantic City in a fish truck.
It's a smart, if smelly, solution.
No, I made it clear
that we do not perform
to segregated audiences.
I put that in the contract.
In Jacksonville, Florida,
the promoter needs reminding.
Nowhere we go
can the airport security stop girls
getting under the plane and writing
"I love Ringo" in lipstick.
Honestly, the only place we can all relax
is 30,000 feet in the air.
For all the madness, our last performance
is a no-fee charity concert in New York.
Only 4,000 fans, but er, well...
I've always wanted to do this.
[Brian and fans scream]
BROADCASTER:Well, welcome back, Beatles.
You had a marvellous trip and a homecoming
such as nobody's had before.
[Clinks]
Thank you all for coming.
It's a very big day in a man's life
when his first son gets married.
All we really have is family.
It is only through the lives
of our children
that we truly understand
the value of life.
[They cheers]
I knew I'd find you out here.
[Laughs]
[Sings] Da da da, what do you think?
Do do do...
What a do this is.
All that food and dancing.
That food!
I mean...
When Bobby asks me to marry him,
I swear I'll only say yes if he agrees
to us having a Jewish wedding.
That'd be a problem.
Spoilsport.
- Hey, you can give me away.
- No, I'm never giving you away.
Silly.
I don't mean...
Anyway, my dad would have a fit.
No one's stealing his thunder.
It's rather like my own father.
Bless him.
He's all emotional.
You're upset, I can tell.
I'm sure he didn't mean anything by it.
Probably not.
He just wants to see you happy,
that's all.
You know, like your brother
and his missus.
- Oh, dear.
- You're cold.
Well, yeah.
There's not much to this frock,
so I'm freezing.
Call yourself a northern girl?
Oh, what a gentleman.
You don't half have some nice clobber.
Hey, I love that big coat that you wear.
You're a star, silly.
You can have whatever you want.
Oh, shut up, Eppy.
It's too much already, honestly.
Keep thinking someone's going to come
and turn the lights on and say,
"Come on, Cil.
Hey, you're late for work.
Those butties won't make themselves."
[They laugh]
You really think I'm a star?
I've never doubted it.
It's all down to you.
Nonsense. It's your talent.
I just do the window dressing.
Don't you dare.
We all know how hard you work for us.
You never stop.
You're still gorgeous, mind.
Thank you.
This is nice.
Oh, I'm glad you like the bracelet.
Like it?
I bloody love it!
Who's buying you presents?
Who could afford to?
I've got far too expensive taste.
Be serious, though.
I'm worried about you.
You've not brought
anyone special to the wedding?
Clive's has kept me far too busy
with best man duties.
You're always busy.
I need things done my way.
That way they'll be perfect.
What you need, Brian,
is someone perfect for you.
Like Bobby is for me.
And you know, whoever it is,
they'll be getting a diamond.
You're a good man, Eppy.
You've got so much heart.
Give it to someone.
[They sing together]:
Anyone who had a heart
would take me in his arms
and love me too, you.
[They laugh]
Come here.
Right.
Are you going to come
and dance with me, then?
Come on.
Come on.
You need to teach me
how to do the dance that they all do.
I want to be lifted up on a chair.
I can make that happen.
- I'm taking this jacket, by the way.
- Miss Cilla Black.
- You're doing the dry cleaning.
- All right.
Me drink, me bag.
I'm ready to go.
- You promise you'll be there?
- I'll be in a minute.
- Okay.
- I promise.
[She laughs and scampers away]
[Inquisitive music resumes]
- [Knock at the door]
- LONNIE: Mr Epstein, sir.
In the bath, Lonnie.
[Door opens]
LONNIE: How are you feeling, sir?
I'm marvellous.
LONNIE: You better get dressed.
You've got a visitor.
The young man says he knows you
and needs to see you.
He's quite handsome.
Oh well, you should have opened with that.
Have you offered him a drink?
What am I, the help?
It's very good.
Tex.
TEX: Brian.
Nice place you have.
I can't believe you're here.
Well, I had a bit of time off.
Well, I'll show you around.
BRIAN: That's ridiculous.
- No, it's not.
- You only just got here.
Well, if I'd known you were coming,
I'd move meetings.
TEX: No, you wouldn't.
- I want you to stay.
- Can't.
Why not?
I'm a working man.
You said you didn't have work.
Looking for work is work.
The actor should get paid for it.
I'll help you find work.
Sure.
You'll make me a fifth Beatle?
No, but...
I'll make you a star.
