OLTL Transcript Thursday 12/18/03

One Life to Live Transcript Thursday 12/18/03

Provided by Amanda
Proofread by Kathy

Starr: Where's Mom?

Todd: She went out. What's up?

Starr: You're taking me to Angel Square for the tree-lighting.

Todd: Oh, right, I'm sorry. Yeah, let's go.

Starr: Wait. Without Mom?

Todd: I guess so.

Starr: What's going on? Did you and Mom get in a fight or something?


[Christmas music plays]

Blair: Kevin, I don't think we have anything to say to each other.

Kevin: Oh, just give me five minutes. Please?

Marcie: Look, they're getting ready to light the tree.

Man: Let's go help.

Marcie: Okay, yeah.


Luna: Don't you do it. If you break the rules and you tell Marcie the truth, you are going to destroy all the wonderful work you've just done.

Al: Well, the way I figure it, I got nothing to lose. I mean, you could be wrong.

Luna: About what would happen? No, Al!

Al: You have no proof that I'll get sucked out of this body and sent to -- well, wherever it is they're going to send me, okay?

Luna: All right, all right, let me put it this way -- if you tell Marcie who you are inside, I cannot be responsible for what will happen to you.


Carolers: Deck the halls with boughs of holly fa-la-la-la-la -l-la-la-la 'tis the season to be jolly fa-la-la-la-la la-la-la-la don we now our gay apparel fa-la-la, la-la-la la-la-la troll the ancient

Matthew: Whoa, look at the tree!

Nora: Yeah, it's neat, huh?

Matthew: Man, I'm so lucky. I got Hanukkah and Christmas.

Nora: Yeah.

Matthew: Hey, are you all right?

Nora: What?

Matthew: Are you all right?

Nora: Yes. I'm fabulous as long as I'm with you.

Carolers: While I tell of Yuletide treasure fa-la-la-la-la la-la-la-la

[Christmas music plays]


John: Okay. Ridgeview, Susan Gelman. Atlantic City, Noralyn Atkins. Jane Small, Wilmington. Elyssa Collins, Llanview.

John: There's your box.

Bo: All right, go ahead and have him processed, and tell everybody I said nice work.

[Knock on door]

Bo: Yeah, come in.

Officer: This came for you in the mail, Commissioner. It's marked "Urgent."

Bo: What's with the gloves?

Officer: Yeah. There's a couple of spots here on the bottom, kind of looks like blood.

Bo: Just set it here.

Bo: Go ahead and take this down to forensics, have it analyzed. Thanks, Luis.

Luis: You got it.

[Phone rings]

John: McBain.

Bo: We just got a message from the killer.


Starr: I'm right, aren't I? Mom knows that you're not Walker and that you're Todd, doesn't she?

Todd: Yeah, I think so.

Starr: How could you let this happen? How could you let this happen? This is the worst thing --

Todd: Take it easy.

Starr: That will ever happen in the whole entire -- oh, my gosh!

Todd: Take it easy. I don't know that's what's wrong, and I can't do anything about it till I do.

Starr: Well, then when will you know that everything is okay and something's not wrong?

Todd: Shh. I'm going to need your help. All right? I need to find out what she knows and what she's planning to do.

Starr: Me?

Todd: And in the meantime -- and this is really important -- you have to pretend like everything's okay. You have to pretend like it's totally cool. You got it?


Blair: I don't think that I have ever been in here before.

Kevin: Well, beats being out in the cold.

Blair: Yeah. So you've got five minutes, Kevin.

Kevin: All right. Uh, look, this game you're playing with Todd --

Blair: I know -- I will regret it for the rest of my life. So for argument's sake, I want to know what you think. How do you think I should deal with Todd?

Kevin: Well, I think you should go to a divorce lawyer right this second.

Blair: As soon as I know that I've got everything lined up so that Todd can't take my kids, Evangeline Williamson is going to file the papers.

Kevin: Well, good. And then?

Blair: What?

Kevin: Well, are you going to come to me? You know that's what I want. And I, you know, think in your heart, you want that, too.


Carolers: Joy to the world the Lord is come let earth receive her king let every heart

Roxy: Ev'ry heart hey, baby, you know, everybody deserves a 30-minute break.

