A Hard Day's Night Page #16

MILLIE touches his arm then walks away. After a moment she

turns.

MILLIE:

You don't look like him at all.

JOHN winks at her and she winks back.

INTERIOR DRESSING ROOM

NORM and SHAKE enter the room. The BOYS' TAILOR is there

waiting for the BOYS.

SHAKE:

Oh they've probably gone to the

canteen, cup of tea, like.

NORM:

That's too easy for Lennon.

He crosses to door leading to fire escape.

NORM:

(dramatically)

He's out there somewhere, causing

trouble just to upset me.

SHAKE:

You're imagining it. You're letting

things prey on your mind.

NORM:

Oh no... this is a battle of nerves

between John and me.

SHAKE:

But John hasn't got any.

NORM:

What?

SHAKE:

Nerves.

NORM:

I know, that's the trouble.

He puffs nervously at his cigarette.

NORM:

Oh, I've toyed with the idea of a

ball and chain but he'd only rattle

them at me... and in public and all.

Sometimes I think he enjoys seeing

me suffer.

He hears something.

NORM:

Get behind that door, they're coming.

Someone's coming. Quick, hide!

The two men hide behind the door. The boys enter the room,

as JOHN is last he shuts the door and faces SHAKE and NORM.

JOHN:

What are you doing there?

SHAKE:

Hiding.

JOHN:

I think you're soft or something.

NORM:

We weren't hiding.

TAILOR:

Now?

NORM:

Now. We were trying to catch you

redhanded. I thought I told you lot

to stay here?

RINGO:

Well...

NORM:

When I tell you to stay put, stay

put.

JOHN:

(down on his knees)

Don't cane me, sir, I was led astray.

NORM:

Oh shurrup and come on John. They're

waiting for you in the studio.

RINGO:

Oh dear, I feel like doing a bit of

work.

NORM:

Good lad, Ringo.

PAUL:

Oh, listen to teacher's pet.

GEORGE:

You crawler.

JOHN:

He's betrayed the class.

RINGO:

Oh, leave off!!!

JOHN:

Temper! Temper!

RINGO:

Well...

CLOSE-UP on NORM's long suffering face.

NORM:

Will you all get a move on! They're

waiting for you!

By this time the TAILOR has his tape stretched between his

hands to measure GEORGE's shoulders. But since GEORGE has

moved away, he is measuring space. JOHN takes up his scissors

and cuts the tape.

JOHN:

I now declare this bridge open.

The BOYS run out the door.

INTERIOR BACKSTAGE AREA

Five beautiful MODELS are standing about in costume. One is

knitting a loose wool sweater which is almost completed.

There is the sound of a juggling act's music off and a few

of the girls are looking off towards the centre stage. At

the edge of frame is a collapsible table covered with green

baize. On it are three spaced white plates.

From the door off stage, above which is a sign "To Canteen

and Production Offices", GRANDFATHER enters eating a plate

of spaghetti on toast. The knitting GIRL sees him and, in

mime, asks him to stand still so that she can measure the

sweater against him. GRANDFATHER, eager to help, puts his

plate of food on the green table between plates two and three.

He goes to be measured with the sweater.

From the onstage area, a juggler's ASSISTANT (pretty girl)

in costume backs up and with the usual theatrical flourishes

picks up, without looking, plate number ONE and throws it

off screen towards centre stage. There is a drum roll from

orchestra. She then throws plate number TWO. We CUT on stage

to the JUGGLER now balancing the two spinning plates on two

poles, one in each hand. He has another pole in his mouth

and nods to his ASSISTANT, asking for the THIRD plate.

We CUT BACK to the ASSISTANT who, still not looking, throws

plate THREE which is GRANDFATHER's. There is the sound of an

orchestra raggedly stopping and all the hangers-on in the

scene look off interestedly.

We hear the DIRECTOR's voice.

DIRECTOR (V.O.)

All right, hold it, hold it... O.K.

John, wipe him down and we'll carry

on with the next act.

WE CUT TO:

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