One Life to Live Transcript Monday 2/11/08
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Provided By Boo
Proofread By Kathy
John: Hey. What happened, bud? Why are you here? Why are you in the closet?
Shane: I got weirded out when the phone rang and no one was there. I've seen stuff like that in movies, and it's never good.
John: Yeah. Where's your mom?
Shane: She left with a guy.
John: What guy?
Rex: The truth this time, Gigi -- please. I need to know -- am I Shane's father?
Gigi: What the hell are you doing, Balsom? What?
Rex: There was a laser from a rifle on you.
Gigi: A rifle? Oh, my God -- Shane!
Rex: No, no, no, no, no, no!
Rex: Just stay here for one second!
Gigi: No, he's shooting at Shane!
Rex: What? Who's after Shane?
Gigi: Get out of my way, Rex!
Rex: No, no, no, no, no --
John: Shane, get down!
Gigi: He's shooting at my son!
John: You all right?
Shane: Someone just shoot at me?
Ramsey: Ah. Not this time.
Sarah: I mean, who would've known that Philadelphia had an institute for contemporary art?
Cristian: You hated every minute of it, didn't you?
Sarah: I -- I did not.
Cristian: I was looking at you looking at those pieces and you hated it.
Sarah: "Hate" is a very strong word. I just didn't get some of it.
Cristian: Well, what's not to get?
Sarah: Huh -- okay. For starters, you've got a canvas with blue line and a black line on either end. How is that art?
Cristian: Now, that was Trisha Donnelly and she's amazing. She not only draws and paints, but she's also into photography and video. She's sick, the girl.
Sarah: Okay, I'll admit I did like some of her photographs. I think you liked the one of her, huh? She's kind of hot.
Cristian: Didn't notice.
Sarah: Yeah. So, you noticed the amazing blue and black lines but you didn't notice how beautiful the artist was?
Cristian: I was distracted.
Cristian: But not by her.
Sarah: Hmm. You know, I don't know how you could be interested in somebody who's such a moron when it comes to art.
Cristian: Are you kidding? You know how many different expressions you had at that other exhibit?
Sarah: The puppets?
Cristian: I counted about 63.
Sarah: They were puppets.
Cristian: Works --
Sarah: You counted?
Cristian: Yes, I did.
Cristian: Shut up. They are works of art, just the same. And each one you looked at brought on a different emotion, didn't it?
Sarah: I guess so, yeah.
Cristian: That's the goal of art -- to elicit emotion. Check this out. See, this one here -- this one makes me smile. Now, this one -- I don't know why, but I -- it makes me sad. Now -- now, this one, this one's really special. What does that make you feel?
Sarah: Like I want to be kissed?
Cristian: Oh, I knew that was a good buy.
Allison: Oh, ho! Isn't it nice in here? This is like one of those caves where it's like 65 degrees all year round. Did you hear it?
Allison: Victor Lord's heart could still be beating.
Natalie: Knock it off, Allison.
Allison: It's possible. Your grandfather was a resilient old codger.
Jessica: And he's dead.
Natalie: Okay, Allison. This is the way it's going to be -- you're going to tell the secret or we're going to drag your butt back to the loony bin.
Allison: You know, you have always been a very coarse young lady, Natalie. For some reason, people think that their secrets die with them if they remain unspoken.
Allison: But it's simply not true.
Jessica: Tell me what you know about my family, Allison -- now!
Michael: Hi, sweetheart.
Marcie: Past visiting hours.
Michael: Bo said it was okay.
Bo: We're going to let Dr. McBain spend some time in the cell with his wife.
Guard: Yes, Sir.
Bo: Thank you. I know you two must have a lot to talk about before her arraignment. I'll --
Bo: Hold on a second -- I got to take this. I will tell the guard to come back in about an hour, okay?
Michael: That's great, Bo, thank you.
Bo: Sure. Yeah?
John: Stay down, stay down.
John: Come on, let's get out of here. Let's go. Hey, here we go.
Shane: That was close, wasn't it?
John: Yeah. Yeah, that was close. Listen to me -- you're going to be all right, I promise.
Shane: Okay. But -- but why is someone shooting at me?
John: Hey, come here, come here. Stay down.
Gigi: Oh, baby! Baby, are you all right?
Shane: I'm fine.
