Take the Next Road on your Left (Teleplay) Part 5

SC1. ADEONA’S ROOM TEN MINUTES LATER
[CHARLIE IS STILL SITTING NEXT TO HER AND ADEONA HAS A GUILTY LOOK ON HER FACE]
CHARLIE:
SO YOU WERE TEASING ME THEN WHEN I THOUGHT YOU WERE A FOREIGNER?
[SHE NODS MISCHIEVOUSLY]
DO I DESERVE THAT FOR RUNNING YOU OVER?
[SHE SHAKES HER HEAD VOCIFEROUSLY]
YOU KNOW THIS CONVERSATION COULD START TO GET A LITTLE ONE-SIDED
[SHE POINTS TO THE DRAWER AT THE SIDE OF THE BED AND MIMES A PULL. CHARLIE OPENS IT UP TO FIND A NOTEBOOK AND A PENCIL. HE GIVES IT TO HER]
CHARLIE:
NOW YOU’RE TALKING (SHE MIMES A GROAN) SORRY
[ADEONA LOOKS AT THE PENCIL AND THEN GESTURES TO THE DRAWER AGAIN. CHARLIE FINDS A SHARPENER AND GIVES IT TO HER. SHE TAKES A WHILE TO GET A REALLY SHARP POINT TO IT]
CHARLIE:
CHRIST YOU MUST BE A REAL CHATTERBOX!
[ADEONA BEGINS TO WRITE AND THEN SHOWS CHARLIE]
ADEONA:
CAN’T SPEAK SINCE ACCIDENT
CHARLIE:
PERMANENT?
ADEONA:
NOT SERIOUS. DOCTOR SAYS SHOCK. WILL COME BACK
CHARLIE:
THANK FUCK FOR THAT - OOPS
ADEONA:
I’D SWEAR TOO BUT I DON’T KNOW HOW TO SPELL FUCK
CHARLIE (REMEMBERING THE NECK BRACE PICKS IT UP):
ARE YOU SUPPOSED TO BE WEARING THIS?
[ADEONA SCRATCHES AT HER NECK AND THEN WIGGLES IT GIVING CHARLIE THE THUMBS UP]
CHARLIE:
I’VE HAD A FEW CLIENTS TELL ME THAT, BUT I MADE THEM WEAR IT. IT COULD INVALIDATE YOUR INSURANCE
ADEONA (SCREWING UP HER FACE):
DON’T BELIEVE IN IT
[CHARLIE LOOKS BEMUSED]
CUT TO:

SC2. NURSE’S STATION
[WINDSOR IS READING A MAGAZINE AND TUDOR IS NODDING OFF AND SOON BEGINS TO SNORE. WINDSOR LOOKS UP FROM HIS MAGAZINE AND GLARES AT HIS SLEEPING COLLEAGUE. HE TAKES OUT HIS REVOLVER AND PUTS IT UNDERNEATH TUDOR’S NOSE]
WINDSOR (WHISPERING):
BANG!
[TUDOR SNORES ON]
CUT TO:

SC3. ADEONA’S ROOM
[CHARLIE IS READING THE NOTEBOOK]
CHARLIE:
AN ACTRESS THEN?
[ADEONA MIMES A TRAGIC POSE]
WHERE DO YOU WORK?
[SHE MIMES ROLLING THINGS ACROSS A BAR CODE AT A SUPERMARKET CHECKOUT. CHARLIE SHRUGS. SHE WRITES AGAIN]
ADEONA:
GATEWAY
CHARLIE:
WHAT DO YOU DO THERE THEN ‘THE MERCHANT OF VENICE’?
[SHE RUBS HER FINGERS TOGETHER]
I THOUGHT YOU WERE NOT THE FISCAL TYPE
[SHE PUTS HER HAND IN HER MOUTH]
YEAH, YEAH WE ALL GOTTA EAT. SO THE STAGE IS A LOST DREAM
[ADEONA SHAKES HER HEAD]
SO YOU STILL ACT? LOCAL STUFF?
[SHE TAKES THE NOTE BOOK AND WRITES]
ADEONA:
VOICEOVERS
CHARLIE:
ADVERTS?
