General Hospital Transcript Tuesday 11/24/09
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Provided By Suzanne
Proofread By Kathy
Franco: So I'm supposed to explore my own studio blindfolded?
Maxie: No. That would be too easy.
Franco: Then what?
Maxie: Ah, this.
Franco: And you think I'm weird?
Maxie: All right. Get with it. You can't see a thing, so what do your other senses tell you?
Franco: You know, I should have let you go home when I had the chance.
Maxie: Hey, watch out for your Aunt Harriet. [Laughs]
Jason: All right, Spinelli, I want you to look closely. Tell me what you see.
Spinelli: I see a vagrant, probably an unfortunate byproduct of the current economic crisis, yet despite his misfortune, spreads good cheer with a friendly wave.
Sam: Yeah, but Spinelli, this guy did just witness a shoot-out.
Jason: Yeah, and at the gallery tonight, Franco's waving, too, the exact same way.
Sam: Okay, so you think that Franco and the homeless guy are the same person.
Sonny: Olivia, listen. Thank you for helping me out.
Olivia: I'm glad I could. In spite of anything else -- the past history or current annoyances, I -- I never wish anything bad for you, Sonny.
Sonny: Wait, come here. Is that because you care, or is it because of the history, or because I'm like an old friend, you feel sorry for me.
Olivia: I'm going in.
Sonny: What are you doing?
Johnny: How convenient. We're all here together. Kind of makes you wonder what might happen, doesn't it?
Maxie: You could see the whole time, couldn't you?
Franco: Not at all. If you hadn't caught me, who knows what would have happened. You saved my life.
Maxie: You are so full of crap.
Franco: [Chuckles] You keep saying that. Here, try this.
Maxie: What is it?
Franco: The poet's muse. It's supposed to promote creativity, but if you ask me --
Franco: It tastes like 10-year-old cough syrup.
Maxie: Thank you for the warning. [Gags] Ugh. So -- what attracts you to all this scary murder stuff?
Franco: I told you. It's the dialectic. Art is the conflict between two opposing forces. Point and counterpoint. Life, death.
Maxie: Yeah, you say that, but how do you feel?
Maxie: Oh! [Chuckles] It was a girl, wasn't it?
Franco: Isn't it always?
Maxie: Well, tell me about her.
Franco: [Sighs] I don't feel comfortable talking about it.
Maxie: Oh, okay. Well, posing as a corpse isn't exactly in my comfort zone, either, so I understand.
Franco: Fair enough. I was in love with her.
Maxie: Of course you were. Does she have a name?
Franco: Yeah, she lived across from me in a third floor walk-up on Canal Street. One day I came home and the cops were swarming all about the place. I ran up the stairs, and there was crime scene tape across her door. I looked inside, and -- there was a chalk outline on the floor.
Maxie: And an artist was born.
Franco: Do you mind? This is personal.
Franco: She'd been murdered by a man she'd never even met. He stabbed her with a number four steak knife. Then threw himself off an overpass into oncoming traffic. Parts of him were scattered for 500 yards. I haven't been able to eat meat to this day.
Maxie: That is -- ridiculous.
Franco: The part about not eating meat?
Maxie: No, the number four steak knife. The love of your life is murdered and you're suddenly obsessed with the cutlery? Mm-mmm. You made that whole thing up, didn't you?
Franco: I make everything up.
Sam: This guy is approximately the same height, and pretty much, as far as I can see, with all the layers of clothes on, sort of the same build. I just -- [Sighs] I wish we could see his face.
Jason: Okay, let's just go through this again. Okay, first the homeless guy, our witness, he waves to me as we're driving away from the scene, right? Then the same guy, the homeless guy, goes to the trouble of waving at a security camera at a bank a few blocks away.
Spinelli: Okay, maybe he's friendly --
Jason: Just hours after that, Franco, a guy I've never met, makes it a point of waving to me at an art show. I mean, that's a lot of trouble to go through to get my attention.
Spinelli: Okay, fine. But if it really is the same guy, why would a famous artist dress up as a homeless man?
Lucky: Bring him in.
Anthony: Detective Spencer, what a lovely surprise.
Lucky: Have a seat.
Anthony: Let me guess -- you found my daughter alive. Of course, you didn't, because she isn't. So tell me you at least found Claudia's body, because I'd like to give my girl a decent burial.
Lucky: If you feel like arranging a funeral, how about one for Joseph Limbowski, aka Joey Limbo. I understand he was a close associate of yours.
