From lisa@ah5.cal.msu.edu Mon Jun 27 08:19:18 1994
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Date: Mon, 27 Jun 1994 11:10:48 -0400
From: Lisa Klobucar  CIS-AH  MSU <lisa@ah5.cal.msu.edu>
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To: AWifno@ah5.cal.msu.edu
Subject: Friday Update
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From: VKOROSEI@midas.sinclair.edu
Newsgroups: rec.arts.tv.soaps
Subject: AW: Friday Update, June 24, 1994
Date: 27 Jun 1994 09:50:31 -0500
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Well, this is Wimbledon week, so we probably can expect some 

preemptions; in the meantime, here is the update for Another World 

for Friday, June 24:



     Waterfront - John is tracking down Sharly, and finds that 

she's turned into a distressed Kate.  She's in tears, begs him to 

tell her what's happening to her, what's wrong with her.  He 

hesitates, asks what she's figured out so far.  She says she's 

losing whole chunks of time, ends up in strange places and strange 

clothes but so far she's managed to get herself back home; then 

there was her viciously trashed closet and the guy who burst in 

demanding his money back - she's appalled at what she probably did 

to deserve that.  John reassures her nothing happened, he threw 

the guy out, but he didn't think she'd believe him if he tried to 

explain.  He confirms that her blackouts could recur due to her 

psychological condition.  She's afraid for herself and for Luisa 

and Tom'as, she can't deal unless she knows the truth.  He wants a 

therapist present when he tells her, but she panics.  He figures 

it's a subconscious memory of Taylor Benson, and he tells Kate how 

Taylor took advantage of her patients' vulnerability, eventually 

using Sharlene's to kidnap and try to kill her.  But you don't 

believe Sharlene died in the explosion, says Kate - why can't you 

reach her, why won't she come back.  She probably can't, John 

answers.  He chooses his words carefully, describing Sharlene's 

symptoms, the onset of her blackouts, and compares them to Kate's 

symptoms.  Kate wants to know what it's called; Multiple 

Personality Disorder, he tells her, brought on by childhood 

trauma.  Sharly came out to handle all the rage and hatred that 

Sharlene couldn't face; she hated men as much as she hated 

herself, she was ruthless, smart, sarcastic, the keeper of all 

Sharlene's painful memories - and she wanted Sharlene gone for 

good.  Looks like she got her wish, says Kate.  I don't think so, 

John replies.  Do you agree with Josie, asks Kate, do you think 

I'm Sharly?  Yes, he answers, you were my wife.
     Kate agrees she may have MPD, but she's not convinced she's 

Sharlene - how could she not remember being married to him, or 

giving birth to 2 children?  John tells her with embarrassment 

that he had hoped their making love would have brought back some 

of Sharlene's memories.  Kate says she's not sorry that happened: 

you still love Sharlene, but I love you.  She starts to hold him, 

but he pulls back, he doesn't want to make another mistake.  It's 

not a mistake to talk to me like this, to finally tell me the 

truth, she says; but I'm not Sharlene, and to wish her back is 

like asking for me to not exist anymore.  John smiles ironically, 

see how complicated helping you has become?  She says she knows he 

can only love Sharlene, but he's the only one she trusts to help 

her get well; they embrace.  He warns her that her blackouts are 

getting dangerous; she says they started when she met him, maybe 

she should just stay away from him.  I was nowhere near you during 

the last one, he reminds her; it scared Tom'as to see the 

apartment torn up, you really need to be in therapy.  She says 

she'd do anything to protect her kids, but she's still scared to 

death at the idea of a therapist, maybe there's no way out for 

her.  There's one more thing we could try together, John offers.  


He proposes that they spend some time alone, so he can tell her 

everything about Sharlene - how she lived, what she cared about, 

how she thought - and maybe Kate will think differently.  Kate is 

afraid he just wants to get Sharlene back - he'll get his wish, 

but Kate won't be around to get hers, or maybe Sharlene will get 

Kate's wish instead.  No, John claims, he just wants to answer all 

her questions, it's up to her.  Just us, Kate wants to know, no 

shrinks, no drugs, no hospitals, no nurses?  She asks for some 

time to think it over.  Fine, says John, then he offers to take 

her home:  J: "Miz Baker, may Ah have the honor of escortin' yew 

to your rezidence?"  K (taking his arm): "Wha, thank yew, Ah'd be 

chahmed."  J: "Mah pleasure, Ah'm sure."

     Harbor Club (Ian's office) - MEANWHILE, Josie is kicking 

herself for chasing Sharly away with that lie, that Sharly was 

what drove Josie to become a hooker.  Ian tries to reassure her 

that it wasn't her fault.  He offers her a cup of coffee and a 

friendly ear.  She says she understands Sharly better than most 

(hooker-to-hooker) - Sharly hates herself, she chases tricks to 

prove how worthless she is.  I did the same thing when I worked 

for Bonnie, Josie says.  She tells Ian that she blew it with her 

first love (Matt) because of her selfishness, but she's trying to 

change her priorities now.  Ian tells her to stop running herself 

down, she deserves to be happy.
     Later, as Josie works folding flyers, he compliments her on  

her ability to open up and talk honestly.  She has a personal 

question for him: what went wrong with you and Paulina?  He 

explains that she wanted stability, commitment, children, and he 

wasn't ready to settle down.  Josie admits she feels the same way, 

too much to see, too many things to make right.  You don't have to 

do it alone, Ian says.  He starts to kiss her, but she neatly 

avoids it.  He tries again; she starts to respond, then pulls away 

shyly.  Ian pulls out the sofa bed, telling her to trust him (!).  