[SHE GESTURES A LITTLE]
SO YOU HAVE A BEAUTIFUL VOICE TO GO WITH YOUR BEAUTIFUL FACE
[CHARLIE BLUSHES AT HIS SPONTANEITY AND SHE WRITES AGAIN]
ADEONA (MIMING TO THE TEXT CHARLIE READS):
I HAVE COLOURFUL TONES AND FLAWLESS DICTION
[THERE’S A PAUSE AS IF CHARLIE WANTS TO COMMIT HIMSELF BUT INSTEAD SAYS]
CHARLIE:
I SHOULD LET YOU REST. YOU MAY BE BUSY TOMORROW
[AS HE BEGINS TO RISE OFF THE BED SHE PUTS HER HAND ON HIS ARM. THEY LOOK AT EACH OTHER EARNESTLY AND SHE WRITES AGAIN]
[CHARLIE, PICKING UP THE NOTEBOOK IN ANTICIPATION, READS – YOU COULDN’T TAKE ME TO THE TOILET COULD YOU?]
CUT TO:

SC4. THE CORRIDOR OUTSIDE ADEONA’S ROOM
[CHARLIE IS SUPPORTED ADEONA WHO CAN BARELY WALK THROUGH A COCKTAIL OF SHOCK, MEDICATION AND WITH HER LEG IN PLASTER. TO THE LEFT OF THEM THOMPSON HAS DOZED OFF IN HIS CHAIR. HE DOESN’T STIR]
CHARLIE:
YOU’D BE SAFER IN IRAQ. COULDN’T YOU TRY THE BED PAN AGAIN? YOU MIGHT BE ABLE TO GO NOW
[ADEONA SHAKES HER HEAD. THEY MOVE ALONG TOWARD THE RIGHT WITHOUT PASSING THE NURSES’ STATION]
CHARLIE:
WHY HAVEN’T THEY GIVEN YOU A CHAIR?
[SHE POINTS BACK TO THE BED]
CHARLIE:
OH YOU’RE SUPPOSED TO STAY PUT
[SHE NODS]
CHARLIE:
IT’S DEFINITELY THIS WAY
[SHE NODS AGAIN. THEY GET TO THE END OF THAT PART OF THE CORRIDOR AND IN A LITTLE NICHE THERE’S A BROWN DOOR. CHARLIE STRUGGLES TO OPEN IT AND SUPPORT ADEONA AT THE SAME TIME BUT EVENTUALLY MANAGES IT. IT’S A STORE CUPBOARD]
CHARLIE:
WELL YOU COULD TRY IT BUT IT WON’T SMELL TOO GOOD AFTER A WHILE
[ADEONA LOOKS APOLOGETIC AND POINTS TOWARD THE LEFT BEYOND WHERE THOMPSON IS SLEEPING]
CHARLIE:
THE OTHER SIDE I GUESS
[THEY BEGIN TO STRUGGLE BACK THE WAY THEY CAME BUT AS THEY PASS THE JUNCTION BETWEEN CORRIDORS WINDSOR JUMPS OUT AT THEM BRANDISHING HIS REVOLVER]
WINDSOR:
BANG!
[SURPRISED CHARLIE INADVERTENTLY LETS ADEONA GO FOR A SECOND AND AS SHE BEGINS TO FALL GOES TO GRAB HER AGAIN LOSING HIS BALANCE. HE ROLLS HIS RIGHT ANKLE OVER AND FALLS TO THE FLOOR IN A HEAP WITH ADEONA ON TOP OF HIM]
CHARLIE:
YOU STUPID BASTARD; I THOUGHT YOU WERE GOING TO SHOOT
[WINDSOR GRINS BUT IN AN INSTANT IT TURNS TO A GRIMACE AS TUDOR JOINS HIM FROM THE ROOM, OBVIOUSLY JUST WOKEN]
TUDOR:
WHAT’S GOING ON?
WINDSOR:
YOU JUST MISSED THE PARALYMPICS THREE LEGGED RACE
CHARLIE:
I THINK I’VE SPRAINED IT
TUDOR (BENDING DOWN AND EXAMINING IT):
COULD BE; MIGHT KEEP YOU OFF WORK FOR A WHILE
WINDSOR:
OH I DO YOU’RE INSURED.
