A Hard Day's Night Page #22

RINGO:

Shurrup!

BOY:

I bet you're

(searching for an age)

-- sixteen!

RINGO:

Fifteen and two thirds, actually.

BOY:

Well --

RINGO:

All right, take your hoop and bowl.

He moves off and the BOY follows.

BOY:

Oh you can have it, I'm packing it

in -- it depresses me.

RINGO:

Y'what?

BOY:

You heard, it gets on my wick.

RINGO:

Well that's lovely talk, that is.

And another thing, why aren't you at

school?

BOY:

I'm a deserter.

RINGO:

(smiling in spite of

himself)

Are you now?

BOY:

Yeah, I've blown school out.

RINGO:

Just you?

BOY:

No, Ginger, Eddy Fallon and Ding

Dong.

RINGO:

Ding Dong? Oh Ding Dong Bell, eh?

BOY:

Yeah, that's right, they was supposed

to come with us but they chickened.

RINGO:

Yeah? And they're your mates are

they?

BOY:

(sighing)

Yeah.

RINGO:

Not much cop without 'em, is it?

BOY:

(defensively)

Oh, it's all right.

RINGO:

(disbelievingly)

Yeah?

BOY:

Yeah.

RINGO:

What they like?

BOY is glad to have something to talk about.

BOY:

(enthusiastically)

Ginger's mad, he says things all the

time and Eddy's good at punching and

spitting.

RINGO:

How about Ding Dong?

BOY:

He's a big head and he fancies himself

with it but you know it's all right

'cos he's one of the gang.

RINGO nods his head understandingly and they mooch on

together.

BOY:

Why aren't you at work?

RINGO:

I'm a deserter, too.

BOY:

Oh.

At this moment a child's voice shouts out "Charley" and from

RINGO'S P.O.V. we see three kids. RINGO turns to the BOY and

looks at them enquiringly.

BOY:

(to Ringo)

See you.

The BOY runs off to join his mates. As he joins them they

punch and scuffle together. They are obviously a gang. RINGO

is left alone.

INTERIOR CORRIDOR T.V. THEATRE

GEORGE comes round the corner, looking for RINGO, then grins

and walks past a sign saying "Canteen and Production Office

Opposite." He comes to the exit door, crosses to a modern

building across from the theatre.

He enters [the] building.

INTERIOR OFFICE:

It is the reception room that leads to an inner office. Behind

a desk sits a smart young woman typing busily as GEORGE

enters. He is surprised when he sees the girl; she looks up

and speaks to him at once.

SECRETARY:

Oh, there you are!

GEORGE:

Oh, I'm sorry, I must have made a

mistake.

SECRETARY:

(tartly)

You haven't, you're just late.

(She rises and crossing

over to him examines

him critically.)

Oh, yes, he's going to be very pleased

with you.

GEORGE:

Is he?

SECRETARY:

Yes, you're quite a feather in the

cap.

(She crosses to the

desk and picks up

the inter-office

phone.)

Hello, I've got one... oh, I think

so... yes, he can talk... Well... I

think you ought to see him.

(she smiles)

Of course, right away.

She crosses to the inter-office door. On the door is written

SIMON MARSHAL... she opens it.

SECRETARY:

Well... come on.

GEORGE:

Sorry.

He follows her quickly in.

INTERIOR THE INNER OFFICE

A large room, part production office with models and sets,

drawing board with ground plans, the other part of the room

a mixture of Pop and Queen's magazine decor.

Behind a large desk sits SIMON MARSHAL, a bland but slightly

irritable young man of about thirty-five. He is wearing the

ultimate in the current smart set fashion. He is attended by

a couple of underlings ADRIAN and TONY and behind him on the

wall is a poster of a girl.

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