Notes: Red-letter text was dialogue cut from the script. The next day's script was rehearsed an hour after the show wrapped, in Central Plaza on 2nd Avenue. The first commercial was for Playtex Living Stretch Bra.
Notes: AW made use of 16 sets when it premiered on May 4, 1964. A large number for a soap at that time, it may have influenced the choice of the large studio in Brooklyn for taping the show.
ANOTHER WORLD
| AIR DATE: | MONDAY, MAY 4, 1964 | CAST: (10) |
| SCRIPT NUMBER: | # 1 | PAT |
| AIR TIME: | 3:00 - 3:30 P.M. | ALICE |
| NETWORK: | NBC - Brooklyn Studio | RUSS |
| GRANNY | ||
| JIM | ||
| MARY | ||
| SETS: | 1 - EXT. OF JIM MATTHEWS' HOUSE | TOM |
| 2 - PAT AND ALICE'S ROOM | LIZ | |
| 3 - RUSS' ROOM | SUSAN | |
| 4 - GRANNY'S ROOM | BILL | |
| 5 - JIM MATTHEWS' LIVING ROOM | ||
| 6 - LIZ MATTHEWS' LIVING ROOM | ||
| AGENCY: | YOUNG & RUBICAM, INC. | REHEARSAL
|
| WRITERS: | IRNA PHILLIPS AND | Prev. Day |
| WILLIAM BELL | 4:30-6:30 Central Plaza
| |
| PRODUCER: | ALLEN POTTER | 9:00-11:00 Rehearsal -
|
| ASSOC. PRODUCER: | DORIS QUINLAN | 11:00-12:00 Make-up
|
| DIRECTOR: | TOM DONOVAN | 12:00-1:15 Camera Blockage
|
| PROD. ASST: | CHARLOTTE ADRAT | 1:15-2:00 Run through
|
| ORGANIST: | CLARKE MORGAN | 2:30-3:00 Break
|
ANOTHER WORLD
| VIDEO | AUDIO |
| CIRCLE FILM (15 Sec.) | ANNOUNCER: |
| "We do not live in this world alone | |
| but in a thousand other worlds" | |
| MUSIC: Bass note cue | |
| ANNOUNCER: | |
| And now | |
| DISSOLVE FILM TO LIVE SHOW | MUSIC: TITLE THEME |
| TITLE ON SHOW LOGO CARD | |
| ANNOUNCER: | |
| "ANOTHER WORLD" | |
| brought to you by... | |
| FADE OUT TITLE | (Product BB telop over show |
| signature card) | |
| SUPER PRODUCT SLIDE OVER | MUSICAL BRIDGE TO LIVE |
| SHOW LOGO | |
| BLACK | |
| BLACK | MUSICAL BRIDGE |
ACT I
JIM MATTHEWS HOUSE
OPEN WITH A FILM CLIP OF A STREET IN WHICH THERE ARE MOSTLY
TWO-STORY HOMES. IT'S EVENING AND IT'S RAINING, HAS BEEN SINCE EARLY
SATURDAY MORNING. ALTHOUGH IT'S MAY, IT'S A COLD RAIN. THE CAMERA
PICKS UP THE FRONT OF THE HOME OF JIM MATTHEWS, PANS TO AN UPSTAIRS
WINDOW THROUGH WHICH WE SEE A VERY LOVELY GIRL OF 20, PATRICIA
MATTHEWS, WORKING AT A DESK. HER SISTER ALICE, WHO IS 17, IS SITTING IN
AN EASYCHAIR READING. ALICE LOOKS UP FROM HER BOOK, TALKS TO HER
SISTER WHO TURNS TOWARD ALICE, ANSWERS A QUESTION AND THEN GOES
BACK TO HER WORK AT THE DESK. CAMERA PANS ALONG THE SIDE OF THE
HOUSE AND STOPS IN FRONT OF ANOTHER LIGHTED WINDOW, RUSSELL'S
ROOM. HE'S AT HIS DESK. HE PUSHES ASIDE A BOOK HE'S BEEN READING, GETS
UP, GOES OVER TO HIS STUDIO COUCH WHERE HE'S PUT THE EVENING PAPER,
SITS DOWN AND STARTS READING IT. CAMERA THEN PANS TO A LIGHTED
WINDOW ON THE FIRST FLOOR THROUGH WHICH WE SEE GRANNY MATTHEWS
SITTING IN HER EASYCHAIR KNITTING. CAMERA PANS TO THE LIVING ROOM
WHERE MARY AND JIM MATTHEWS ARE IN CONVERSATION. DISSOLVE TO THE
INTERIOR. THE SCENE IS IN PROGRESS.