CHARLIE:
I WAS TAKING HER TO THE TOILET
TUDOR:
YOUNG LADY WE CANNOT PROTECT YOU IF YOU DON’T STAY PUT
[HE PICKS HER UP IN HIS ARMS AS IF SHE WERE A INFANT AND TAKES HER BACK TO HER BED AND ASSISTS HER WITH THE BED PAN]
CHARLIE:
SHE CAN’T GO ON THAT
TUDOR:
SHE’LL HAVE A VERY DISTENDED TUM THEN WON’T SHE
[TUDOR PATS IT MAKING ADEONA WINCE, AND THEN EXITS SHOUTING DOWN AT THOMPSON, STILL ASLEEP DESPITE THE RUCKUS]
TUDOR:
THOMPSON!
[HE STIRS]
THOMPSON:
SORRY SIR, I’M FIGHTING SLEEP
WINDSOR:
GO AND GET YOURSELF A COFFEE AND WHILE YOU’RE AT IT GET A NURSE UP HERE FOR HIM
THOMPSON:
YES SIR
[EXITS TO THE LIFT]
TUDOR:
CHARLIE, YOU SEEM TO BE FULL OF ACCIDENTS TODAY.
WINDSOR:
HE’S PRACTICALLY UNINSURABLE COLIN
CUT TO:

SC5. A & E DEPT TAINSTAL HOSPITAL ABOUT 11PM
[CHARLIE IS LYING ON A BED IN THE A & E DEPARTMENT AND ABOUT TO HAVE HIS SPRAINED ANKLE TREATED. THERE IS A WHEELCHAIR TOWARD THE WINDOW. TWO DRUNKS, AGED AROUND 25, A MAN (BILL) AND A WOMAN (MAGGIE) ENTER, WITH ANOTHER NURSE, BRIDEY. BILL HAS BEEN BEATEN UP AND HAS CUTS ACROSS HIS FACE. HIS NOSE AND MOUTH ARE BLEEDING AND THE RIGHT HAND SLEEVE OF HIS JACKET IS RIPPED. MAGGIE IS UNHURT BUT HER SKIRT IS COMING AWAY AT THE WAIST DUE TO A TEAR AND SHE KEEPS TUGGING AT IT TO PULL IT UP. BRIDEY PLACES BILL PROPPED UP ON THE ENXT BED AND MAGGIES SITTING AT THE END OF THE BED. SHE IS FAIRLY WELL BUILT BUT HAS SPINDLY LEGS THAT LOOK INCAPABLE OF CARRYING HER WEIGHT. SHE HAS A GENIAL YET PROFICIENT DISPOSITION]
BRIDEY:
OKAY YOU TWO – I’M JUST GOING TO BANDAGE THIS MAN’S ANKLE. YOU RELAX AND I’LL BE WITH YOU IN A JIFFY
BILL (WITH A SLUR):
NURSE DON’T LEAVE ME ALONE TOO LONG WITH THIS BITCH
MAGGIE (SLURRING ALSO):
YOU WON’T BE SAYING THAT WHEN THIS BITCH GETS YOU HOME
[CHARLIE LOOKS OVER AT THEM]
MAGGIE (TO CHARLIE):
I’M A REAL BITCH THEN; A GOLDEN LABRADOR TO LEAD THE BLIND MAN HOME
BILL:
I CAN GET MYSELF HOME
BRIDEY:
YOU COULD BARELY GET THROUGH THE DOORS TO THE A & E
MAGGIE:
HOME FROM HOME
BRIDEY:
DO YOU TWO HAVE TO BE HERE EVERY FRIDAY? GO SEE A FILM
BILL (ATTEMPTING TO SAY MULTIPLEX):
THEY DO NOT SERVE THE BEVERAGES I LIKE AT THE MUPTI…LUMPTI…CINEMA.
MAGGIE:
IF THEY HAD SCOTCH ICE CREAM AND RUM POPCORN I’D GO - ANYWAY I FALL ASLEEP IN MOVIES
BRIDEY:
YOU FALL ASLEEP HERE
MAGGIE:
IT’S WARM
BILL (STARTING TO SNOOZE):
TOO WARM
MAGGIE:
NO GRATITUDE
BRIDEY:
IT WORKS BOTH WAYS MAGGIE; LAST WEEK BILL TOOK YOU HOME
MAGGIE (SMILING SARDONICALLY):
OH THAT’S RIGHT HE DID AND LEFT ME IN THE HALL AND WENT TO BED. I SHOULD HAVE LEFT HIM STAGGERING AROUND THE STREETS TONIGHT
BILL (AWAKENING BRIEFLY):
I MAY STAGGER SLIGHTLY DUE TO THE FACT I HAVE HAD A FEW DRINKS AND MY WAY HOME, ADMITTEDLY, MAY INVOLVE SOME SMALL DIVERSIONS BUT I ALWAYS END UP IN MY OWN BED DON’T I?