Natalie: I thought you were headed off to Atlantic City.

Roxy: Yeah, well, I was banging on the door as the last bus was leaving. So I figured you were cooped up in that bar, I had to get you out of there.

Natalie: It's called working.

Roxy: Yeah, well, I call it moping. You've been doing it ever since I gave you Cristianís presents. Honey, you can't go looking like your passport photo for the rest of your life, you know.

Natalie: The Square looks good.

Female carolers: Repeat the sounding joy

Male carolers: Repeat the sounding joy

Female carolers: Repeat the sounding joy

Male carolers: Repeat the sounding joy

Carolers: Repeat, repeat the sounding joy he rules the world with truth and grace and makes the nations prove the glories of his righteousness

Female carolers: And wonders of his love

Male carolers: And wonders of his love

Female carolers: And wonders of his love

Male carolers: And wonders of his love

Carolers: And wonders wonders of his love


Man: That was great, Riley. I always figured if it didn't rock, you didn't know it.

Riley: Do not let it get out.

Man: Yeah, right.

Riley: No, actually, I'm back at L.U. next semester, studying music theory.

Man: Get out! With Cromley?

Riley: Yeah.

Man: Me, too, man.


Al: Marcie?

Marcie: Oh, Michael. Could we not get into anything tonight? Come on, I'm having a really good time.

Al: Listen, all I need is a couple of minutes, okay?

Marcie: No. Come on, we're singing. I just want to forget about things.

Al: Listen, please, it's really important.

Man: Marcie just said no, didn't she, pal? Let's not have this be a problem, okay?

Al: "Pal"? Uh, you want to make this a problem, we can do that, pal.

Marcie: Michael.

Man: They're caroling at the quad, too. Let's go there.

Al: No, Marcie, Marcie, please. No, just hear me out, okay? This is really important. You have to listen to me, please.

[Marcie sighs]


John: Hey. Thanks for coming.

Bo: Sure. I take it you don't plan on entertaining much.

John: Not this trip.

Bo: Brought you a copy of that message that the killer sent us. Sent the original to forensics. I don't know if they can come up with anything, but it's worth a shot.

John: Right.

Bo: And I got some good news, if you can call it that. The Jacobs murder? It was a copycat. We caught the guy.

John: Why'd he do it?

Bo: Because she was going to testify against him. It's all about money. He thought if he dressed it up like the Music Box Killer, then he'd stand a chance of getting away with it.

John: He got alibis for the other two women?

Bo: He was out of the country for two of them.

John: Bo, you really think this is from our guy or is it just someone yanking our chain?

Bo: I don't know. I can't even say. But all these numbers and letters -- I can't figure that out.

John: "F/C, D3C, A2/C."

Bo: It's all Greek to me.

John: Me, too. The last two are just numbers -- "4/4, 5/4."

Bo: Yeah, four murders, four locations? Four murders, five locations? I -- maybe it just means something to this psycho.

John: Maybe. Or maybe some kids at the university are playing games with us.

Bo: Yeah? What's that, crime scenes?

John: Yeah. Check this out. We got Ridgeview, Atlantic City, Wilmington, Llanview. First four murders made a box.

Bo: Music box.

John: Hmm. Problem is we got ourselves three murders in Llanview.

Bo: Yeah. Yeah, I brought you something else. This is --

John: What do you got?

Bo: Greater Llanview, PA.

John: May I?

Bo: Please.

John: Okay. So the first murder took place in Angel Square.

Bo: Yeah, right there.

John: And the second one?

Bo: Palace Hotel, corner of High and Cornith. Right.

John: And the third one was on campus.

Bo: Yeah, Llanview University. This guy's making another box.

John: Within a box. And by all accounts, that means the next one should be placed somewhere in that area there. You familiar with that?

Bo: Yeah. That's my father's estate, Asa Buchanan.

John: The old man should be all right. He -- he's just after young women. Anybody else live with your dad? Say, someone who's young, female?


Carolers: Angels we have heard on high sweetly singing o'er the plains and the mountains in reply echoing their joyous strains Gloria

Kevin: I don't want to push you into anything. But if you're going to leave Todd, and you know that Kelly and I are through, would you? Would you come to me?