JIM
Mary, couldn't you persuade my mother to come in here for a little while?
MARY
She wouldn't have gone to her room, Jim, unless she wanted to be alone.
JIM
You realize that Ma hasn't said anything about Will since the funeral Saturday?
MARY
I know. (A PAUSE WHILE WE HEAR THE RAIN) What's the weather report for tomorrow, Jim, more rain?
JIM
I haven't seen tonight's paper. Where is it?
MARY
I think Russell took it upstairs with him. Jim, I don't mean to criticize you, but knowing Russ - well I don't think you should have insisted he go to his uncle's funeral.
THE DOORBELL RINGS.
MARY
Do you expect anyone, Jim?
JIM
No. (HE GETS UP, GOES TO THE DOOR, OPENS IT. WE HEAR THE RAIN MORE CLEARLY. WE SEE TOM BAXTER IN A VERY GOOD-LOOKING RAINCOAT)
TOM
Good evening, Mr. Matthews.
JIM
Hello, Tom. Come in. (TOM COMES IN, JIM CLOSES THE DOOR) I'll take your coat.
TOM
Thank you. I was very sorry to hear about your brother. It must have been quite a shock to the family.
JIM
It was.
TOM
I'm sorry, Mrs. Matthews, I didn't see you -
MARY
Good evening, Tom. I suppose you want to see Pat -
TOM
Just for a moment if I may.
JIM
Mary, do you want to -
MARY
Yes, I'll tell her you're here, Tom. (SHE GOES UPSTAIRS)
JIM
Won't you sit down, Tom?
TOM
Thanks. (HE SITS) It's a bad night, quite chilly.
JIM
(SITS IN A CHAIR) Every once in awhile we get a cold spell in May.
PAUSE WHILE WE HEAR THE RAIN.
JIM
You drove in from the suburbs, Tom?
TOM
I had to be in town tonight and I -
PAT COMES DOWN THE STAIRS, BEHIND HER IS MARY. TOM GETS UP.
TOM
Hello, Pat.
PAT
Hello, Tom.
TOM
I just want to talk to you for a moment, I really don't want to intrude -
PAT
Why don't we go in here - (WALKING TOWARD THE FAMILY ROOM)
SHE AND TOM GO INTO THE FAMILY ROOM WHERE WE SEE THEM TALKING. MARY AND JIM ARE IN THE FOREGROUND.
MARY
Do you know, Jim, if Tom Baxter - if Pat expected him?
JIM
No I don't. Didn't she say anything to you?
MARY
Not a word.
PAT AND TOM COME OUT OF THE FAMILY ROOM.
TOM
Goodnight, Mrs. Matthews, Mr. Matthews. I'll see you on campus tomorrow, Pat.
BY THIS TIME PAT'S AT THE DOOR WITH TOM. JIM AND MARY SAY GOODNIGHT TO HIM.
PAT
Goodnight, Tom.
TOM LEAVES. PAT LOOKS AT HER MOTHER AND FATHER, SAYS NOTHING, STARTS UP THE STAIRS.
MARY
Pat? (PAT STOPS, TURNS) What did Tom want?
PAT
Nothing.
PAT CONTINUES UP THE STAIRS. MARY LOOKS AT JIM, AND TAKE IT OUT.
FADE TO BLACK
COMMERCIAL
MARY
Jim?
JIM
(WITHOUT TURNING) Yes, Mary?
MARY
What kind of an answer was that?
JIM
(HE NOW TURNS) You mean Pat's answer to you? (SHE NODS) It wasn't an answer. Did you expect one, Mary?
MARY
I suppose I shouldn't have. Whenever I question Pat about Tom Baxter -
JIM
We've been over this before, Mary.
MARY
When are you going to talk to her? You know his reputation as well as I, maybe better.
JIM
In a few days. I know - (A BEAT) Mary, why don't you and I go over to see Liz.