How?
Well,
I'll show you around.
Dangerous.
Making promises.
You are looking very well,
Mrs Epstein.
- How's Mr Epstein?
- Oh, very busy as usual.
- Oh, you look wonderful, Mummy.
- You too, Brian.
These are for you.
Oh, they're beautiful.
Thank you.
- Where's Daddy?
- Oh, you know what your father's like.
It's hard enough on a weekend,
and it's such a long way.
I know.
I can't believe
you used to do that journey
so many times a week.
That's an interesting shirt, Brian.
You like it?
Shall I send Daddy up some?
Oh, yes, it's very your father.
Well, I thought it was different, anyway.
Yes, it's certainly different.
Different in a good way, though,
don't you think?
Mummy, I'd like to introduce you
to a friend of mine, John Ellington.
Nice to meet you, ma'am.
Very nice to meet you, Mr Ellington.
Oh, please, you can call me Tex.
QUEENIE: He disgraced himself.
BRIAN:
Well, I mean, 20 years ago that...
I can see his face now.
I can never hide these sorts of things.
You're an actor, Mr Ellington?
Tex is good.
Tex is a very talented film actor, Mummy.
- NEMS is now representing him.
- Oh, really?
You know, Brian was a very good actor
when he was younger.
He went to RADA,
did he tell you?
He did.
Have you been in anything
that I might have seen?
Well, I mean, sure.
A few small things in America.
A John Wayne movie.
Yes, [Chuckles] a John Wayne movie.
Cowboys and guns.
I don't think they show him
too much over here.
QUEENIE: Oh, no.
We got a lot of Westerns.
What was it we saw just the other day?
The Man who Shot Liberty Valance
at the ABC on Lime street.
Were you in that?
No.
Oh, and then there was that film
that John Wayne shot in Ireland.
What was it called?
Remind me, Brian.
The Quiet Man.
The Quiet Man. That's it.
Lesson to us all.
Were you in that film, Tex?
So are you, erm...
working on something over here?
Tex has had some very good meetings.
We're just waiting to hear.
Trying to get a break
in this goddamn country.
Everybody's somebody's son,
someone's nephew.
I don't think that's true.
Albert Finney, Terrence Stamp,
Brian's boys.
They're all just working class lads.
It's always about them.
But it didn't happen for them overnight.
These things take time.
Yeah, sure. Hey, Lonnie...
Well, if you're such a talented actor,
getting your big break won't be a problem
for the best manager in the business.
Yeah.
- Mummy, while you're here.
- Yes.
I want to take you down to the studio
to see the boys.
I'd love that.
- They'd love to see you.
- How are they?
They're good. They haven't changed at all.
[Tex and Brian argue]
Look after my son, Lonnie.
Please.
[Arguing continues]
[Indistinct chatter and music]
RINGO: That's very nice.
Where'd you get that?
That's Ringo's nose. Amazing.
The gold nose.
All right, John, smile for us.
Hold on.
Are you in it?
Hold on. No, I'm not in it.
On three. One, two.
I love that shirt.
Not me. Not me.
Not you, not me.
My mistake.
I thought this was my office.
Sorry, I was just...
I just wanted to talk to you about this.
I know what that is, I dictated it.
Yes, well, your brother,
Mr Clive, that is,
asked me to ask you why you've got
a Mr John Tex Ellington
on a retainer of 50 pounds a week.
I beg your pardon?
Well, that's what Mr Clive said.
Well, he asked me to ask you
before he went out.
Well, stormed out, really.
Right.
Well, you can tell my brother
that I don't work for him,
and I don't have to explain anything.
Right.
I think he just wants to know
who we're dealing with.
- Who we are dealing with?
- Yes.
Whoever he thinks we are dealing
with is my concern,
just as I deal with everything else.
Perhaps you should
just speak to Mr Clive.
I have nothing to say to him.
I built this business.
If my brother has something to say to me,
he could say it to my bloody face.
[Inquisitive music]
[Background chatter]
[Phone rings]
The boys finish
The magnificent "Revolver" album
and the next day
we fly them to Germany.
It's too soon.
But Hamburg should be a lovely homecoming.
Of course, this time, they're famous.
[Camera shutters click rapidly]
But no time to dwell.
We're off to Japan, where
the looming typhoon is a warning sign.
We get death threats
before we even get to Tokyo.
It's their fault,
because they book us to play
in a shrine to Japan's war dead.
I mean that nationalists are furious.