[Blair and Kevin sigh]

Kevin: I can't believe you still love the guy. After everything he's done to you, you -- fine. But know this -- listen to me -- I will not be part of some emotional game so you can get Todd back. I guess my five minutes are up.

Blair: Kevin. You're right, I'm not -- I'm not thinking clearly.

Kevin: Well, you're angry.

Blair: Just -- just give me a little more time, all right?

Kevin: All right. As long as it's not to play me, too. all right? You can't let your anger drive you, Blair, or you'll lose it all and you'll end up with nothing.

Carolers: And the mountains in reply


Carolers: Echoing their joyous strain Gloria


Flash: Hey, your Mom's got to get back to work, so I'm going to take you to Billyís. Is that cool?

Matthew: Yeah.

Flash: All right.

Nora: Thanks, Flash.

Flash: Hey, no problem. Ever since I moved in with Asa, I don't get enough time with my main man over here.

Nora: All right. Bye, Sweetie. Behave. Thanks.

Flash: Bye. No problem. We are going to have a good time.

Starr: Matthew! Hey, I didn't know you were going to be here.

Matthew: Hey, did you see the tree?

Starr: Yeah, I did. It was cool, right? We'll be right back, okay?

Todd: All right. Ahem.

Flash: Oh, whoa, the babysitter. Hey, hey, hey. Come on, let's go. Last one there's a rotten egg.


Carolers: Which inspire your heavenly song Gloria

Todd: Hey. What are you doing here? Angel Square Hotel, huh? That's slumming even for you, Kevin, isn't it?


Carolers: Gloria

Marcie: Can we please get this out before next Christmas maybe?

Al: Okay, it's just that, um -- well, you see --

Marcie: What?

Al: The thing is --

Luna: Oh, goddess, I've got to do something!

Al: The thing is --

Man: Hey, look, Marcie doesn't need this, all right? She's -- she's been through lot. Can we just --

Al: Could you just give me a minute here, please?

Marcie: Listen, it's okay, Greg. But I got to admit, for someone who is desperate to talk to me, you're taking your time!

Al: Okay, okay, I know. Listen, the thing is that I'm -- I'm Michael, right? Okay, but --

Marcie: Yes, I know that.

Al: At the same time -- oh, man, how do I -- I'm -- I'm Michael --

Greg: What the hell did you just say?

Al: Will you just give me a minute here?

Greg: I am not going to let you badmouth me like that.

Al: Hey, hey, will you just get the hell out of my face, huh?

Luna: Oh!

Marcie: Oh, Michael! Michael, are you okay?

Greg: Oh, man, I'm so sorry. I --

Al: No, okay? I am not okay. Will you look into my eyes, please? Just look as deep as you can in my eyes. What do you see?

Luna: Don't you dare.

Al: It's me.

Luna: Donít. Don't do it.

Al: Marcie, it's me, Al, inside of this body. It's me, Al. I need you to see me.

Marcie: No --

Al: I need you to feel me, Marcie! Please?

Marcie: No.

Al: Please.


Nora: Where in the world do you get off coming up with something like that? I don't even believe you.

Daniel: Nora, why are you trying to convince yourself that it's not Troy MacIver?

Nora: Because he's in Statesville prison. And I read his psych report. He's much better. That's why he was transferred out of St. Annís.

Daniel: Nora, Nora, look, all I do is follow the evidence. Now, we have MacIverís bag loaded with evidence linking him to the music box murders. You even I.D.'d his bag yourself, remember?

Nora: No, I didn't, no, I didnít. What I said was that Troy --

Daniel: Of course, of course. I'd be a little defensive, too, if some lunatic was going around killing people because of me.

Nora: What?

Bo: Have you guys had a chance --

Nora: What did you just say?

Bo: To look at that message from the killer?

Daniel: Uh, yeah, yeah, I studied it. Doesn't make a lot of sense, though. Hey, Son. I'll be with you in a minute, okay? What about the F.B.I.? You guys come up with anything?

John: I faxed a copy of the letter to the field office in New Jersey and to Quantico. They'll get their code-breakers on it.

Bo: Flash, could I see you in my office for a second?

Flash: Sure.

Bo: Nora?

[Phone rings]

Bo: This is just an educated guess, but we have reason to believe that the next place that the killer will strike is Pa's house.