Gigi: Oh, my God. I -- I was so scared. I'm so sorry I left you.
Rex: John, what --
John: Balsom, get down! Get over here!
Rex: What happened?
Shane: Someone shot at me.
John: All right, listen to me. Listen, I need to get you both into the bathroom, all right? Stay away from the windows -- stay down, all right?
Rex: John, you want to tell me what the hell is going on?
John: For once in your life, just shut up and listen to me, all right? Stay in there with them, all right? Stay away from the windows -- you got it?
Rex: I'll take care of them.
Rex: John, look, we -- we were -- we were on the roof, there -- there was a laser. Somebody's got a high-powered rifle in the building across from the square. Looked like it was one floor up from here.
Rex: Just stay there, stay quiet. Gigi, you want to tell me what's going on here?
Gigi: He wants Shane and me dead.
Ramsey: Need a hand, boss?
Shane: I'm okay, Mom. The bullet hit the slot machine.
Gigi: Oh, sweetie, if anything had happened to you --
Shane: Nothing happened, all right?
Gigi: Oh --
Rex: What's wrong?
Gigi: Oh, God, he needs his inhaler. Here, honey, sit down. Sit down, baby. It's going to be okay.
Gigi: Okay, just nice and easy. That's it.
Rex: Look -- look, I know you're scared, Gigi. I am, too, but I need to -- who were you talking about? Who wants you and Shane dead?
Gigi: That federal agent.
Rex: Why? My God -- who would want to kill the two of you?
Shane: He's been after us ever since he and some other guy held us at gunpoint.
Gigi: Shane, that's enough. That's enough, baby.
Rex: "Some other guy"?
Gigi: Todd Manning.
Ramsey: John! About time you got here -- Todd Manning was about to shoot a woman and a child.
Allison: Cool it, sister. You might upset Grandpa Victor. Poor guy would have a stroke if he saw his granddaughters in those getups.
Jessica: Do you know what we risked getting you out of St. Ann's?
Allison: Not a blessed thing. People get away with murder in this town. You think your Uncle Bo is going to come down on you because of a little asylum break?
Natalie: Why are we here, Allison?
Allison: To relive old times. You know, I had a lot of time between basket weaving and Latin classes to think about the irony of our lives.
Natalie: We're not interested.
Allison: Oh, but don't you find it thought-provoking that your mother has my beloved Ben’s heart beating in her chest while your decaying grandpa here tried to cut Jessica's heart out to keep him alive?
Jessica: What's there to think about? My grandfather was a monster.
Allison: Oh, it's so simplistic, dear. You see, you thought the same thing about your dear old dad and he tried to save your life by switching you for sister sister here so Victor would cut her heart out instead but you never worked as a blonde, Nattie.
Natalie: Enough of this stroll down memory lane.
Allison: You know, Mitch really got off on switching you two. He was such a cad, and very sexy.
Jessica: Okay, Allison, enough's enough. Now, we did what we said we were going to do -- now, it's your turn to live up to your side of the bargain!
Allison: You think a little arm-twisting is going to get you what you want? I've been living with those nuns for the past three years. I can take it.
Natalie: Fine. You're going to tell us this secret or we are taking you back to St. Ann's and we are dragging you out of here. So, which way is it going to be? You going to take the easy way or are we dragging you out of here by your hair?
Jessica: No, no, Natalie -- no.
Natalie: Jess, come on. This is not the time for the -- drop the "good-nun/bad-nun" routine, okay? The woman's conning you and believe me, she is good at it. She has no information on Mitch and the sooner you accept it, the better.
Jessica: Easy for you to say, Natalie -- that psycho wasn't your father. And if she has any information regarding me or my family, I need to know what it is so thanks for your help but I can take it from here.
Natalie: Jess, but --
Allison: Psst! I'm not going anywhere if that's what you two were whispering about. I'm happy right here -- so many wonderful memories! Hmm.
Sarah: Now, that is what I call a work of art -- and worth a heck of a lot more than black line with two blue lines on either end -- or was it the other way around?
Cristian: I'm glad you liked the kiss, but we're going to have to get beyond this impasse.
Sarah: Oh, no. We have an impasse?
Cristian: If you look at a work of art and only see it in terms of how much it's worth -- in dollars and cents, I mean.
Sarah: I was merely talking about the blue and black lines. I liked some of the other stuff, really.