Anthony: Well, may he rest in peace. I had no idea he was ill.
Lucky: Well, nothing a bullet and a broken larynx wouldn't fix. He died with three of his men.
Anthony: Oh, they're dropping like flies. But as you can see, I'm trapped in this place like a caged animal. I survive through meditation and visualization. So who do you make for the shooter?
Lucky: I don't know. Maybe you decided to make an example out of Joey and his men.
Anthony: [Laughs] If my arms could reach through these bars and make an example of anyone, it would be Sonny Corinthos. I'd happily get rid of the man who killed my daughter. And Joey Limbo and who knows how many others. The world would be a better place.
Lucky: Well, then it's a good thing you're locked up in here, isn't it?
Anthony: You know what I worry about?
Lucky: What's that?
Anthony: Sentiment. It weakens the spine. Look how my son compromised himself to protect his sister. And I have a feeling that you might fall into a similar trap. So you have to ask yourself how far will you bend over to protect friends and family? Because you mark my words -- Joey Limbo died on Sonny Corinthos' orders. And your father's hands aren't exactly clean, either.
Sonny: Do you just show up here and let yourself in whenever you feel like it?
Olivia: It's okay, Sonny.
Johnny: Is it? Were you expecting me to be here when you decided to bring him home?
Sonny: Okay, watch your mouth. Show the lady some respect.
Johnny: Oh, so what, you need Sonny to protect you from me now?
Olivia: I don't need protecting from you, John. In fact, I was --
Sonny: What is going on here? Why are you so scared? Don't intimidate her.
Olivia: I'm not afraid of John. And I'm not going to get caught between the two of you again. So, Sonny, thank you very much for bringing me home. Good night.
Sonny: We still got things to discuss.
Olivia: No. I did what you asked. I went to the art opening with you. Now, please, let's let this evening be over, okay?
Sonny: Okay. If Olivia's unhappy, I'll know who to blame.
Olivia: If you're trying to punish me, it's working.
Johnny: I wonder if Sonny would be this concerned about your happiness if he knew that your son was trying to put him in prison.
Dominic: You know what, I've been trying to appreciate this stuff all night. It's not art, it's garbage.
Lulu: Well, I hate to state the obvious, but this is not called a garbage gallery.
Lulu: Art speaks to something inside of you. It's visceral and subconscious.
Dominic: All right, well, my idea of art is something you can hang at the met, made by a master. This guy? This is not a master. I mean, look at that. That is like a car wreck. You can't even take your eyes off of it. This is one seriously messed up S.O.B.
Lulu: Okay, you didn't answer my question. Have you seen the crime scene before?
Dominic: I don't know. I mean, I must have. But I can't place that. I hate to admit it, but one crime scene's pretty much like the next.
Maxie: You've been laughing at me since we met, haven't you? You laugh at everyone.
Franco: Well, an artist needs a certain detachment to do his work.
Maxie: Uh-uh, that is a crock. It's just how you are. It has nothing to do with your work. What twisted you?
Franco: There was this girl once --
Maxie: Right, Vanessa, whose death made you bitter and cold. Poor baby.
Franco: [Chuckles] You don't cut a genius much slack. You know, I have a bunch of simpering toadies slobbering after me, telling me how great I am, willing to do anything I say. You, you're under whelmed.
Maxie: You can't be as shallow as you appear. You would have made a killer rock star. Why do what you do, why make art?
Franco: People always think there's some deep, dark secret pushing my tortured soul to create. But I just like it. I love tagging. I love that I get paid a fortune for doing what I do for free. I'm the same as I was when I tagged my first subway. I was 12 years old. It's just the way people see me that's changed.
Maxie: I almost believe you. Which is a sure sign that you're working me.
Franco: Believe what you want. But here's a clue -- the secret to life? Anyone can die at any time.
Maxie: So what do we do about it?
Franco: Amuse ourselves. Don't live by rules or boundaries. And take what you want, when you want it.
Spinelli: The Jackal does detect a certain attitude of defiance from the enigmatic artist. Perhaps Stone Cold inadvertently caused some offense?
Jason: I never spoke to this guy.
Sam: Wait, Maxie did say that Franco wanted to meet Jason, but he refused.
Spinelli: Declining an introduction can be seen as a sign of disrespect to someone with Franco's reputation.