[Music and chatter grow louder]
Anyway, it's the Philippines next,
which is a wonderful country,
and 80,000 people booked tickets
to see the concert.
But I politely decline an invitation
to tea with Imelda Marcos,
the president's wife,
and all hell breaks loose.
I go on state TV to try to apologise,
but they drown me out with a horn.
"The Beatles have let us down."
"The Beatles have let us down"
is the chant at the airport.
The armed guards smash up our kit.
They grab the boys, they drag them away.
It's chaos, and it's terrifying.
- [Crowd shouts]
- What the hell have I done?
[Gunshot; the cacophony quietens]
We're going back to America,
we all need a warm welcome.
That's not what we get.
John's interview with an English newspaper
barely raises an eyebrow back home.
But compare your popularity
to that of Jesus Christ,
and in America,
your records will be burnt.
[Cameras click]
Are you worried about
The Beatles coming to America?
I am worried, yes.
That's why I'll be keeping
a very close eye on security.
INTERVIEWER: What is John Lennon's
reaction to all his criticism?
John personally is deeply upset.
INTERVIEWER: Why isn't John here
to answer the questions himself?
[Camera shutters click repeatedly]
[Crowd shouts]
Come on.
- They're going to crucify me.
- Well, that follows.
You did tell the papers
that you were bigger than Jesus.
That's a fucking metaphor.
Yeah, and so is crucifixion.
You'll be fine.
I promise. Just be yourself.
Everyone will love you.
It's got to stop, Eppy.
It will, after this.
No, not just this, all of this.
The touring.
George and I have been talking.
Well, we'll...
Well, we'll talk
after the press conference.
Right. Are you coming in?
Do you think that I would
let you out of my sight, John?
Well, come on, let's go.
[Camera shutters click]
I mean, if I'd have said television
was more popular than Jesus,
I might have got away with it.
INTERVIEWER: Some teenagers
have repeated the statement:
"I like The Beatles
more than Jesus Christ."
What do you think about that?
Well, originally, I was pointed out
that fact in reference to England,
that we meant more to kids
than Jesus did, or religion.
At that time, I wasn't knocking it
or putting it down.
I was just saying it as a fact.
And it's true, especially
more for England than here.
Can we get a reaction
from the other three gentlemen?
Well, Christianity is declining
and everybody knows about that.
Now, listen, the thing is,
people ask us questions
and we can do
the whole show business bit
of answering very vague answers
and doing a very dishonest thing.
All we're trying to do is answer honestly.
And the thing is, if you want us
to answer like showbiz personalities,
then we'll do that.
But I think it's better for us
and better for everyone else
if we answer honestly.
Even though we might not
be right all the time.
The straighter we can say it.
You know what I mean?
BROADCASTER: KYE welcomes The Beatles
back to San Francisco
in a mammoth
Candlestick Park spectacular.
The date is Monday, August 29th,
and the place is Candlestick Park.
You'll see better.
You'll hear better, too.
TEX:
Hey, what should I wear tonight?
I didn't bring anything special.
I don't really do formal for concerts.
There's a dress code
for Candlestick Park?
I'm not sure we're going.
TEX: Why? What's wrong?
[Radio announcement
continues in background]
It's not important.
TEX: Seems to be.
So tell me.
They want to stop touring.
Who?
The Beatles?
They're just kidding you around.
Come on.
You take everything so seriously.
What?
You're making too much of this.
We should have dinner.
I'm meeting Nat downstairs.
I'll get room service.
Fine.
Look, if they are serious,
what's worrying you? Money?
- It's not important.
- Not important?
Well, to you, maybe.
Hey, that's not fair.
Well, I care about you.
Eat up. It's good.
Brian, you look like shit.
Should I be worried?
If I said no, you'd worry anyway.
So sue me. I'm a worrier.
And you should eat something
before the show.
It's going to be a hell of a finale.
What?
Who said anything about a finale?
What's wrong with you?
The boys don't want to tour anymore.
They're exhausted.
Can't hear the music over the screaming.
So what, you want a band with no fans?
No, I want a band that doesn't have
to leave a stadium in an armoured car.
It's too much, Nat.
They're dying as musicians.
They keep telling me.
You should eat with that.
They can't say anything
without anyone losing their minds.
And they want to talk about politics,
civil rights, peace.
The press misquotes them,
so they can't be themselves.
And if you can't be yourself...
Well, what about you?
Huh? Where are you in all this?
What are you going to do without them?
Hell, what am I going to do?
I have lots of other things.
I mean, other acts.