Nora: What?

Flash: What?

Bo: It's not a fact. This is just a theory, and I'll tell you what we found later on. But now we have Kelly staying at Pa's house. She doesn't fit the profile. Neither do any of his staff members. But, Flash, since you enrolled at the university, you fit it.


Riley: So you think this might be some kind of code?

Daniel: Look, nothing here for you to see, Riley. This is authorized personnel only. Look, son, this is -- we don't have any idea.

Riley: I just thought I could help because it seems like it might be music-related.

John: Wait a minute, you -- you know music? You think that has something to do with music?

Riley: Well, maybe. 4/4 and 5/4 are both tempos. You know, four beats to the bar, five beats to the bar?

John: What about these other combinations?

Riley: I don't know, but the letters are all names of musical notes. But, you know, A, B, C, the sequence -- that would take some work, but --

John: Have a seat.

John: What are you waiting for? Come on. Rock and roll, man.


Greg: Michael! Hey, man, wake up! Michael. Just wake up, man. You're going to be all right just open your eyes. Come on, Michael. There you go, there you go. No, no, no. No, don't try to get up, man. Just take it easy, nice and easy, all right? You're going to be okay.

Luna: I'm sorry, sugar, but I warned you.

Al: I don't feel so hot, Luna.

Luna: Darling, you're fading fast. The forces, they're pulling you away.

Al: I can't leave Marcie. Please, Luna, there's got to be something that we can do. You got to help me.

Luna: Darling, I -- I canít.

Al: Luna, I love her. Please, you -- you have to help me. I swear I won't break the rules this time, but you have to hel pme, please.

Luna: Darling, I don't know what I can -- hang on. There might be one last thing I can try.


Michael: What the hell am I doing here? Get away from me. What's the matter with all you people? Marcie? What's going on?

Marcie: Don't you "Marcie" me. How dare you!

Michael: What?

Marcie: I am sick of you! I'm sick of you and I'm sick of all your games! I could just scream!

Michael: What -- what games?

Marcie: You know, I can't -- how you could do this, it's really -- it's beyond me!

Michael: What are you talking about?

Marcie: You told me that you were Al. You told me to look inside of you and that I would see Al!

Michael: Are you nuts?

Marcie: You're the lowest. You're despicable!

Al: Apologize to her.

Michael: Why does my jaw hurt? And quit yapping at me, Marcie. You know, anybody ever tell you you're a real wacko? I don't need this.

Greg: Marcie, are you okay?

Marcie: I just -- I need to get to work.

Greg: Come on, I'll walk you.

Marcie: Okay.


Todd: Hey.

Blair: Hey.

Todd: Starr and I were looking for you.

Blair: Well, I was here. I just got out of the cold for a while.

Todd: Okay, well, let's not tell Starr that you and Kevin were having sex in a sleazy hotel, okay?

Kevin: I don't have time for this. As usual, you don't know what you're talking about.

Blair: What are you up to?

Todd: What do you mean?

Starr: Mom! Mom, you're here! Oh, my gosh, I didn't know you were going to ere! See, she's here and we're all together and it's the best Christmas, isn't it?


Bo: From now on, you will have either a uniformed or a plainclothes officer with you around the clock.

Flash: I don't want --

Bo: And, no, no arguments, all right? This all starts right now.

Nora: No matter where you are -- studio, on campus, in your room -- I don't care, okay? Someone's going to be with you.

[Knock on door]

Bo: Yeah?

John: You got a minute? I'd like to show you something out here. This -- this Riley kid's got some good ideas about the code.

Riley: Well, it's definitely got to be about music. And I think the raised number means the octave.

John: What about that -- you have "3/C" --

Riley: The third F above middle C. But I still can't figure out what the letters themselves mean.

Daniel: Just keep working, Riley.

John: You think maybe they're letters of the alphabet?

Riley: Maybe. But -- you know, it might help if I had a piano.

John: What? A piano. I got one in the lobby of the hotel where I'm staying. Will that do?

Riley: Yeah.

John: Let's go.

Riley: Now?

John: Yeah, now. Come on.

Bo: I'll meet you there.

John: All right. Shotgun.


Nora: I don't think we need to tell Asa about this just yet.