Sam: Yeah, that's true. Spinelli does have a point. I mean, he could have been a little bit offended that you didn't walk over there and kiss his ring, and got pissed off and left. And that wave he gave you was his way of saying, "up yours."
Spinelli: Yeah. I mean, it's not very creative, but I mean, message received.
Jason: Okay, then tell me why does the homeless guy use the exact same gesture? Hours earlier?
Olivia: I don't know what Sonny would do if he found out the truth about my son. I don't want to know.
Johnny: I thought you trusted Sonny.
Olivia: I do, to a point, but if he found out about Dominic, that he was my son, Dante? There's no telling what he would do.
Johnny: Hey, we all know what he's capable of doing. We all saw what he did to Claudia. This was a woman who was his wife, not just on paper. She once carried his child.
Olivia: Sonny can be ruthless. I know that. He's capable of ordering a hit on anybody, including my kid. That's the part that really breaks my heart, because -- see, once upon a time, Sonny had it in him to be so much better than what he is right now.
Lucky: Your guard let me wait in here. Don't worry, he locked the desk first.
Sonny: Can I pour you something?
Lucky: Well, I'm a recovering addict. Besides, I'm on duty.
Sonny: I'm sorry, I forgot about that. So what do you think you're going to get from me, Lucky, without my lawyer present?
Lucky: I'm following up on the incident on Front Street earlier this evening. Four men were gunned down, including Joey Limbo.
Sonny: That's one hell of an "incident." Are they dead?
Lucky: Yeah. There's a wrinkle that might interest you, something that sets this apart from the usual mob hit. Joey Limbo was shot, but that's not what killed him. He died from a boot on his neck.
Sonny: Looks like they wanted to make sure the job was done.
Lucky: Yeah, but there's more. The body was posed. On its side, his hand pointing out. I'd like to hear what you know about that.
Maxie: Are you trying to get me drunk?
Spinelli: If you want. It would make all of this easier, wouldn't it? It would be the perfect excuse.
Maxie: Excuse to do what?
Franco: Don't be coy. It's that boyfriend you mentioned, isn't it? You gonna marry him?
Maxie: We tried that once. Didn't go through with it.
Franco: And I wonder why that was. You didn't want to lash yourself to the mast for all time? Maybe you thought that life had more to offer? Well, it does.
Franco: If it makes you feel any better, I don't want to have your babies. Any commitment longer than an evening make me break out. Your ex never has to know about tonight.
Maxie: But I would know.
Franco: I'm going to pretend that that self-pitying drivel didn't just emerge from your lovely mouth.
Maxie: Wow, you really know how to charm the pants off of a girl.
Franco: Your pants are already halfway down your thighs.
Maxie: You will never know.
Franco: Why not?
Maxie: Because. I've made promises to the best man in the world. He loves me and trusts me and believes in me.
Franco: Wow. I'm happy for you, truly. But what does that have to do with us?
Maxie: Well, you're asking me to cheat on him.
Franco: I'm not asking you to do anything. And I'll never force myself on anyone, if that's what you're thinking. How old are you?
Franco: [Laughs] 23. And you already know what you want out of life. Are your parents still married?
Maxie: What does that have to do with anything?
Franco: I didn't think so. How many people do you know that have married young and ended happily ever after?
Maxie: That happens.
Franco: [Chuckles] So, this guy, he's the love of your life, your soul mate? He's the man for you till death or boredom do you part?
Maxie: I think that you're laughing at me again.
Franco: No, I'm not. I'm just trying to understand why you're so sure, so committed, that you're willing to forego everything that life has in store.
Maxie: I'm not -- I'm not sure. I just, well, I don't want to lose what I have.
Franco: How much of a gambler are you?
Maxie: See, now you're trying to make me sound like a prude, and I am not. I am no saint, okay, just ask anyone.
Franco: No, you're just confused. You're trying to reconcile who you are with you who you think you are. Make you woke up too many Sundays hating the person in the mirror, huh?
Maxie: Wow. That's deep. Is this when I'm supposed to drop to my knees in gratitude or whatever?
Franco: Good girls don't. They just cross their legs and keep their gaze focused on the prize. Wow. I hope all that self denial is worth it.
Maxie: This has to be the worst come-on I've ever heard.
Franco: Then why prolong the agony? Come on, I'll take you back to the gallery. Maybe your boyfriend will show up.
Maxie: What, right now?
Franco: It's what you want, isn't it?
Maxie: The hell it is.