MARY
We were there last night, Jim.
JIM
I doubt if there'll be very many people there tonight. She's lost right now. Will was almost her whole life.
MARY
If you want to go and see Liz, you go ahead. I'll stay home and at least try to talk to your mother. That is if she'll talk.
JIM
She'll talk to you if not to anyone else.
MARY
Well you go over to Liz's.
JIM
I think I will.
MARY
I don't imagine you'll - discuss business tonight -
JIM
I don't know, why?
MARY
Jim, while your brother was living the partnership was a perfect one. But with Will gone - I wish you'd consider buying out your sister-in-law's interest.
JIM
Mary, you've tried to tell me what to do with the business ever since Saturday. I haven't said too much -
MARY
Neither have I, Jim.
JIM
I know how you feel about Liz. She's my brother's wife. But we owed Will a real debt. We can't pay it to him, but it'll be paid to his widow and his children.
MARY
But Jim -
JIM
No, Mary. That's the way it is. That's the way it's going to be.
A BEAT.
MARY
Tell Liz I'll be in touch with her.
HE GOES FOR HIS RAINCOAT AND UMBRELLA, PUTS ON HIS RAINCOAT, OPENS THE DOOR, WE HEAR THE RAIN.
JIM
I won't be gone long, Mary.
HE LEAVES. SHE STANDS THERE A MOMENT LOOKING AFTER HIM, AND THEN GOES OFFSCREEN, PRESUMABLY TO VISIT WITH HER MOTHER-IN-LAW. TAKE THE EMPTY ROOM, THE WINDOW WITH THE RAIN SPLASHING AGAINST IT, AND TAKE IT OUT.
MUSIC: BRIDGE
COMMERCIAL
ACT II
GRANNY'S BEDROOM
GRANDMOTHER MATTHEWS, WHO IS IN HER LATE 60'S, HAS A ROOM WHICH
SERVES AS BOTH A SITTING ROOM AND BEDROOM FOR HER, A BATH. AT THE
MOMENT THE MOTHER OF JIM AND WILL MATTHEWS IS SITTING IN AN
EASYCHAIR, KNITTING A SWEATER FOR HER GRANDDAUGHTER PATRICIA. TO
LOOK AT THIS WOMAN, IF YOU DIDN'T KNOW HER, YOU WOULD NOT BELIEVE
THAT JUST A MATTER OF DAYS AGO SHE HAD LOST HER YOUNGER SON.
PERHAPS IF YOU LOOKED AT HER A LITTLE LONGER YOU WOULD SEE A WOMAN
GLANCE AT A PICTURE ON AN END TABLE, THE PICTURE OF HER DEAD SON. THE
DOOR TO HER ROOM IS OPEN - AND OH YES, IT'S TYPICALLY THIS WOMAN'S
ROOM, FURNISHED WITH FURNITURE SHE HAD BROUGHT WITH HER AFTER HER
HUSBAND'S DEATH FIVE YEARS AGO. IT'S A ROOM IN WHICH SHE FEELS
THOROUGHLY AT HOME. MARY STANDS FOR A MOMENT IN THE OPEN
DOORWAY.
MARY
Mother -
GRANNY
(SHE LOOKS UP FROM HER KNITTING) Come in, Mary.
MARY COMES INTO THE ROOM. WITHOUT REALIZING IT SHE SITS IN A CHAIR IN WHICH SHE USUALLY SITS WHEN SHE VISITS WITH GRANNY, NEXT TO THE END TABLE ON WHICH IS THE PICTURE OF BILL SR. MARY BECOMES CONSCIOUS OF WHAT SHE'S DONE AND REALIZES THAT GRANNY HAS LOOKED AT THE PICTURE INSTEAD OF AT HER.
MARY
It's a very good picture of Will, isn't it?
GRANNY
Yes it is. (MARY GETS UP, WALKS OVER TO ANOTHER CHAIR, SITS DOWN) You didn't have to move, Mary.
MARY
I just thought that - well I know you've been looking at Will's picture -
GRANNY
Something wrong with that?
MARY
No. But Mother? You've had little or nothing to say about Will since the funeral.
GRANNY
What's there to say. What good does it do to say anything.
MARY
You know what Jim says, you have something on your chest, get it off.
