Missing 'A hard day's night' scene

I've come across this manuscript several times surfing, you can see it here:

A hard day's night

You have no idea how long a time it took me before I realised that this had to be the original manuscript, i.e. before they started filming and editing. My initial thought was that it possibly was another edited version of the movie, but then it dawned on me how silly it was, since most of the lines are slightly different and sometimes even the punchlines are a complete other.

Eventually, though, after skimming through most of it, I found the "missing" Paul-and-showgirl scene. If you haven't read it, here it is, and what are you're thoughts on it?

Personally I was a bit disappointed. I've heard so much about this scene that didn't work (oh, couldn't Paul have tried a little harder?), and in the end, I don't really think this scene was so important. Sure, I think it's a bit sad Paul never got his own screen time, but this scene isn't as funny like George's encounter with the fashion mogule, or have the bizarreness of John convincing a girl he isn't himself.

Anyway, any thoughts?

Quoted Text

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.

� �GIRL
"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 me."

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.

� �GIRL (surprised)
Oh!

� �PAUL (enthusiastically)
Well ... go 'head, do the next bit.

� �GIRL
Go away! You've spoilt it.

� �PAUL
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.

� �GIRL
Are you supposed to be here?

� �PAUL
I've got you worried, haven't I?

� �GIRL
I'm warning you, they'll be back in a minute.

� �PAUL
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 ... well ...

� �GIRL
You're from Liverpool, aren't you?

� �PAUL (ironically)
How'd you guess?

� �GIRL (seriously)
Oh, it's the way you talk.

� �PAUL (innocently)
Is it ... is it, really?

� �GIRL (suspiciously)
Are you pulling my leg?

� �PAUL (looking her straight in the eye)
Something like that.

� �GIRL (unsure)
I see. (airily) Do you like the play?

� �PAUL
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 girl. (smiles to himself) Yeah, it's gear on a girl.

� �GIRL
Gear?

� �PAUL
Aye, the big hammer, smashing!

� �GIRL
Thank you.

� �PAUL
Don't mench ... well, why don't you give us a few more lines, like?

GIRL pouts.

� �PAUL
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 and ...

� �GIRL (cutting in)
I'm not ...

� �PAUL
Oh, you're the understudy, sort of thing?

� �GIRL
No. (aggressively) I'm a walk-on in a fancy dress scene. I just felt like doing those lines.

� �PAUL
Oh, I see. You are an actress though, aren't you?

� �GIRL
Yes.

� �PAUL
Aye, I knew you were.

� �GIRL
What's that mean?

� �PAUL
Well, the way you were spouting, like .... (he imitates her) "I don't believe you, sir..." and all that. Yeah, it was gear.

� �GIRL (dryly)
The big hammer?

� �PAUL (smiling)
Oh aye, a sledge.

� �GIRL
But the way you did it then sounded so phony.

� �PAUL
No ... I wouldn't say that ... just like an actress ... you know.

He moves and stands about like an actress.

� �GIRL
But that's not like a real person at all.

� �PAUL
Aye well, actresses aren't like real people, are they?

� �GIRL
They ought to be.

� �PAUL
Oh, I don't know, anyroad up, they never are, are they?

� �GIRL (teasingly)
What are you?

� �PAUL
I'm in a group ... well ... there are four of us, we play and sing.

� �GIRL
I bet you don't sound like real people.

� �PAUL
We do, you know. We sound like us having a ball. It's fab.

� �GIRL
Is it really fab or are you just saying that to convince yourself?

� �PAUL
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

� �PAUL
... all this and a jam butty too!!

� �GIRL
I only enjoy acting for myself. I hate it when other people are let in.

� �PAUL
Why? I mean, which are you, scared or selfish?

� �GIRL
Why selfish?

� �PAUL
Well, you've got to have people to taste your treacle toffee.

She looks at him in surprise.

� �PAUL
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?

� �GIRL
Not really but I'm probably not a toffee maker. How would you do those lines of mine?

� �PAUL
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?

� �GIRL
Is she?

� �PAUL
Of course ... Look, if she was a Liverpool scrubber ...
� �(Paul starts acting a Liverpool girl,he minces about then turns, extending his leg)
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 andsuddenly 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!!

� �GIRL (shattered)
And you honestly think that's what she meant?

� �PAUL
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 laugh.

He laughs.

� �GIRL
Well, it's nice to know you think we're clever.

� �PAUL (grinning)
And cunning.

� �GIRL
And what do you do about it?

� �PAUL
Me? Oh, I don't have the time, I'm always running about with the lads ... no, we don't have the time.

� �GIRL
Pity.

� �PAUL (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 get back.

� �GIRL
Yes.

� �PAUL (going)
See you.

� �GIRL
Of course.

PAUL stands at the doorway, shrugs then goes out.

(I have way too much time on my hands)