Sam: You're right. They're similar, and that's weird.
Spinelli: Okay, yet we're no closer to an answer and McCall and Jackal are neglecting what could be their most significant assignment to date. Maximista will no doubt conclude that she's been abandoned on her most important evening.
Jason: Just go back to the gallery. I'll work with what we have.
Sam: Yeah, call me if you need anything, okay?
Spinelli: Greatest thanks.
Jason: I just don't understand why a major artist would pretend to be homeless.
Sam: Maybe because it's his way of keeping in touch with his roots, and he's not recognized?
Jason: Well, if it's anonymity he wants, why would he put himself on camera? This guy wants somebody to know. Maybe me. Or the cops, that he was at that shoot-out.
Sam: Yeah, and the bad news is, he can tie you to the crime scene.
Jason: And I'm not sure what I'm supposed to do about it.
Johnny: How long do you think you can keep up these lies about Dante?
Olivia: If you've got a better idea, why don't you bring it on?
Johnny: Hey --
Olivia: Look, I can't tell Sonny about my kid because he'll have him killed. I can't get my kid off the case because God knows I've tried. I just keep -- I just keep praying that Dante maybe doesn't find enough evidence and headquarters closes down the case.
Johnny: Well, unfortunately wishful thinking isn't really a solution, Olivia. Anyway, Dante's getting in tighter with Sonny, and he's close to getting all the evidence he needs to put him away. The only thing I can hope for is that he's got enough evidence to tie Sonny to my sister's murder, and Sonny and my father can fall out together in their orange jumpsuits.
Olivia: Except Sonny will do anything in his power to keep himself out of prison, including kill my kid, which pretty much brings me around full circle. Believe me, I have run all these things over in my head a million times, and all I get is paralyzed. The only thing -- the only thing that he left for me to do is go back to Bensonhurst so I don't have to watch this whole train wreck happen. But I'm a mother. I can't leave my baby here by himself to face God knows what.
Johnny: Well, Dante's lies are bad enough, and your lies are making things even worse. Look -- in the end, Olivia, someone's going to end up taking the fall. Whether Dante is going to get caught by Sonny or Sonny's going to end up in prison, either way, nobody wins.
Sonny: Well, I don't know anything about a body posed.
Lucky: Yeah. It didn't seem like something your guys would do. Cement shoes or gun and run is more your style, right? I pulled Limbowski's jacket to see if there was someone he had dealt with who might want him dead. I didn't see your name anywhere.
Sonny: I could have told you that, Lucky.
Lucky: Could you have told me I'd find my father's name? Granted, it was a long time ago, but dad and Joey worked together back in the Frank Smith days. Luke Spencer, right there in black and white.
Sonny: I will say that Luke had nothing to do with Joey Limbo's death.
Lucky: How come you're so certain? Did my dad have any recent dealings with Joey Limbo?
Sonny: Well, you know what, Lucky, that's a conversation you're going to have to have with your dad. And I gotta be honest with you, I can't imagine anything worse than your own son investigating you.
Sonny: A lot of us were surprised when you joined the force.
Lucky: You think I did it to get back at my dad?
Sonny: [Sighs] Granted, Luke is one of the best men I know. He does have flaws. But he's a great person, and I think you used to think that, right?
Lucky: Yeah, well, proximity can change a person's perspective, Sonny. So can growing up. My dad is -- He's the most amazing son of a bitch I've ever known. And I loved my childhood. He was crazy. And even when he tried to be like other fathers, he was just different. Like that time we went on the camping trip. You remember that?
Sonny: [Laughs] You wanted to pierce your ears like Luke's.
Lucky: Yeah. Yeah, you guys were my heroes. I know he would have preferred it if I'd have followed in his footsteps, but --
Sonny: Well, you gotta admit, Lucky, it was a slap in your dad's face --
Lucky: I didn't do it to hurt people --
Sonny: Why did you?
Lucky: I don't know. Aunt Ruby used to say the chickens always come home to roost. You can't tell me that you and my dad don't live with the sins of your own fathers every single day. And I just -- I just decided it had to stop with me. You know? That I -- build something better for my own children. And I decided that before Cam and Jake came into my life, and I don't have any regrets so far.
Sonny: But you could have gone straight without wearing a badge. There are a million jobs.
Lucky: No, I know, man. I just, I needed to still be in the ring, you know what I'm saying? But I couldn't fight for the other side. Now justice shouldn't only be for people like you and my dad who have the muscle to take whatever you want, whenever you want it. So maybe in some way, my badge levels the playing field for people who don't have any power.