Cristian: Let's try this -- what do you think of Philip Glass?
Sarah: Well, he's not an artist. He's a composer.
Cristian: So when you listen to his music -- or Beethoven or Maroon 5 or Timbaland -- don't they all make you feel something different?
Sarah: Well, of course they do, but that's music.
Cristian: Okay, and when you listen to a song you love or write a song that comes from your heart, how does that make you feel?
Sarah: Music makes me feel -- I'm aware that my heart's beating. From my soul, I guess. I just feel totally and completely alive.
Cristian: Exactly. And that's what painting is for me. That's why I took you to see the masters first -- before the contemporary stuff. It's like going from Beethoven to Philip Glass to Timbaland. Of course, you thought Monet’s "Water Lilies" was something a 5-year-old could do with finger paints.
Sarah: I did not say that -- not in those exact words. You know I love to get under your skin, right?
Cristian: I'm catching on to that, yeah.
Sarah: And I also love how passionate you are about what you do. And I -- I -- I don't want to diminish that in any way. So you know what I said about my heart pounding when I hear an amazing song?
Sarah: I'm hearing one right now.
Michael: Is everyone treating you okay?
Marcie: Oh, yeah. Yeah, sure. I mean, nobody bothers me anyway and, well, Bo -- he's been so good to me but I can't really bring myself to look him in the eye.
Michael: Marcie, you really need to start trying to forgive yourself.
Marcie: I keep going over everything in my head, you know? And it -- the thing is it's -- it's almost as if it happened to somebody else, Mike, and I don't know -- I mean, how could I have done all of that, Mike? No --
Michael: We need to talk about tomorrow, Marcie -- your arraignment and how you're going to plead.
Marcie: Guilty. I'm going to plead guilty.
Michael: But -- ahem.
Marcie: I know the charges against me, Michael. I kidnapped Tommy, I took him across state lines, I held Viki Davidson at gunpoint.
Michael: Marcie, I really think that you --
Marcie: Michael, listen to me -- there is no way out of this, and it's time. It's time for us to accept it. Michael, I'm going to be in prison for a really, really long time and I need you to know that I don't expect you to wait for me.
Michael: Don't even start with that.
Marcie: No! No, Mike, I mean it because I'm going to be in prison for the rest of my life!
Michael: Look, stop! Marcie, stop saying that, please. Hey -- God, see? I -- I knew that this is what you were thinking -- it's why I came down here tonight. I want you to change your mind.
Marcie: There's nothing to change my mind. Michael, I committed a crime, I am guilty.
Michael: Tomorrow, I want you to tell the judge you're not.
Gigi: Are you feeling better?
Rex: All right, is that why you were hiding here with -- with John? Because Todd and this F.B.I. guy were threatening you?
Gigi: From what just happened, I'd say it's a lot more than a threat. If they had hurt you, Shane, baby -- oh, I would track them down.
Shane: It's -- I'm okay, Mom.
Rex: I -- look, I don't know this F.B.I. guy, but I do know Todd. He's -- he's a total jerk, but I just don't think that -- that he would do this. I've seen him with his wife and his kids. I don't think that he would come after the two of you.
Gigi: Well, you weren't there, were you? This whole thing is your fault.
John: Put the gun down, Manning.
Todd: John, this guy's a lunatic. He was up here trying to assassinate somebody and I stopped him.
Ramsey: No, other way around.
John: Give me the --
Todd: Stay down!
John: Give me the rifle.
Todd: Stay down!
Ramsey: Where's your gun, John? Oh, wait -- you're not a cop anymore. You don't actually ever have any actual authority, do you? Too bad you didn't think to call a real cop.
John: Yeah --
Bo: Freeze, everybody, freeze! Don't move, Manning! Slow, slow. Harrison, get the gun! Get your hands in the air, Ramsey.
Ramsey: Hey, I'm trying to --
Bo: Up, keep them up.
Ramsey: Stop a shooting, Bo.
Natalie: All right, Jess, this has gone way too far. We've done something very stupid and we just need to cut our losses and end this. We need to get her back to St. Ann’s.
Jessica: Not yet.
Natalie: Jess, she has been jerking us around, all right? This woman has no information about Mitch. This is just some sort of sadistic game.