GRANNY
I've got nothing on my chest. What's in my heart, that's for me, nobody else. (A BEAT) Where's Jim?
MARY
He went over to see Liz.
GRANNY
Why didn't you go with him?
MARY
I didn't want to.
GRANNY
You should go with your husband, Mary.
MARY
I didn't want to go.
GRANNY
That makes no difference, you should have gone.
MARY
Mother, you're not too fond of Liz, are you?
GRANNY
What a question. One I'm not going to answer. All I know is that she was a wonderful wife to my son. I didn't want to go live with her when Pa died five years ago, anymore than I wanted to live with my own daughter.
MARY
I was so sure Janet would be here this evening.
GRANNY
I'd have been surprised if she came.
MARY
No one in the family has seen her since the funeral, Mother.
GRANNY
I know, Mary.
MARY
She's one person I don't understand.
GRANNY
Janet has always thought I favored the boys.
MARY
Did you?
GRANNY
No. It's just that Janet and me, we never thought alike. That can happen, even with a mother and daughter.
MARY
Does it have to happen?
GRANNY
I've asked myself that same question. Maybe I did something wrong, I don't know.
MARY
You can make mistakes with your children without knowing it. But I don't think either Jim or I are making a mistake with Pat.
GRANNY
You're worried about her.
MARY
Both Jim and I are worried about Pat.
GRANNY
Oh Mary, you're always worried about one of your chicks. If it isn't Russ then it's Alice or Patricia.
MARY
I'll never have to worry about Alice. But Pat - Tom Baxter stopped in a little while ago, why I couldn't tell you. He only stayed for a few minutes. What he and Pat talked about during those few minutes -
GRANNY
You didn't ask her, did you?
MARY
Of course I did.
GRANNY
But you didn't get an answer.
MARY
No. (A BEAT) I just don't trust Tom, neither does Jim.
GRANNY
Are you looking for me to say something about Pat and Tom? If you are, I just don't have anything to say.
MARY
Sorry, Mother. I shouldn't be bringing my problems to you at this time.
GRANNY
Why not?
MARY
Knowing how you must feel about - Will being gone -
GRANNY
There's nothing anybody can do about that.
MARY
If there was only something I could say to you, something I could do to make it a little easier for you.
GRANNY
Oh Mary, you've made things easier for me ever since the day I first set eyes on you. Pa and I liked you right off. I knew I was going to have a daughter, not a daughter-in-law.
MARY
You never told me that, Mother. I can't tell you how - how that makes me feel.
GRANNY
Oh come on now, Mary. You know what we thought about you, how we felt. It was different when Will brought Elizabeth home. But in the long run it didn't make any difference to Pa and me, because she was a wonderful wife to our son. And she has two fine children. Will had a fine family life.
MARY
Both Bill and Susan idolized their father.
GRANNY
Especially Susan. And for good reason.
MARY
What do you mean?
GRANNY
Nothing. (A BEAT) I want to go on with my knitting, Mary. You know - I promised your Patricia I'd have this sweater finished by the end of the week.
MARY
All right, Mother. (SHE GETS UP) Would you like to see Jim when he gets home?
GRANNY
If I'm still up tell him to come in, say goodnight.
MARY
I will. Goodnight, Mother.
GRANNY
Goodnight. And Mary, the next time Jim wants you to go somewhere, whether you want to or not, you go.
MARY SMILES AT HER, STARTS TO LEAVE THE ROOM, AND GRANNY TAKES UP HER KNITTING AS YOU TAKE IT OUT.
MUSIC: BRIDGE
COMMERCIAL
ACT III
THIS SCENE TAKES PLACE JUST A LITTLE LATER, BEFORE JIM'S ARRIVAL AT HIS SISTER-IN-LAW'S HOME. TAKE THE OUTSIDE OF THE WINDOW OF THE LIVING ROOM, WHICH IS A LITTLE MORE FORMAL THAN MARY'S LIVING ROOM. IT'S DONE IN VERY GOOD TASTE. BUT BEFORE WE TAKE THE LIVING ROOM WE TAKE ELIZABETH MATTHEWS INSIDE, LOOKING OUT AT THE RAIN. SHE DOESN'T HAVE CURTAINS, SHE HAS DRAPES. THE DRAPES AT THE MOMENT ARE PARTLY OPEN. WE DISSOLVE INTO THE LIVING ROOM AND SEE A VERY ATTRACTIVE WOMAN IN A MODISH BLACK DRESS, PERHAPS TRIMMED AT THE COLLAR AND CUFFS IN WHITE. SHE STANDS THERE A MOMENT, LOOKS OUT OF THE WINDOW, AND ALMOST TO HERSELF, BECAUSE THERE ISN'T ANYONE IN THE ROOM WITH HER, SHE SAYS AS SHE CLOSES THE DRAPES -
LIZ
Will it ever stop raining.