MAGGIE:
NOT TONIGHT SUGAR I’M GONNA DROP YOU OFF IN THE BACK GARDEN
BILL (ABOUT TO NOD OFF):
YOU WOULDN’T THOUGH?
MAGGIE (YAWNING HERSELF):
NAW, YOU MIGHT BE COMPOST IN THE MORNING
[BILL IS ASLEEP]
MAGGIE:
IS THAT THE MAN I LOVE?
CHARLIE:
WELL YOU RESCUED HIM DIDN’T YOU?
BRIDEY (SHUSHING CHARLIE):
YOU LIE BACK NOW YOUNG MAN, I’VE GOT THE BANDAGE HERE FOR THAT ANKLE
MAGGIE:
WHAT DOES BILL WANT RESCUING FROM EXCEPT SOBRIETY?
CHARLIE (IGNORING BRIDEY):
WHOEVER BEAT HIM UP
MAGGIE:
I BEAT HIM UP!
[CHARLIE IS TAKEN ABACK AND BRIDEY SERVES HIM AN ADMONISHING STARE]
MAGGIE (POINTING AT THE SLEEPING BILL):
THE BASTARD INSULTED ME. THEN HE SAID OUR MARRAIGE WAS GOING NOWHERE
CHARLIE:
YOU’RE MARRIED!
[BRIDEY SQUEEZES CHARLIE’S SWOLLEN ANKLE AND HE YELPS]
BRIDEY:
MR LUCRE, I APOLOGIZE. I’LL GET THAT WRAPPED UP NICE FOR YOU
MAGGIE (IGNORING BOTH OF THEM):
HATE’S LIKE LOVE ISN’T IT? STRONG; IT MAKES EVERYTHING…BIG! (SHE MIMES A SHAPE LIKE A BIG BALL) BUT YOU KNOW WHAT’S NOT SO BIG? I’LL TELL YOU; THE SMALL SLIM LITTLE LINE THAT SEPARATES THEM (SHE DRAWS HER FINGER DOWN THROUGH THE AIR) ONE DAY YOU’RE THIS SIDE, THEN TOMORROW THE OTHER…
CHARLIE:
WHY NOT STAY ON THE LINE?
[HE REALISES HIS OUTBURST AND PROTECTS HIS ANKLE]
MAGGIE (STROKING BILL’S LEG AND YAWNING AGAIN):
VARIETY IS THE SPICE OF….
[SHE FALLS ASLEEP ON BILL’S LEGS]
CHARLIE:
REGULARS?
BRIDEY (PULLING THE CURTAIN AROUND CHARLIE’S BED):
MOST FRIDAYS.
CHARLIE:
YOU MARRIED?
BRIDEY:
AM I THAT UNATTRACTIVE?
CHARLIE:
I’M JUST CURIOUS
BRIDEY:
I DON’T WANT ANY
CHARLIE:
SORRY
BRIDEY:
I DON’T NEED ANY
CHARLIE (PENNY DROPS):
THOSE TWO BASTARDS – LOOK HOW TWO DIMENSIONAL DOES EVERYBODY THINK I AM?
BRIDEY:
THE FAT ONE
CHARLIE:
TUDOR?
BRIDEY:
DIDN’T YOU STITCH UP HIS POOR OLD GRANNY?