Sonny: Well, I'm sure that makes your father very proud. Even though it breaks his heart.
Lucky: Yeah. See you around.
Sam: Do you want to tell me what happened at the shoot-out? Because so far I only know Lucky's speculation. And I would like to know what really happened.
Jason: Sonny wanted to make peace. So, uh -- Luke Spencer went to this guy Joey Limbo on Sonny's behalf and offered to broker a truce. Well, Joey agreed, so we set up the meeting. We get there, and there was an ambush.
Sam: Just you and Sonny?
Jason: No, Max and Milo drove us. The shooting started, and Dominic tackled Sonny and got him to cover, but they were pinned down.
Sam: Which left you to deal with it.
Jason: Yeah. I had a decent sight --
Sam: Did you at least take cover?
Jason: No, the only way to get a clean shot was to stand out in the open.
Sam: Oh, Jason, so anyone could have seen that you were the shooter. Like this guy. When did you realize he was there?
Jason: When we were driving away. I looked out my back window. And he was waving to me just like that.
Maxie: Is this how you get off? Jerking women around until they get so pissed off, they do you just to get you to shut up? You treat them like dirt until they beg for more?
Franco: You're not the type to beg.
Maxie: No. I'm not. And I don't need you or anyone else telling me how to live. I will be with any man that I like. Maybe I don't want to leave. Maybe I don't want to go back to the gallery or home, or wherever you think good girls go when they get scared. Maybe I'm as adventurous as you are; as open to experimenting. Be unafraid. Maybe --
Olivia: My only priority in this, John, is that my son gets out of it alive. Okay. That's why I lied to you. Any time that anyone finds out that he's undercover, it puts his life at risk.
Johnny: So you decided to keep me distracted. So you could keep Dante safe.
Olivia: I tried to break up with you to avoid all this. Okay, I probably shouldn't have let you talk me out of it.
Johnny: How many more secrets are there, Olivia?
Olivia: What do you mean?
Johnny: Well, I think you've made it abundantly clear that you would go to the wall and lie to protect your son. So? When you said you love me, was that a lie, too? Hmm? This broken heart of yours that you claim to have, is that for real? Or is that just another distraction from me to protect your son?
Dominic: Just wondering if you heard anything about the fallout from the ambush?
Sonny: No, not from here. But you know what, I can't say the same about your friend Lulu.
Sonny: Her brother is investigating the case, and when Lucky finds out that Luke set up the meeting, it's going to get ugly. Lulu's right in the middle. And there's nothing worse than a father and son on opposing sides.
Dominic: Wow, this is really bothering you.
Sonny: Lucky -- this terrific kid chose to be a cop and I hate that when I talk to him, I have to keep my guards up.
Dominic: What, you think he's got something on you?
Sonny: Not yet. He's probably going to figure out that Luke has a connection first, right? Can you imagine, your own kid investigating you? I mean, it got me thinking. About my own life, and what I've done with my life can buy Morgan, Kristina and Michael anything they want. They can go to a great college. They can start a business, anything better than what I had, better than the life that I'm in right now. But I pray that none of my kids ever become a cop.
Jason: I killed -- Maybe three or four men tonight.
Sam: All right, but if you hadn't defended yourself today, you would be the one lying dead in the street, probably along with a lot of other people like Max and Sonny and Milo, even Dominic. You saved a lot of lives today, Jason.
Jason: I stepped out of the car, started shooting. And I did what I always do. No thought, no pause. Just shoot to kill.
Sam: Or be killed. You were under attack.
Jason: When I've had to take a life, it's always been a rival, it's been an enemy, it's been a direct threat to me or Sonny or our families. And I know it sounds like I'm trying to justify it, but it's the truth.
Sam: I know.
Jason: Okay, so what if somebody shows up in the wrong place at the wrong time and sees the wrong thing? Do I have the right to kill him?
Spinelli: Maximista, your negotiations must be in progress, because your phone is off. Well, I eagerly await your return to the gallery to hear the exciting news of your success.
Lucky: Spinelli? I need to speak to you about the exhibit.
Spinelli: Well, in the Jackal's opinion, the artist's vision is for the observer to look inward to his darkest self, instead of turning a blind eye to the brutalities of society.
Lucky: I was more interested in the guest registry, actually. Why did every gangster in town show up to see this guy's work?