SHE WALKS AWAY FROM THE WINDOW, AND WE SEE A WOMAN WHO SHOWS A DEEP LOSS. SHE TOO HAS A PICTURE OF WILL, THE SAME PICTURE HIS MOTHER HAS IN HER ROOM, ONLY THIS PICTURE IS BEAUTIFULLY FRAMED. SHE GOES OVER TO THIS PICTURE, AND IF WE CAN SEE TEARS IN HER EYES AND ON HER CHEEKS AS SHE PICKS UP THE PICTURE, WE WOULD REALLY SEE THE DIFFERENCE BETWEEN THE LOSS OF A MOTHER WHO ACCEPTS THIS LOSS STOICALLY, AND THAT OF A DIFFERENT KIND OF WOMAN, THE MAN'S WIFE WHO HAS NOT AS YET ACCEPTED HER HUSBAND'S DEATH. HOLD ON HER FOR A FEW MOMENTS. SHE PUTS THE PICTURE DOWN, TAKES A HANDKERCHIEF TO BRUSH AWAY THE TEARS, GOES TO THE FOOT OF THE STAIRS WHICH LEAD TO THE BEDROOMS AND A DEN, PAUSES A MOMENT, THEN CALLS -
LIZ
Susan - (PAUSE) Susan -
SUSAN
(OFFSCREEN FROM UPSTAIRS) Yes, Mother?
LIZ
I didn't know whether your door was open -
SUSAN
I told you I'd leave it open.
LIZ
Will you be down soon?
SUSAN
In a very little while, Mother.
LIZ STANDS THERE AND LOOKS UP, A LITTLE SKEPTICALLY. THE DOORBELL RINGS. THE SKEPTICISM IS GONE, HER MIND AGAIN ON HER HUSBAND AS SHE ANSWERS THE DOORBELL. SHE DOES NOT EXPECT HER BROTHER-IN-LAW. SHE OPENS THE DOOR.
LIZ
Jim. Jim I didn't expect you here this evening. How nice of you to come.
JIM
I'll leave my umbrella out here, all right?
LIZ
Didn't you drive over?
JIM
No, as a matter of fact I didn't.
LIZ
You mean you walked in all this rain? (AS HE COMES IN)
JIM
It isn't too bad now.
LIZ
Let me have your coat.
JIM
I know where to put it, Liz.
LIZ
I'll take it.
HE TAKES OFF HIS RAINCOAT, GIVES IT TO HER, SHE PUTS IT IN A GUEST CLOSET, AND IT LOOKS LIKE A REAL GUEST CLOSET. HE WALKS INTO THE ROOM.
JIM
Mary was going to come with me, but she wanted to spend some time with Ma.
LIZ
How is your mother?
JIM
Liz, she's a real surprise to me. But I do know how she feels about Will.
TEARS COME INTO THE EYES OF THE WIDOW, WHICH JIM OBSERVES.
JIM
I'm sorry, Liz.
LIZ
Don't be. I think of what happened - I just can't believe it. Only 48 - so young, Jim.
JIM
I know. It's going to take time for you to accept what happened.
LIZ
You believe I ever will accept what's happened?
JIM
Liz, you have to. You have a son, and you have a daughter.
LIZ
Neither of them can ever take the place of my husband.
JIM
I don't think you'd want them to or expect them to.
LIZ
You're right, Jim.
JIM
Where are they?
LIZ
Bill is still at the university, but he did promise he'd come home tonight. Susan is upstairs in her room.
JIM
You're a very fortunate woman, you have two wonderful children.
LIZ
My daughter could be just a little more thoughtful.
A BEAT
JIM
Liz, is it too soon to talk about the business? Because if it is, just say so.
LIZ
No, Jim.
