The opening moments of episode one of CROSSROADS from November 2nd, 1964.
E P I S O D E I.
These storylines are the property of: ASSOCIATED TELEVISION LTD, 150, Edmund Street, Birmingham, 3. Telephone: Central 5191
“CROSSROADS”
by Hazel Adair and Peter Ling.
Transmission Date: Monday 2nd November 1964
SCENE I.
MOTEL RECEPTION – EARLY EVENING JILL AT DESK: TELEPHONE RINGING – SHE ANSWERS IT
JILL: Crossroads Motel, good evening, Yes, we do, for which night? .. .. Saturday – hold on a moment, will you?
SHE TURNS SOME PAGES IN THE BOOKING SCHEDULE.
Yes, that’ll be all right… Oh, not single – all the rooms are double, I’m afraid. Each with a private bathroom and their own garage, Oh – haven’t you? Well, a Motel is a bit different–you see, it’s really designed for motorists… Yes, we do serve meals–we have a restaurant, and there’s a bar in the reception lounge…
SHE LOOKS UP AS GILLOW ENTERS, COMES UP TO DESK.
As a matter of fact, it isn’t fully licensed yet, but you can get a glass of sherry before –
GILLOW: How much are the rooms?
JILL: I’m sorry, I couldn’t quite hear. Oh, yes, I see… No, I’m sure you’ll be very comfortable…
GILLOW: I said ‘how much?’
JILL: Excuse me (TO GILLOW) I won’t keep you a moment, sir. (ON PHONE) What was the name? … Thank you very much. Goodbye.
SHE RINGS OFF
JILL: Now sir, can I help you?
GILLOW: I said ‘how much do you charge for a room?!’
JILL: Bed and breakfast is thirty shillings per person, but –
GILLOW: That’s a bit steep, isn’t it? Thirty bob, bed and breakfast… well there’s nowhere else around here – I Suppose you think you can lay it on a bit… It’s for tonight – I’ve got to stay over till the morning. Haven’t you got anything cheaper?
JILL: (LOOKING THROUGH THE BOOKING SCHEDULE) Thirty shillings is the standard rate… Oh – tonight – I’m very sorry, but I’m afraid we –
GILLOW: Yes, tonight. I’m here on business, see? On the roads.
JILL: Oh, yes? Well in any case I’m afraid there are no –
GILLOW: Construction gang; on repairs. The surface all along from here to Kings Oak corner – its the rain, you see. Needs resurfacing. I’m in charge of the job. The name’s Gillow… O.K, I’ll take it. I’ve got the landrover out front – If I drive it round to –
JILL: I tried to tell you – we have no vacancies. I’m sorry.
GILLOW: You don’t expect me to believe that?! Now listen –
JILL: It’s true. We’ve only currently got six rooms – and according to our booking schedule, they’re all taken for tonight. Honestly.
GILLOW: Go on, look again. You’ll come up with something, won’t you? Just for me…
JILL: I’m very sorry, but you’ll have to find somewhere else.
GILLOW: (PULLS BOOKING SCHEDULE TO HIM) Let’s have a look at that.
JILL: NO! You can’t – PLEASE –
AS SHE STRUGGLES TO TAKE IT BACK MEG COMES OUT OF THE KITCHEN, IN APRON, HER HAIR UNDER A DUSTER, HER HANDS COVERED IN FLOUR, WIPING THEM ON A TEACLOTH.
MEG: And what exactly is going on here?
JILL: Oh, well – you see – I just found out we’re fully booked for tonight and this gentleman wants –
GILLOW: Let me tell you something, just because I’m on a construction gang – my money is as good as anyone else’s.
MEG: I’m sure it is. Unfortunately, we can’t produce extra rooms like rabbits out of a top hat.
GILLOW: All I want is a room; I don’t want a lot of chat. Just one small room. These are my working clothes, but when I’ve washed up and changed, I shan’t frighten off your respectable customers.
MEG: You won’t get the chance. If you don’t believe it, there you are in black and white – rooms one to six – all occupied. So you’re just wasting your time… not to mention mine.
GILLOW: Oh, I see… it’s like that, eh?
MEG: It’s like that. Now if you’ll excuse me I’m in the middle of some cooking.
GILLOW: This your daughter?
MEG: Yes.
GILLOW: Thought so… (TO JILL) I can see who rules the roost around here. What’s your dad think about it?
JILL: My father isn’t – he –
MEG: My husband died a few years ago. I had to make a living for my family; that’s why I started this place. It keeps me very busy – so I must ask you to let us get on with our work. There’s a great deal to be done.
GILLOW: (AFTER A PAUSE) Yeah… Well – I’ll be pushing off, then. See you some time.
HE GOES OUT
JILL: Oh mum – he was AWFUL. If you hadn’t come out then –
MEG: Don’t be silly. You just have to know how to deal with people… Why aren’t you in your black dress?
JILL: Oh, well.. did you want me to serve dinner tonight?
MEG: Of course, why not?
JILL: Well, I wasn’t sure if… I was hoping I might be able to go into town tonight.
MEG: Into town?
JILL: Sarah rang up and asked if I could go to the pictures. There’s a new Lance Thunder film on at The Regal – only I’ll have to catch the quarter to, because Sarah won’t hang about.
MEG: That’s just as well – she’d have a very long wait if she did. You’re not catching any bus tonight.
JILL: Oh, mum –
MEG: I can’t manage this place single-handed. You saw the bookings – six rooms – twelve people – probably all wanting dinner.
JILL: How did it get so busy all of a sudden?
MEG: Three rooms were taken in one booking – it’s a wedding.
JILL: A bride and groom and three bedrooms? Funny people.
MEG: Don’t be saucy. It’s the guests – they’ve come up from London for the reception, and they’re not going back till tomorrow; like a sort of family party. I had to order champagne and lobsters and all sorts – oh Lord! I haven’t got out the champagne glasses – they’ll need dusting –
JILL: I’ll be back in time to do the washing-up if I catch the last bus.
MEG: You will not. You’re not going to any pictures tonight. Lance Thunder indeed…
F/X CASH OF CHINA
JILL: What’s that? Somebody in the kitchen?
SHE RACES TOWARDS THE CONNECTING DOOR –
MEG: I’ll lay ten to one it’s your brother. That’s his third breakage since Saturday.
CUT TO – MOTEL KITCHEN – SCENE TWO