Maxie: That is what you get for being mean to me.
Maxie: You knew we were going to hook up the whole time, didn't you?
Franco: Didn't know. Hoped.
Maxie: Since when? The moment we met, or when I agreed to go to your studio with you, or when you offered to take me home and I refused, three times?
Franco: I don't know, I didn't much think about it.
Maxie: I'm flattered.
Franco: I didn't much think about it in advance. But now I'll have a hard time getting you out of my mind. Mandy.
Maxie: You're priceless. I should take you to my apartment and put you on my mantle. You can be your own little work of art.
Franco: Oh, yeah, you think people would pay money for me?
Lulu: Oh, yeah, Mr. Franco. I know quite a few women who would be happy to keep you occupied.
Franco: Yeah, for a while. And then what? Ahh. [Sighs]
Maxie: Hmm. Well, first of all, thank you for a wonderful --
["Mad World" playing]
Maxie: Hmm. You're a very talented man, you know that?
Franco: Are you going to be okay getting up to your apartment?
Maxie: Yeah, sure. Actually, maybe not. My knees aren't working as well as they were earlier.
Maxie: Wait! Wait, I didn't get you to agree to do the shoot!
Spinelli: How's the P.I. business going these days, Spinelli?
Spinelli: It's a most worthy trade. And McCall and Jackal have supervised security at the gallery opening tonight, and as you can see, all went smoothly.
Lucky: You probably heard by now that Jason's a suspect in the multiple homicide on Front Street.
Spinelli: Well, I mean, Stone Cold was in attendance at tonight's festivities with fair Samantha, so --
Lucky: If that's supposed to be an alibi, it's too little, too late.
Spinelli: It's not like the determined detective to rush to judgment in such a manner.
Lucky: Well, let's just call it a feeling, then. The four victims were thugs, but they were humans, and now they're dead. And one of the bodies was posed like it was someone's idea of a joke. That's weird. The body I was talking about was posed just like the one in that picture.
Jason: The photo I got in the mail proves that there was a witness to Claudia's death. And now there's another eyewitness to the shoot-out. They can take what they have to the cops.
Sam: Yeah, but they haven't yet.
Jason: My job is to eliminate threats. What they've seen makes them a threat. So should I kill them?
Sam: Jason, you are having a crisis of faith right now, which means I have to have enough faith in you for the both of us.
Jason: That's nice of you, Sam, but you're not objective.
Sam: Jason, I know you. I know your heart. I know you are not some immoral killer who is drunk on power. I know you are not some animal who is out killing because it makes them feel like they're something special. You're doing what you have to do to protect you and yours when you are threatened. You have great instincts, and you have to trust them.
Jason: Thank you.
Sam: Thank you for telling me.
Jason: You're the only one I can talk to about this.
Olivia: I don't expect that this is going to change anything. And I don't know if you can ever forgive me or trust me again. But I want you to know -- that I never lied about loving you, John. And I never will.
Johnny: Do you regret lying about your son?
Olivia: I would have never told you he was a cop. But now that you know, at least you can protect yourself.
Johnny: How much evidence does he have against me?
Olivia: Sonny is the target. But you can still stay under his radar. Just don't tell Dante. Don't let him know anything that can be incriminating.
Johnny: And what about the alternative, Olivia? You still haven't given me a compelling enough reason not to tell Sonny that his new golden boy is the guy who's going to put him away.
Olivia: Then how about this -- how about you couldn't live with my kid's blood on your hands? How about that? Please -- I'm begging you. Please, don't tell Sonny or anybody else that Dante's a cop.
Johnny: Swear to God. Sure, I swear. Sonny will never hear the truth from me. And I'm going to sit and I'm going to wait and I'll watch and cheer from the sidelines when Dante finally puts Sonny Corinthos in prison where he belongs.
Dominic: I don't think you have anything to worry about. I mean, Lucky has nothing that could tie you to Claudia's murder, right?
Sonny: Look, if you look hard enough, you can find something. Max and Milo drove me to the cabin. You don't think they can't find somebody who might have seen the car? I came home and I had blood on my shirt. Somebody could have seen that.
Dominic: That's all circumstantial.
Sonny: Well, you know what, I know she didn't vanish into thin air. I know she's buried. But it doesn't mean she can't be found. Lucky, some other cop, putting the pieces together, they could have enough to build a case. And maybe even enough to convict me of Claudia's murder.
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