She sits on the end of the bed, he pulls off her boots and removes 

her blouse.  He has her lie on her stomach, and he starts to 

massage her shoulder blades and upper back.  Relax, he tells her, 

let go of the tension, fear, pain; don't think about the past or 

future, just think about here and now - it doesn't have to be all 

or nothing, there are places in between.  He stretches out beside 

her and encourages her to sleep.
     Later she stirs, sees Ian asleep beside her; she gathers up 

her things, gazes at him for a few moments, and exits.


     KBAY - Tom'as hears Angela's voice, and nearly knocks down a 

piece of scenery trying to see if it's really her.  Maggie notices 

his agitation, but he tells her it was nothing.  Felicia enters 

and tells Maggie that Dean and Jenna are on the phone.  Maggie 

rushes out, and Felicia reassures Tom'as not to be jealous of 

Dean.  He asks her about her new assistant, and she says her name 

is Angela, she just moved here from "another place."  Felicia 

rushes back to the phone to say goodbye when Maggie finishes.  

Maggie excitedly reports that Dean needs her to replace his 

back-up singer in New York for a week, then she runs off to tell 

Tom'as.

     Meanwhile, Tom'as spots Angela through the production booth 

window, sorting tapes for Felicia.  He flashes back to when he 

found the wallet he got for graduation, and realizes it must have 

been from her.  He's about to confront her when Maggie bounces in 

with her news.  Tom'as thinks she should go; he'll be jealous of 

Dean, he'll miss her, but he'll use the time to settle some of his 

own hassles without interruptions, and he'll be happier when she 

returns.  Maggie says don't be jealous of Dean, I'm saving myself 

for you.  They kiss, as Angela watches from the booth.  Maggie 

suggests they take advantage of the empty Cory mansion, but Tom'as 

wants their first time to not be rushed.  He reminds her she has 

to pack and get ready if she's leaving this afternoon; he'll take 

her to the airport.
     Angela has been listening to all this over the studio mike 

[quick work for her first day on the job, eh?].  She switches it 

off as Felicia enters - I've finished all the work you gave me, is 

it o.k. if I leave early [quick work for her first day on the job, 

eh?]?  She says she wants to get ready to meet an old friend; we 

haven't been close in a while, but I intend to change all that 

starting tonight...  Felicia fires her on the spot.  (Not really; 

she should have, but instead she actually lets her leave early.)  

Angela is on her way out when Tom'as catches up to her - what are 

you doing here, he demands angrily.


     Cabin in the Wilderness - Jake is holding up a blanket so 

Paulina can get out of her wet clothes and wrap herself in the 

other blanket.  They share a tender moment when he tells her all 

he wants is for her to be safe.  They draw closer...then she 

sneezes in his face.  I'm allergic to near-death experiences, she 

tells him, and also to mold, so you'll have to clean up the cabin 

for me.  He says she can get the woodland creatures to help her; 

besides, the mood is broken.  She's furious that he just wants to 

seduce her, but he claims he was just being nice so they wouldn't 

fight, she should be a little grateful for all he's done so far: 

the fire, the blankets, etc.  Besides, he says, I wouldn't waste 

what I have on a woman who will never ever ever trust me.  He 

leaves to find food, as she continues to sneeze by the fireplace.
     Carrying on a running dialog with herself (last year the 

jungle, this year the wilderness - I need a new travel agent), 

Paulina roots around the cabin for something to eat.  She 

discovers an old can of tuna, but she's woozy with hunger.  Jake 

enters with an armful of leaves, and catches Paulina as she starts 

to pass out.  He helps her to a chair, and shows her the leaves he 

brought back, she'll feel better when she eats.  What am I 

supposed to eat, she carps, all we have are those stupid leaves 

and an old can of tuna we can't even open...  TUNA?! Jake cries - 

he grabs the can and rushes outside to find something to cut it 

open.  He returns victorious: "How would you like a little 'salade 

nicoise a' la Jacques'?"
     Jake prepares the table (complete with wildflowers) as 

Paulina puts her dry clothes back on; she notes that the salads, 

etc., actually look great ("So do you," Jake ventures).  He seats 

her like a fancy restaurant, and they start to eat.  Paulina is 

impressed that it tastes like real food - not just the tuna, she 

also recognizes lemon clover, dandelion greens, and biddlehead, 


real gourmet stuff.  She apologizes for her nasty remarks, and 

he says no problem, I know you get grumpy when you haven't 

eaten... another moment of familiarity, the atmosphere is thawing.  

Eat up, he says, it may be our last meal for a while.
     As they finish, Jake suggests they resume their journey.  She 

smiles at him, saying she has the energy now, thanks to him.  

She's starting to warm up to "their" cabin; maybe we should stay 

for a while, Jake suggests, what do you want for dessert?  Paulina 

takes this as a double entendre, starts to get indignant, but he 

tries to get her to be quiet.  She doesn't get the hint and keeps 

protesting until, with one final "Shut up!" he goes over to her 

and claps his hand over her mouth.  In the silence, they both hear 

a motor - "and a helicopter, let's go," cries Jake.  They dash for 

the door.  FREEZE FRAME.



     And that's all the news.

Sincerely,

Vicky (vkorosei@midas.sinclair.edu)