I've got the Saville Theatre now.
Cream. The Who.
They're doing nights.
Four Tops.
We're bringing the Four Tops over.
That's going to be fun.
I'm producing a James Baldwin play.
I want to direct, maybe even act.
NAT: And will he be co-starring
in that with you?
So you know Tex is here.
Lucky guess.
I was hoping I was wrong.
He loves me.
Oh, God. Brian.
Brian.
All right, maybe he does love you.
But his heart would keep your beer cold.
No, no.
You sound like a Raymond Chandler novel.
Come upstairs and have a drink with him.
You'll see.
[Nat sighs]
And be polite.
For me.
If you eat something for me.
There. I've eaten.
BRIAN: Tex?
Tex, I've brought Nat up for a drink.
[Brian opens a door]
Tex?
Hello?
[Closes the door]
He must have popped out for a minute.
[Sarcastic]: Oh, no.
What are you looking for?
My briefcase.
I've got your new contract in it.
We got to go soon.
Let's just do it after.
No, I want to get it sorted.
Where'd you leave it then?
BRIAN:
It was on the piano.
Son of a bitch.
Don't even think.
Son of a bitch.
What else is in the case?
Just some papers, contracts.
Some cash.
Cash? How much?
NAT:
Brian, how much?
$20,000.
You had $20,000 in a briefcase in cash?
I'm sorry, boychik,
you are the dumbest
smart person I ever met.
Are there any pills in there?
It's nothing.
It's not nothing.
They can jail you for that.
BRIAN:
You're overreacting.
Brian, wake up.
He could blackmail you
with what's in there.
Oh, God.
Oh, no, no. Not again.
My family.
My family mustn't know that.
It will kill them.
The boys.
The boys mustn't find out.
The boys mustn't find out.
They won't.
Just breathe. Relax.
I will handle this.
I know exactly the right people to call.
We will find that fucking piece of shit.
Don't you worry.
No. No. No.
NAT: I can't promise
he'll look too pretty after we do,
but we'll get him.
Put the phone down, Nat.
[Stammers]: It's my fault.
I didn't pay him enough attention.
I didn't pay him enough attention.
I didn't pay him enough attention.
I'm always thinking about work, the boys.
Brian, it's not your fault.
But he deserves the money,
he earned it.
NAT: Earned?
Are you hearing yourself. He played you.
How could he love me?
What's to love? I'm useless.
Brian, stop it!
[Sobs]
I don't know what to do, Nat.
I don't know what to do.
I don't know what to do.
I always know what to do.
It's all right. You need a break.
You just need a break.
- Stop. Just breathe.
- [Brian cries]
[Phone rings]
Shit!
Yeah?
NAT: The car is here.
He's not coming down.
[Sobbing continues]
NAT: I'm going to get you home, Brian.
I'm here. I got you.
DOCTOR: Carbitral, Nembutal, Seconal,
Preludin, Benzedrine, Drinamyl.
It's a very dangerous cocktail
of barbiturates and amphetamines.
BRIAN: I'm... tired, that's all.
DOCTOR: You've been putting your body
under immense strain.
I'd wager for some time now.
You need a prolonged period of rest.
BRIAN: When can I get back to work?
I have an album launch party on the 28th.
You're free to leave whenever you choose,
but I'd advise you to stay.
How are you feeling?
Much better, Mummy.
It's very nice to have you home.
HARRY: Is there something we didn't do?
How do you mean?
Is there something
we didn't give you,
Brian?
No, Daddy.
[Sombre music plays]
Mr Brian,
The Bottles
are here to see you.
Hey. Oh, come on.
He's alive.
BRIAN: Hello, boys.
John, so good to see you.
Hello.
Oh, no, you've succumbed
to the moustache as well.
PAUL: Oh, I know.
I quite like it, though.
George, you look well. How are you?
- Mr Starr.
- Mr Epstein.
- Looking splendid as usual.
- Thanks.
So, how are you?
I'm fine, thank you.
And I have a proposal.
ALL: Oh, a proposal.
Brian, I do.
Finally.
It's for a film.
- I think I'll be leaving...
- No, no, George.
You don't have to act this time.
I promise.
No, no, I'd like to do the acting.
Giorgio, Giorgio,
wherefore art thou Giorgio?
You're not turning us into cartoons,
are you, Eppy?
I'd be quite prepared
for that eventuality.
Well, just take a look.
I think you'll like it. I like it.
I do like it.
Yeah, I really like it.
It's like my long-lost dad.