[CHARLIE SAYS NOTHING. BRIDEY BEGINS TO BANDAGE UP HIS ANKLE. CHARLIE WINCES INTERMITTENTLY. THEN BRIDEY SPEAKS]
BRIDEY:
I WAS 19; AT UNIVERSITY –STUDYING ECONOMICS. MY PARENTS WEREN’T WELL OFF BUT I THEY ALWAYS SAW MY CAREER PATH IN A DIRECT AND QUITE CLICHED FASHION; ME IN A NICE PIN-STRIPE SUIT - I HAD QUITE A FIGURE BACK THEN - STRIDING ACROSS THE GREAT FINIANCIAL INSTITUTIONS OF THE CITY. CHAIRING IMPORTANT FISCAL MEETINGS, RUBBING SHOULDERS WITH POLITICAL LEADERS AND TAKING THEM BY THE HAND, GUIDING THE FUTURE MONETARY DIRECTION OF THE COUNTRY
CHARLIE:
THAT WASN’T YOU
BRIDEY:
ON THE CONTRARY I WAS ENJOYING IT BUT…
[BRIDEY PAUSES AND HER FACE BECOMES STRAINED]
CHARLIE:
YOU GOT PREGNANT
BRIDEY:
NO I DIDN’T YOU CHEEKY BASTARD
(PAUSE)
IT WAS ANOTHER FRIDAY NIGHT. IT WAS MY SECOND YEAR AT UNIVERSITY, THE END OF THE FIRST TERM, ABOUT A WEEK BEFORE CHRISTMAS. I WAS OUT CELEBRATING WITH ANOTHER FRIEND AT A PUB DOWN THE ROAD FROM OUR DIGS IN WOOD GREEN. IT WAS A COLDISH NIGHT BUT THE PUB WAS WARM AND PACKED. WE LEFT ABOUT ELEVEN. WE WEREN’T DRUNK, A LITTLE TIPSY, BUT ABOUT HALF WAY HOME WE THOUGHT WE SAW A DRUNK SLUMPED UP AGAINST A BUS STOP. IT WAS A YOUNG BLACK GUY. WE TRIED TO WAKE HIM UP BUT HE KEPT MUMBLING AND WOULDN’T MOVE. WE COULD HARDLY SEE A THING BECAUSE SOMEONE HAD KNOCKED OUT THE STREET LIGHT SO MY FRIEND THREW HER JACKET OVER HIM AND WE JUST WENT HOME. IN THE MORNING WE WERE WOKEN UP BY A LOUD KNOCK ON THE DOOR. I OPENED IT. IT WAS THE POLICE. SEEMS LIKE THE YOUNG GUY HADN’T BEEN ASLEEP AT ALL; HE’D BEEN STABBED AND OVERNIGHT HAD GRADUALLY BLED TO DEATH.
CHARLIE:
THEY TRACED THE JACKET?
BRIDEY:
DO ALL SALESMEN HAVE YOUR CAPACITY FOR ONE-DIMENSIONAL THOUGHT? IT WAS A GANGLAND THING AND THE POLICE ALREADY KNEW THAT BUT I HAD TO COME CLEAN AND ADMIT I WALKED AWAY WHILE THAT LAD WAS STILL ALIVE. (PAUSE) I WENT TO BED WHEN THE MEREST FORM OF FIRST-AID COULD HAVE SAVED HIS LIFE
CHARLIE (WHISPERING AND POINTING TOWARD BILL AND MAGGIE):
THAT’S WHEN YOU GAVE UP THE DRINK?
BRIDEY (EXASPERATED):
NO, YOU IDIOT, I JACKED IN ECONOMICS AND TRAINED TO BE A NURSE!
[SHE HAS WRAPPED UP HIS ANKLE]
BRIDEY:
I’LL GIVE YOU ANOTHER SHOT TO EASE THE PAIN
[SHE INJECTS HIM]
CHARLIE:
I GET THE SUBTEXT NURSE
BRIDEY:
IF YOU GET CAUGHT SHORT, YOU CAN USE THE CHAIR. (SHE LOOKS AT THE NEXT BED. BOTH BILL AND MAGGIE ARE ASLEEP)
GOOD I CAN LEAVE THEM THERE FOR A BIT
[SHE EXITS]

SC1. BLACK 4X4 INTERIOR AROUND 2AM
[VILLAIN 1 IS STILL IN THE DRIVER’S SEAT BUT THE OTHERS ARE IN THE REAR. IN THE PASSENGER SEAT IS AN ANDROGYNOUS LOOKING MALE DRESSED IN A NURSE’S OUTFIT - THE CONTRACT KILLER]
VILLAIN 1:
ARE WE GONNA BE HERE ALL FUCKING NIGHT?