JIM
You're sure you're ready for it?
LIZ
As ready as I'll ever be, yes.
FIRST COMMERCIAL
JIM
Liz, you know how close my brother and I were. No one can appreciate the real bond there was between us.
LIZ
I think I can, Jim. I remember as though it were yesterday - Will came home, told me that you and he were going into partnership.
JIM
I didn't have very much money at the time -
LIZ
I know. But that wasn't any consideration as far as your brother was concerned.
JIM
No one knows that better than I, Liz.
A BEAT.
LIZ
And I.
JIM
Liz, I want you to know that the accounting firm can go on just as though Will were still with us.
LIZ
That's - what I expected - of you, Jim. You know your brother left everything to me. And I have to think of the children, particularly Bill. I want to be sure there's a place for my son.
JIM
Maybe I'm wrong, but I don't think Bill wants to be an accountant. He's said all along that he's going to be a criminal attorney.
LIZ
I know. But I feel so sure that someday he'll want to take his father's place in the business. If he does, I'd like you to tell me there'll be a place for him.
A BEAT.
JIM
Liz, the least I can do for my brother's wife is promise her there'll always be a place for her son.
LIZ GETS UP. THERE ARE TEARS IN HER EYES WHICH JIM NOTICES. SHE TURNS HER BACK TO HIM FOR A MOMENT. A BEAT.
JIM
Maybe we shouldn't have talked about business tonight. Maybe it was too soon.
LIZ
It's all right, Jim. There is just one thing more - a favor I'd like to ask -
JIM
Anything, Liz.
LIZ
I don't want you to mention this conversation to my son. Who are we as parents to tell our children what we think is best for them.
JIM
Sometimes we have to, Liz.
LIZ
In good time, Jim - in good time. And now let's forget about business, and I'll call Susan, I'm sure she'll want to see you. (SHE GOES TO THE FOOT OF THE STAIRS) Susan? - Susan -
SUSAN
(OFFSCREEN) Yes, Mother?
LIZ
Your Uncle Jim is here -
SUSAN
I'll be right down.
MUSIC: BRIDGE
COMMERCIAL
ACT IV
THIS IS LATER. SUSAN HAS GONE TO THE DOOR WITH HER UNCLE. LIZ IS SITTING IN A CHAIR, HER HANDS FOLDED IN HER LAP.
SUSAN
(AT THE OPEN DOOR) Be sure to give my love to Aunt Mary.
JIM
(OFFSCREEN) I will, Susan.
SHE STANDS AT THE OPEN DOOR FOR A MOMENT, LOOKING OUT.
LIZ
Close the door, Susan. I can still hear the rain.
SUSAN CLOSES THE DOOR, COMES BACK INTO THE ROOM.
LIZ
When will it stop. (SUSAN IS ON HER WAY UPSTAIRS) Susan, please don't go upstairs. I've had the feeling ever since your father's gone that you'd rather not be alone with me.
SUSAN
(SHE COMES BACK IN THE ROOM) Whenever I have been alone with you, you've made me feel as though you didn't want me there.
A BEAT
LIZ
Susan, would you mind staying down here until your brother gets home?
SUSAN
(SURPRISED) Bill's coming home tonight?
LIZ
Yes.
SUSAN
Why? This is his first day back on campus, Mother. I hope you didn't make him feel he had to come home.
LIZ
It was his idea, not mine.
SUSAN LOOKS AT HER MOTHER WHO MEETS HER EYES WITHOUT WAVERING.
SUSAN
Are you sure, Mother?
LIZ
Are you trying to tell me that I'm the one who -
SUSAN
I'm not trying to tell you anything. I never have, I never will.
A BEAT.
LIZ
Susan, your father's dead - it's done something to all of us. But remember that you and your brother are young. You have your lives ahead of you. My world - died with your father.
SUSAN
You won't believe me, will you, that Dad's death - is just as much a loss to me, as it is to you. Oh in a different way. But I know I feel my father's loss, in my own way, as much as you feel his loss as a wife.
LIZ
You don't know what your father meant to me.
SUSAN
Oh yes, I know. But somehow - oh well. There's no reason for me to say anything - not tonight.
LIZ
It's been sometime since you and I have talked, really talked.
SUSAN
I'm more aware of that than you are, Mother. When I've wanted to talk -
LIZ
You usually went to your father.