Flash: Yeah [jumbled]  going to explain?

Nora: Good point. Maybe we'll get Nigel in on it to start. You scared?

Flash: I'm okay don't worry about me. But I am sure going to stay the hell away from Matthew.

Nora: Oh, come here. It's going to be all right. It's okay , this is just a theory they have, you know, based on a pattern. And they have been wrong about things before, okay?

Flash: I'm going to go be with Riley.

Nora: Okay. I'll see you soon. Officer would you -- love.


Greg: Are you sure you're okay, Marcie?

Marcie: Yeah, yeah. Michael was just weird and obnoxious, I don't --

Greg: Yeah, well, but we were having a good time before he showed up.

Marcie: Yeah, wasn't your fault.

Greg: Well, uh, maybe -- maybe we'll do it again sometime.

Marcie: Yeah. Sure, I'd like that. See you later?

Greg: Yeah. Bye.

Marcie: Bye.

[Marcie sighs]


Al's voice: Inside this body, it's Al. Please! You got to feel who I am, please, Marcie.

Al: Marcie. Marcie? Oh, God. I really messed up. You know, I only wanted you to be happy -- you know, us to be happy.


Al: Luna. Come on. I'm running out of time here.


Natalie: Okay, that's it, Roxy.

Roxy: No, no, no, just another couple in. Come on, hang with me, baby.

Natalie: All right, a few more minutes.

Roxy: Good, good. Good.

Natalie: Hey, there, Nigel.

Nigel: Oh, Ms. Natalie.

Natalie: Hey.

Nigel: Roxanne, hello.

Roxy: [jumbled] a little late

Nigel: Oh, thatís all right. I just came to wander about and dream.

Roxy: About what, the snow?

Nigel: that magnificent edifice.

Roxy: What, that slag heap over there?

Natalie: That's a residential hotel. John McBainís staying there.

Nigel: 15 rooms, four stories, established1855. Did you know that Angel Square was the equivalent of [jumbled] or Washington Square in New York? But alas, time changes everything

Roxy: Isn't that fascinating. What are you dreaming about that place for?

Nigel: I've always had a secret desire to buy it, fix it  up, restore it to its former grandeur.

Natalie: Why don't you?

Nigel: Oh, no. I'm just a gentleman's gentleman in [jumbled].

Natalie: That is a crock. You know, you are whatever [jumbled] to be.


Bo: We're lucky. At least this thing still has all its teeth.

Riley: Okay F above C, and the third D above middle C.

Nora: Yes, this is A.D.A. Buchanan. I'd like to set up a meeting with one of your inmates. Troy MacIver.


Starr: Oh, I'm so tired.

Blair: Well, I tell you what, you get upstairs, you've still got some homework to do, and I'll be up in just a minute to help you, all right?

Todd: Sounds like a plan.

Starr: Good night, Walker.

Todd: Night.


Riley: Okay. If you change the notes to letters going up the keys alphabetically, this is how it works out. Although this may not be the code.

Bo: We know that.

Daniel: Good work, son.

John: F-R-O-N-T.

Bo: "Front." Front of what?

John: Could be front like a fake, a facade.

Riley: I left out the tempos -- 5/4, 4/5, so maybe that's in front of something.

John: You did real good, Riley. I'm going to give this to Quantico, get the cryptologists on it. We'd better hurry. We don't know how much time we have before this guy hits again.


Bo: Don't take your eyes off her, Aaron.

Aaron: Yes, Sir.

Daniel: I'll be right there. Hey, Riley -- I'm proud of you.

Riley: Hey, what's with the cop?

Flash: Oh, I'll tell you about it later. Right now can you just hold me?


Roxy: That crummy building couldn't cost too much.

Natalie: Yeah, how many years have you been saving, Nigel?

Nigel: 21. And I expect I'm close to what it costs.

Roxy: Well, you're not going to let a measly couple of bucks stand in your way. Come on, we're going to go check it out.


John: I'll catch up with you later. Hey. Come down for the tree-lighting?

Natalie: Yeah, I took a break. How's the case going?

John: The case. Well -- well, maybe we caught a break. I'm not going to exhale until we've got this guy chained to a wall. It's a good tree.

Natalie: Hey. Uh, thanks for helping. The tree.