CONTRACT KILLER:
DO YOU KNOW WHY YOU PAID ME WHAT YOU PAID ME?
VILLAIN 1:
AT THIS MINUTE - NO
CONTRACT KILLER:
FIRSTLY, THE FACT THAT YOU PAID ME SO MUCH IS BECAUSE I AM VERY GOOD AT KILLING PEOPLE AND GETTING AWAY. SECONDLY, THE FACT THAT I AM HERE NOW GETTING PAID BY YOU IS PROOF THAT I AM VERY GOOD AT KILLING PEOPLE AND GETTING AWAY.
VILLAIN 2:
WE CAN’T STAY HERE ALL NIGHT, IT’S NOT SAFE
CONTRACT KILLER:
I DON’T NEED YOU HERE
VILLAIN 1:
I WANNA KNOW SHE’S GONE. I AIN’T SITTING IN A HOLD UP WAITING FOR THE COPS TO KNOCK DOWN THE DOOR. IF YOU CAN’T DO IT GIVE ME THE MONEY BACK AND I’LL DO HER
CONTRACT KILLER:
GO ON THEN WALK UP THERE PAST THE COPS AND BLAST HER IN THE HEAD AND THEN STROLL OUT. I’LL GET YOU YOUR MONEY BACK. I HAVEN’T BEEN ANYWHERE TO SPEND IT.
VILLAIN 3:
ANYTHING’S BETTER THAT THIS. WE SHOULD HAVE BEEN ON A PLANE. WE GOT THE MONEY.
VILLAIN 1:
HOW FAR EH? HOW FAR IF SHE CAN NAIL US? I WANNA SPEND THE MONEY NOT SIT ON FOR THE NEXT TEN YEARS. (TO CONTRACT KILLER) WHEN?
CONTRACT KILLER:
SHE’LL BE DEAD BY MORNING, EARLIER PROBABLY

SC2. A BACK STREET ANYWHERE
[CHARLIE IS RUNNING AWAY FROM SOMETHING UNSEEN. THE STREET IS FULL OF TERRACED BRICK HOUSES WITH ALL THE DOORS AND WINDOWS BRICKED UP. HE RUNS LEFT INTO ANOTHER ROAD BUT IT APPEARS EXACTLY AS THE LAST. BREATHING HEAVILY HE VEERS RIGHT INTO YET ANOTHER STREET; HALF WAY DOWN HE NOTICES ONE OF THE HOUSES HAS A DOOR. HE THUMPS HARD AT IT AND BRIDEY ANSWERS. SHE IS STANDING IN THE HALLWAY WITH A LARGE STANDING CLOCK TO HER RIGHT. SHE TELLS HIM SHE IS FULLY COVERED. BEHIND HER IN THE KITCHEN BEYOND THE HALLWAY CHARLIE CAN SEE BILL AND MAGGIE BOTH CLEAN AND DRESSED SMARTLY BUT BILL’S TROUSERS ARE AROUND HIS ANKLES AND MAGGIE’S SKIRT UP AROUND HER WAIST. THEY BEGIN TO MAKE LOVE ON THE KITCHEN TABLE. CHARLIE TURNS HIS GAZE BACK TO BRIDEY WHO POINTS TO HIS STOMACH. CHARLIE LOOKS DOWN AS A LARGE RED SPOT BALLOONS OUT ACROSS HIS SHIRT. A VOICE TELLS HIM TO TAKE THE NEXT ROAD ON HIS LEFT. HE LOOKS AT THE CLOCK AND IT HAS THE DIAL OF A SAT-NAV. CHARLIE SAYS NO BECAUSE HE KNOWS IT’S A DEAD-END BUT THE DOORWAY IS BRICKED UP. HE HEARS TYRES SQUEALING AND BEGINS TO RUN BUT SLOWLY. THE STREET SEEMS TO TAPER ON BOTH SIDES AS IF IT IS CLOSING IN ON HIM. A CROSS ROADS IS AHEAD. THE ROAD IS NOW ONLY AS WIDE AS A PAVEMENT. CHARLIE VEERS LEFT AS THE SAT-NAV TOLD HIM THEN SAYS NO AND TURNS RIGHT. AS HE DOES SO HIS CAR, BEING DRIVEN BY ADEONA, KNOCKS HIM OVER]