SUSAN
Yes - to Dad. (A BEAT) I have no one to talk to now, Mother.
LIZ
You have me, Susan.
SUSAN
You? We never really talked as mother and daughter, you know that.
LIZ
I don't know any such thing. Susan -
SUSAN
Not anymore tonight, Mother, please.
LIZ
Just as you say.
SUSAN
Is it all right if I go up to my room now?
THE DOOR OPENS.
BILL
(WEARING A SLICKER) Sorry I'm late -
LIZ GETS UP, AND ALTHOUGH THERE ARE TEARS IN HER EYES, THERE'S A SMILE ON HER LIPS.
LIZ
Late or early, it doesn't make any difference, I'm glad you're home.
SUSAN
(CHANGE OF MOOD) And how is the attorney this evening?
BILL
He's just fine, sis. (HE'S TAKEN OFF HIS SLICKER BY THIS TIME AND HUNG IT UP IN THE GUEST CLOSET)
SUSAN
I was just going up to my room - anything I can get you before I go?
BILL
No thanks, Sue.
SUSAN
(LOOKING AT HER MOTHER) Bill's home now, Mother, so I guess it's all right if I go upstairs. Goodnight.
BILL LOOKS FROM HIS MOTHER TO HIS SISTER, SENSING THAT THINGS ARE NOT QUITE RIGHT BETWEEN THEM AS HE HAS SENSED ON AND OFF IN THE PAST.
LIZ
Goodnight, Susan.
BILL
If there's a light still on in your room before I turn in -
SUSAN
Be sure to knock. 'Night.
BILL
Goodnight
SUSAN GOES ON UPSTAIRS AS LIZ CROSSES OVER TO THE WINDOW, PARTS THE DRAPES.
LIZ
It's still raining, isn't it.
BILL
Yes, it is.
LIZ
Would you like me to get you something, Bill?
BILL
I had dinner. But on second thought I do feel a little empty. Just a growing boy, Mother.
LIZ
You're no longer a boy.
BILL
I haven't quite reached my majority, I'm not 21.
LIZ
Time goes quickly.
BILL
Don't I know that - too quickly sometimes.
LIZ
Whether you realize it or not, you're the man of the house now. Your father is gone, you can't be a boy any longer.
BILL
I know that too.
AGAIN THERE ARE TEARS IN LIZ'S EYES, AND HER SON GOES OVER TO HER AND WITH A SENSITIVITY DEEP WITHIN THE YOUNG MAN HE SAYS -
BILL
Don't, Mother. Don't tear yourself apart like this.
LIZ LOOKS AT HIM, PUTS HER ARM AROUND HIM, MUCH AS SHE WOULD HAVE DONE WITH HER HUSBAND, AND WITH A BREAK SHE SAYS -
LIZ
I'm so grateful I have you, so - grateful, Bill.
MUSIC: BRIDGE
ANOTHER WORLD
SHOW CLOSING
| BLACK | MUSICAL BRIDGE TO TITLE THEME |
| TITLE CARD: | ANNOUNCER: |
| Be sure to join us again tomorrow for another half hour of drama "ANOTHER WORLD" | |
| ON CREDIT DAYS | |
| SHOW SIGNATURE CARD | CREDITS RUN OVER SHOW |
| SIGNATURE CARD | |
| "ANOTHER WORLD" | SHOW ROUTINE |
| AIR DATE: 5/4 | EPISODE: # 1 |
1. Opening, Show Logo, Theme & Announce
2. Commercial BB :22-:34
3. Act I (A) :35-
4. First Commercial 4:48
5. Act I (B) 5:50
6. Second Commercial 8:55-9:55
7. Act II 10:00-
8. Announcer: Third Commercial 14:27-15:27
9. Music and Announce
10. Show Logo and opening Commercial BB 15:40
11. Act III (A) 15:50-
12. Fourth Commercial 18:39-19:39
13. Act III (B) 19:45-
14. Fifth Commercial 21:56-22:56
15. Act IV 23:01-
16. Sixth Commercial 27:03-28:03
17. Credits
18. Show closing BB 28:08-28:20
19. Stay Tuned (over crawl)
20. NBC Production Tag 28:30-28:36
OFF AIR: 3:28:36