Jessica: Just let me handle it, okay? Allison? If you don't tell me what you know right now, the deal is off.
Allison: Oh, what deal is that? You mean the one where you give me five grand and a car if I tell you what I know so I can go free? Oops! That's right -- we don't have that deal because the minute I tell you what I know, you're going to cart me back to nun central so why don't you just explain to me why it behooves me to tell you anything?
Sarah: Oh, my God -- Layla!
Cristian: Hey, Layla.
Layla: Hi. The sock?
Cristian: What sock?
Layla: Sarah, you forgot to hang the sock on the door.
Marcie: Mike? How can I plead not guilty?
Michael: This is not just what I want, Marcie. I've talked to Judy Schulman-Brown and she has agreed to represent us. She understands all the circumstances of the case and she cares about us. She's even agreed not to charge us her usual rate because she wants to do this.
Marcie: Michael, everyone in this country knows what I did. I was on national television holding a gun in my hand!
Michael: You're not being charged with that.
Marcie: Everybody saw it! Why would they believe anything I said in a court of law?
Michael: If you plead guilty, it's over.
Marcie: Mike? When you convinced me to turn myself in, that was the first time in months that I realized that I put Tommy in danger. I did, so I took responsibility for my actions, Michael, and that is what I have to do now. I have to do it because I committed a crime, so I deserve to be punished.
Michael: You have been punished, Marcie -- we both have. We lost our son. Isn't that enough? Do we have to lose each other, too?
Todd: I stopped him from killing a woman and her child. Now, the gun went off when we were fighting over it.
John: The bullet went through my window.
Todd: Hey, was anyone hurt?
John: Luckily, no.
Ramsey: Who was holding the gun when you came in?
Todd: He let it go when he heard you guys.
Bo: All right, now, Manning, you just happened to be here?
Todd: No, no, no -- he threatened my family.
Ramsey: Oh, your family lives in that seedy hotel?
Todd: Bo, I came here to stop him from hurting someone and I did. You know what he's capable of? I mean, look at that gun over there. Where am I going to get something like that?
Bo: I know that we're all going to go downtown to the department and we're going to sort this out.
Todd: Ah, jeez.
Bo: Down there -- cuff them.
Rex: This thing is my fault? What's that supposed to mean?
Gigi: It -- I just meant that -- if it hadn't have been for you, I never would've left Shane down here alone.
Shane: It's okay, Mom -- John helped me. The bullet didn't get anywhere near me. It's stuck in the slot machine.
Rex: Okay, were you going to testify against this F.B.I. guy and Todd?
Gigi: If it comes down to that, yeah.
Shane: Can I ask you a question, Mom?
Gigi: Sure, sure.
Shane: About him. Who is he anyway?
Rex: Go ahead and tell him.
Gigi: I told you, honey, Rex is an old friend of mine.
Shane: I know. You said that, but --
Gigi: But what?
Shane: But Moe was your friend, and you didn't act the same way around him.
Gigi: Moe was my boss. Rex and I go back a long way so we know things about each other.
Rex: Shane, I can't believe how brave you were through all this. I would never have been this brave when I was your age.
Rex: You must get that from your father.
Rex: I can tell you if he were here with us right now, he would -- he would be just as proud of you as your mom is.
Shane: I never met him, but I hope he would be really proud.
Ramsey: Bo, I have a clean record. This guy's got a rap sheet a mile long, plus he's holding the smoking gun, so who is the guilty party here?
Todd: Why don't you tell him about the shooting lesson at the penthouse earlier?
Ramsey: Oh, I'm sure the commissioner has heard his share of your accusations.
John: Is this the gun you used to knock me out earlier at Manning’s apartment?
Ramsey: I don't know. What are you talking about?
Bo: Well, if he hit you with that, I'm sure your blood's on the stock.
John: No question.
Ramsey: And Todd Manning’s fingerprints. His penthouse, his gun, hmm?
Todd: You know that son of a bitch is lying, don't you?
Bo: I know.
Bo: Yeah -- shh. Take them both down, put them in holding.
Ramsey: Oh, ho, ho!
Todd: Bo, I didn't try to shoot anyone.
Bo: I think that Ramsey must have given you more than just a little tap on the head. You got dried blood all over your collar.
Bo: You want me to take you down to the E.R., get you checked out?
Bo: Ah. That's what I thought.
