PREMIERE EPISODE


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.


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
SCHEDULE
WRITERS: IRNA PHILLIPS AND
Prev. Day
WILLIAM BELL
4:30-6:30 Central Plaza
111 2nd Avenue
PRODUCER: ALLEN POTTER
9:00-11:00 Rehearsal -
Brklyn. Studio
ASSOC. PRODUCER: DORIS QUINLAN
11:00-12:00 Make-up
+ Costumes Bklyn. Studio
DIRECTOR: TOM DONOVAN
12:00-1:15 Camera Blockage
Bklyn. Studio
PROD. ASST: CHARLOTTE ADRAT
1:15-2:00 Run through
2:00-2:30 Dress Rehearsal
ORGANIST: CLARKE MORGAN
2:30-3:00 Break
3:00-3:30 AIR

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


TAKE IT UP ALMOST IMMEDIATELY. MARY IS NOW SITTING ON THE COUCH, JIM IS LOOKING OUT THE WINDOW.

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


TAKE IT UP A MINUTE OR SO LATER. DO NOT LOSE SIGHT OF THE FACT THAT HERE IS A WOMAN WHO IS LISTENING TO HER HUSBAND'S BROTHER AND WHO IS MOST KNOWLEDGEABLE ABOUT EVERYTHING THAT EVER WENT ON BETWEEN THEM FROM THE TIME THE TWO BROTHERS FORMED A PARTNERSHIP. SHE'S WAITING FOR HIM TO OPEN THE SUBJECT.

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