The stills help in imagining it. Here it is from the original script, right after Ringo in the pub.
71. EXTERIOR STREET
PAUL comes down the street looking about him for RINGO. In the street
is an old building, the sort of place that is highly favoured for TV
rehearsals. There is a sign on the door, "TV Rehearsal Room." As PAUL
draws near, a load of actors and extras, etc. are leaving, they are in
costume, they are the ones who earlier had been going to a word
rehearsal. When PAUL gets near the entrance he decides to go inside.
72. INTERIOR HALL
PAUL enters and wanders about. He reaches a door, pushes it open and
looks in. He sees a GIRL clad in period costume. She is moving around
the room and obviously acting. PAUL watches her for a moment and then
decides to go in.
73. INTERIOR REHEARSAL ROOM
PAUL goes into the room. The GIRL is in mid-flight. She is very young
and lovely and completely engrossed in what she is doing. The room is
absolutely empty except for PAUL and herself. She is acting in the
manner of an eighteenth-century coquette, or, to be precise, the voice
English actresses use when they think they are being true to the
costume period ... her youth however makes it all very charming.
If I believed you, sir, I might do those things
and walk those ways only to find myself on
Problem's Path. But I cannot believe you, and
all those urgings serve only as a proof that you
will lie and lie again to gain your purpose with
She dances lightly away from an imaginary lover and as she turns she
sees PAUL who is as engrossed in the scene as she was.
Well ... go 'head, do the next bit.
Go away! You've spoilt it.
Oh, sorry I spoke.
He makes no attempt to go. He simply continues to look steadily at the
girl; then he smiles at her. She is undecided what to do next.
Are you supposed to be here?
I've got you worried, haven't I?
I'm warning you, they'll be back in a minute.
D'you know something, "They" don't worry me at
all. Anyroad, I only fancy listening to you
... that's all but if it worries you ...
You're from Liverpool, aren't you?
How'd you guess?
Oh, it's the way you talk.
Is it ... is it, really?
Are you pulling my leg?
(looking her straight in the eye)
Something like that.
Do you like the play?
Yeah ... I mean, sure, well, I took it at
school but I only ever heard boys and masters
saying those lines, like, sounds different on a
(smiles to himself)
Yeah, it's gear on a girl.
Aye, the big hammer, smashing!
Don't mench ... well, why don't you give us a
few more lines, like?
You don't half slam the door in people's faces,
do you? I mean, what about when you're playing
the part, like, hundreds of people'll see you
I'm not ...
Oh, you're the understudy, sort of thing?
I'm a walk-on in a fancy dress scene. I just
felt like doing those lines.
Oh, I see. You are an actress though, aren't
Aye, I knew you were.
What's that mean?
Well, the way you were spouting, like ....
(he imitates her)
"I don't believe you, sir..." and all that.
Yeah, it was gear.
The big hammer?
Oh aye, a sledge.
But the way you did it then sounded so phony.
No ... I wouldn't say that ... just like an
actress ... you know.
He moves and stands about like an actress.
But that's not like a real person at all.
Aye well, actresses aren't like real people,
They ought to be.
Oh, I don't know, anyroad up, they never are,
What are you?
I'm in a group ... well ... there are four of
us, we play and sing.
I bet you don't sound like real people.
We do, you know. We sound like us having a ball.
Is it really fab or are you just saying that to
What of? Look, I wouldn't do it unless I was.
I'm dead lucky 'cos I get paid for doing
something I love doing.
He laughs and with a gesture takes in the whole studio
... all this and a jam butty too!!
I only enjoy acting for myself. I hate it when
other people are let in.
Why? I mean, which are you, scared or selfish?
Well, you've got to have people to taste your
She looks at him in surprise.
No, hang on, I've not gone daft. You see, when
I was little me mother let me make some treacle
toffee one time in our back scullery. When I'd
done she said to me, "Go and give some to the
other kids." So, I said I would but I thought
to meself, "She must think I'm soft." Anyroad,
I was eating away there but I wanted somebody
else to know how good it was so in the end I
wound up giving it all away ... but I didn't
mind, mind, 'cos I'd made the stuff in the
first place. Well ... that's why you need
other people... an audience ... to taste your
treacle toffee, like. Eh ... does that sound
as thickheaded to you as it does to me?
Not really but I'm probably not a toffee maker.
How would you do those lines of mine?
Well, look at it this way, I mean, when you
come right down to it, that girl, she's a bit
of a scrubber, isn't she?
Of course ... Look, if she was a Liverpool
(Paul starts acting a Liverpool girl,
he minces about then turns, extending
Eh, fella, you want to try pulling the other
one, it's got a full set of bells hanging off
it ... Y'what? ... I know your sort, two cokes
and a packet of cheese and onion crisps and
suddenly it's love and we're stopping in an
empty shop doorway. You're just after me body
and y'can't have it ... so there!!
And you honestly think that's what she meant?
Oh, definitely, it sticks out a mile, she's
trying to get him to marry her but he doesn't
want ... well ... I don't reckon any fella's
ever wanted to get married. But girls are
like that, clever and cunning. You've got to
Well, it's nice to know you think we're clever.
And what do you do about it?
Me? Oh, I don't have the time, I'm always
running about with the lads ... no, we don't
have the time.
(not noticing the invitation)
Aye, it is but as long as you get by, it's
all right, you know ... bash on, happy valley's
when they let you stop. Anyroad, I'd better
PAUL stands at the doorway, shrugs then goes out.