John: Yeah, it was -- it was fun. You know, I owe you one. Maybe we could do dinner sometime.

Natalie: I -- I got to get back. I hope whatever you got helps out with the case. Not another dead end, right?

John: Right.

Natalie: See you.

John: See you. Hey, before you go, is there a -- is there a Front Street in Llanview?

Natalie: Mm-hmm, yeah, there's one down by the docks.

John: Down by the docks. Thank you.


Roxy: If you want to own something -- hey, Flash -- look, don't be a drag about this. If you want to own this place, come on. You know, no self-respecting roach would want to live in this joint.

Nigel: It has a few drawbacks.

Roxy: Yeah, it's like living in a can of mustard. But, you know, I can decorate this place. I can make it better than the Taj mchall, you know, better than Foxy Roxyís. Yo, manager! We'd like to see the owner of this dump!

Man: I'm the manager. I mean, I'm the owner of this dump. May I help you?

Roxy: Yeah. We want to buy this pile of plaster, and we want it to be cheap, so you can make this easy or you can make it hard. So what's it going to be, easy or hard?


Al: Marcie. Marcie! Oh, God, she can't even hear me now.

Luna: Sugar. There's somebody that wants to see you.

Al: Does this -- does this mean that I'm in trouble?

Luna: I can't say. Just close your eyes.

Angel: Hi, Al.

Al: Who are you?

Angel: Doesn't matter. What matters is you broke the rules. But you still think you should have a second chance. Why?


[Knock on door]

Bo: Yeah? Hey.

John: It's an address.

Bo: What's an address?

John: Those things that we thought were tempos. It's an address.

Bo: Wait a minute, 4/4, 5/4?

John: I think it's an address on Front Street -- 44 Front Street or 54 Front Street, 4454 Front Street -- something like that.

Bo: Yeah, I need you to run some addresses on Front Street. This is urgent.


Riley: No, no way. There is no way I'm letting that happen to you.

Flash: Riley, it's just a theory, okay? There's no way this stupid guy's going to come even close to me.

Riley: There is no way you're staying at Asa Buchananís!

Flash: Where am I going to go? I can't go to Noraís. I can put Matthew in danger.

Riley: Then move in with me.

Flash: Right, like your dad would go for that.

Riley: Well, he would. Then I'll get my own place.

Flash: You can't afford that. I mean, you can't afford --

Riley: Forget going back to school. I'll get two jobs if I have to. I don't care.

Flash: Riley, you're breaking my heart, come on.

Riley: Hey, I am not letting anything happen to you.


Al: Well, Marcie and me, we're soul mates, you know, forever. I mean, it's got to be Marcie and me, and I was starting to get scared that she was never going to see me inside of that dirtbag Michaelís body, so I --

Angel: Broke the rules?

Al: Yeah.

Angel: Ever try to understand what makes that dirtbag tick?

Al: Well, he's a doctor.

Angel: His soul, Al. You need to find Michaelís soul and understand it, then help him change.

Al: I never thought of it that way.

Angel: Well, do. Okay, they're sending you back. But in the next three days, you have to find out what's missing in Michaelís life.

Al: Three days?

Angel: During that time, you have to help Michael do three good deeds. We want to see him smile and truly care. If you do that, you can go back into his body and have a second chance with Marcie.

Al: Oh, this is great. Thank you. Listen, I promise, I'm not going to let you down this time.

Angel: It's not about letting me down; it's about letting you and Marcie down.

Al: Right. I never got your name.

Angel: Gabrielle.

Al: Oh. That was my mother's name.

Gabrielle: I know. We'll meet again down the road. Close your eyes.


Luna: How'd it go, Darling?

Al: It was great. I know exactly what I have to do.


Bo: All right, thanks. 4454 Front Street doesn't exist.

John: Ugh, that figures.

Bo: But 445 Front Street -- that's Troy MacIverís old loft.


Nora: Hello, Troy.

>> Stay tuned for scenes from the next "One Life to Live"


>> On the next "One Life to Live" --

Dorian: Has it occurred to you that he's figured out that you know who he is?

Todd: I can't let her win.

Viki: Win?

Opal: Babe? Oh, well, of course I know Babe.

Troy: I have something to tell you -- something very important.

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