John: Thanks, Bo.
John: That was close.
Michael: Marcie, you can control what happens. It's in your hands.
Marcie: That's what I thought, Mike, when I took Tommy and I ran. But -- I can't change the fact that Tommy is Todd's son. And when I tried to change fate, Mike, the only thing I managed to do was wind up here -- on my way to prison!
Michael: Well, it doesn't have to be this way.
Marcie: Michael, my denying the truth is not going to change anything!
Michael: It's not about denying the truth, okay? There will be 12 people on that jury who will hear your story. They will see you, they will listen to you, and they will understand how much you loved our son.
Marcie: We don't want to spend Thanksgiving Day alone, do we? No. So what do you say if Sally Ann and Billy -- we go across the street to the Bon-Jour Cafe? And we have ourselves a little date! Yes, would you like that? I promise you that we will go out and we will do something soon together, okay? You know, you've been such a really good boy through all of this, you do, right? And I know that it's been hard. I realize that. What? What do you want? Want your binky? Get the binky. There you go. But you know something? I'm doing this for you, right? You know that. Because I love you and I never want to lose you.
Marcie: Michael --
Michael: Marcie, you told me once that without Tommy, you feel like you have nothing. Do you still feel that way?
Jessica: Allison -- Allison, do you know why you should tell me what you know about my father? Because deep down, you know it's the right thing to do.
Allison: Ha! That's rich. Are you sure this one is related to you, Nattie?
Natalie: You know, Allison, not everyone is as jaded and cruel as you.
Allison: Ah, but now we've got Jessica being all needy and compassionate when she's the one who's got Mitch’s genes. And you, hard as nails, meaner than a junkyard dog -- I guess that's the Buchanan side. You know, twins with different fathers -- I've always found that terribly distasteful.
Jessica: Allison, if my family's in any kind of danger at all because of this secret, I need to know what it is, okay? I have a right to know what it is.
Allison: Well, you just may not know because I may tell you tomorrow or the day after because I really like it here in this crypt. In fact, I think I could live here forever.
Jessica: That could be arranged.
Jessica: After what you've done to my family, this is where you belong.
Layla: I'm really sorry for, you know, walking in like that.
Sarah: No -- no, don't -- don't be sorry. Cristian and I were talking about modern art.
Layla: Sure, modern art, huh? Hmm, great topic.
Sarah: Yeah. Cristian is very -- passionate about it.
Layla: Oh, I'm sure he is. Passion is good. Okay, and now I'm going to go. Bye.
Sarah: Well -- well, go -- wait, no. Go where? Wait -- hey, this is your -- this is your place.
Layla: Well, that is true. But actually -- um -- I need to go to Capricorn to meet somebody.
Cristian: No, Layla, you're not going anywhere. I'm leaving.
Layla: No, no, no. Okay. Well, the least I can do is leave you two in private to say good night. And I'll be in my room, headphones on. Take your time. Bye.
Sarah: Thank you, Layla!
Sarah: Oh, roommates -- not that Layla isn't awesome. But she just has -- excellent timing. I'm really sorry.
Cristian: Hey, it comes with the territory. I remember when you and I were roommates I was always worried you were going to walk in on me and one of my really hot dates.
Sarah: Oh, yeah? I guess it's a good thing I didn't, huh, Vega?
Cristian: Mm-hmm. Strange, huh all that time living together.
Sarah: Yeah. What a waste. We never took advantage of it.
Cristian: Oh, we weren't ready then -- at least I wasn’t.
Sarah: And now?
Cristian: Now --
Cristian: Does that answer your question?
Sarah: Tell me again.
Allison: I don't like that look on your face, Jessica.
Jessica: How do you know it's Jessica?
Jessica: You know, Allison, when someone gets integrated, the personality stays inside of them. So if Jessica has to do something she finds a little repugnant, she can always call on Tess.
Allison: Oh. And what's she going to do? Beat the secret out of me?
Jessica: No, Allison, I couldn't hurt you. I think I'm just going to let you stay here -- with my grandfather -- and let you sleep on it.
Allison: Jessica, don't lock me in! No! Jessica!
Shane: Someone's here.
Rex: It's John. It's okay.
John: Hey, you can come out now. It's safe. You all right?
Gigi: Was it that F.B.I. creep?