[They chuckle]
Oh, and there's something else.
I've been talking to the BBC.
They're going to do the first ever live
satellite broadcast to a global audience.
400 million people.
- Not bad.
- Not bad.
And, er...
Guess who they've chosen
to represent Great Britain?
James Bond.
[Laughter]
I think you should write
a new song for it.
What do you think we've been
doing the past six months?
Macram?
Hey, Paul Macrame.
That's good.
I'm loving that.
Well, just that, for a global audience,
I think we need
something simple,
profound.
What does the world
need to hear right now?
Oh...
- Hello, World?
- [They laugh]
[Laughing]: Stop it!
[Phone rings]
Hello?
[Heavy breathing]
Mummy?
We are here today to accompany
Hayim Ben Isaac Harry Epstein
to the next world.
I now ask the family
to come forward for kriah.
[Sombre music]
[They pray in Hebrew]
He must have been so disappointed in me.
He was so proud of you.
Really?
Yes, really.
You should have heard him.
"Look at my son.
Look what he's achieved,
a boy from Liverpool."
He told anyone who would listen.
But he never told me.
Because he didn't know how.
Fathers and sons, it's always the same.
Why was he always checking up on me?
He...
He spent his whole life avoiding trouble,
and you went looking for it.
There we all were
keeping our heads down,
and you...
you reached for the stars.
Will you be all right on your own
for a couple of weeks?
I'll be fine.
I see you down in London.
Be nice to be close to each other.
I found you the perfect flat.
Meetings to arrange?
Nothing changes, Brian.
You promise me that
you're looking after yourself.
You don't have to worry about me.
That's like asking me not to breathe.
I just...
I don't want you to be alone.
Alone is a stone.
Mr Brian, sir,
I didn't expect you back so soon.
Can I get you anything, sir?
Your mother, how's she doing?
Well, she's lost the love of her life.
After the funeral,
I was watching my brother playing
with my niece, Joanne, and...
Lonnie,
do you and Peter ever wish
that you could have a family?
Sure, I think about it,
but I try to be grateful for what I have.
A man who loves me,
who I can rely on.
Yes.
[Voice breaking]: It's just that there is
something so special about having family.
You have one.
It's just a different kind of family.
Should I take your bag, sir?
Oh yes. Thank you.
[Sombre music]
[John chatters]
You finally decided to show, then?
I wouldn't miss it for the world.
It is for the world.
JOHN:
I'm ready for my close-up, Mr DeMartin.
Ah, er...
In that case, I'll leave you to it.
Break a leg, boys.
Eppy.
Yes.
Don't think you're going anywhere
without one of these.
Come on. That's it. Come on.
BRIAN [Chuckling]: All right.
You're a hard act to follow.
JOHN: No, you are.
All right.
- Well, okay.
- [They chuckle]
Back to it.
- Don't go too far, Brian.
- I won't.
Not too far, Brian.
This next one's for you.
[Whispers]:
Mr Brian, there's Nat on the phone.
- Nat? Nat, you're watching?
- [Phone rings]
We did it.
Queenie, yes, I'm very well, thank you.
Yes, I'm good.
Yes, I'll hand you over now.
Okay. Yeah.
Mummy, about to go live.
Are you watching?
Good. That's good.
[Gentle inspirational music]
I know you're proud.
Love you, too.
All right, talk later. Bye.
All set?
We're good to go.
Should we give it a go?
All right, chaps, we are live
to the world in five, four, three.
[Tape starts rolling]
BROADCASTER:All around the world,
you're about to participate with millions
of viewers in a moment of history.
By means of 4 satellites
23,000 miles above the Earth,
we'll be joining in the first live
round-the-world telecast.
In 14 countries,
television crews
are ready to send live pictures
to the 24 countries
that will receive this programme.
Like you, people in town and country
are sitting down
in front of their television sets.
[Inspirational music continues]
It's a climax to all man's
history of communication.
[Inspirational music swells]
BROADCASTER:Just over a month ago,
he was upset
by the sudden death of his father.
Friends have been trying to persuade him
in the last few days
to take a long holiday,
but only yesterday he told one of them,
I feel on top of the world.
[Gerry & the Pacemakers'
"You'll Never Walk Alone" plays]
When you walk through a storm
Hold your head up high
And don't be afraid of the dark
At the end of a storm
There's a golden sky
And the sweet silver song of a lark
Walk on through the wind
Walk on through the rain
For your dreams be tossed and blown
Walk on, walk on
With hope in your heart