John: Yeah, it was. He was with Manning.
Rex: Wait, wait -- was Manning there when he tried to shoot Shane?
John: Manning said he was trying to stop him, and for once, I believe him. They're both in custody.
Gigi: Thank God.
John: Hey, listen, no one's going to hurt you and your mom, all right? I'm sorry you were scared.
Shane: My mom was more scared than I was.
Gigi: Oh. Yeah, that's probably right, but I'm good as new, you know? Now that you're okay.
Rex: Okay, so Manning’s in jail?
John: Yeah. And this time, he's going to have to help Marcie. He's not going to have a choice.
Marcie: Michael, look, I -- I --
Todd: All right --
Marcie: I don't know what --
Todd: There's really no need to shove. I've been here before.
Todd: Oh –
Sarah: You know, I never thought I would say this, but all that waiting, as frustrating as it was, was kind of -- I can't think of the word.
Sarah: Yeah, definitely.
Cristian: So when do I get to see you again?
Sarah: I have two tickets to the Valentine’s Day "Go Red" ball. My family's kind of big on the committee.
Cristian: Are you asking me to go?
Sarah: Uh -- wouldn't want the ticket to go to waste.
Cristian: So I get to see you in a fancy dress?
Sarah: A red one. It's required.
Cristian: Any requirements for me?
Sarah: A tux?
Cristian: I think I can find a tux somewhere -- as long as I get to see a beautiful girl in a red dress. Then we'll do a little dancing maybe and -- I don't know -- after the dancing, who knows?
Sarah: Yeah. I think you should probably go before we embarrass Layla twice in one night.
Cristian: Valentine's day.
Sarah: Me, red dress, you, tuxedo.
Cristian: It's a date.
Cristian: Listen, it meant a lot, you coming with me to the museum, pretending to like it.
Sarah: I was not pretending. And it meant a lot to me that you asked me to go. Maybe we can go again sometime?
Cristian: Sure. We'll get a membership.
Layla: You're really falling for him, aren't you?
Sarah: "Falling"? No. I'm gone.
Gigi: You could have let me help, John.
John: Oh, no, it's okay. I got it. I'm just going to throw this out.
Rex: I guess I'd better get going. You and Shane will be all right?
Gigi: Yeah, we'll be fine. Rex -- um -- I appreciate you looking out for me the way you did on the roof.
Rex: No big deal.
Gigi: You know, I'm sorry for tearing into you when we got back down here.
Rex: Well, you were a wreck about Shane. You love your son so much. I get that.
Shane: Hey, Balsom, see you around.
Rex: Yeah, see you around.
Gigi: Rex? Shane --
Gigi: He's not yours.
John: You out of here?
Rex: Yeah. You saved that little boy's life tonight.
John: Yeah, well, he's a good little guy. I wouldn't want to see anything happen to him.
Rex: Neither would I.
Bo: Lock these two up in holding.
Marcie: He's been arrested, Mike. If he did something horrible and he goes to prison, then maybe we can --
Michael: No, it's -- it's not going to change anything about Tommy. Marcie, look at me. I love you. Remember what I said -- "not guilty."
Natalie: Okay, can you tell me what the hell we're doing here?
Jessica: I just locked her in.
Natalie: Yeah, I got that. What's the point?
Jessica: The point is, she's going to spend the night sleeping with a whole bunch of corpses. When we get back here at dawn, she is going to be dying to tell us that secret.
Natalie: Okay, Jess, I -- I know Allison a whole lot better than you do, and she has had a whole lot worse done to her than being locked in a tomb. All she wants from you is to promise that she will not have to go back to St. Ann's, and she will tell you the secret. Are you willing to do that?
Jessica: I don't know. But the woman in that crypt holds the key to our family's future. And she's locked in there, and she's not going anywhere until I let her out.
Natalie: Je-- Jess?
Allison: Huh! Guess it's just you and me tonight, Vic. Too bad those nuns went on the run. I was going to show your precious granddaughters this.
Allison: Oh, Mitch -- you thought of everything.
Allison: Hello, gorgeous.
>> On the next "One Life to Live" --
Cole: Langston, she is totally clueless.
Viki: You and I were holding a lot back. I'm very glad that's no longer the case.
John: We're here for Marcie’s arraignment. So what's it going to be?
Natalie: She's gone.
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