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Guiding Light Transcript Wednesday 3/19/03
Provided by
Linda
Proofread by Tanya
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Marah: It's almost as if you could hear the footsteps of all the people that have been in here looking at all the beautiful things.
Tony: Did you find anything interesting?
Marah: Just those other rooms you were telling me about.
Tony: More like trash bins with windows.
Marah: Yeah, maybe now. The architecture in here is beautiful. I mean once you clean it up and do some renovation--
Tony: Oh, that's not going to happen.
Marah: Why? The room's a part of the museum. You can't fix one without the other.
Tony: Who said anything about fixing this place up? We're tearing this place down to make room for a new apartment complex.
Marah: You're joking.
Tony: Well, it's not in Danny or Cassie's budget, so it comes down.
Marah: Tony, you can't do that. This place is too beautiful. I'd buy the place before I let it be torn down.
Tony: And use it for what? Don't tell me you already have enough paintings to make the Marah Lewis museum.
Marah: No, I'm going to live here.
Phillip: You chilly?
Olivia: Oh, no, I'm fine.
Phillip: You sure. Because we can take all of this inside if you want?
Olivia: No, I'm enjoying the air. It's nice.
Phillip: All right. It is nice.
Olivia: Might as well enjoy it while I can.
Phillip: Oh. You're not going back to prison. I'll make sure of that.
Olivia: Well, I didn't think it was going to happen the first time, but "innocent till proven guilty" really doesn't mean a whole lot when you're sitting behind bars. Because after a while you just start to feel like a criminal.
Phillip: You're not the stalker. All we have to do is prove it.
Olivia: Even if it means putting your father in prison?
Phillip: I still don't want to believe that he's behind it. But you know what? The hell with it. If he did this, then he deserves what he gets. And as far as I'm concerned, he can take Aunt Alex with him. We're not a family anymore anyway. Spaulding's are...
Olivia: Spaulding's are what?
Phillip: (Laughs) A plague.
Gus: You are a Spaulding? A blue-blooded, richer-than-God and twice-as-evil-devil-Spaulding. I'm related to big Al and his cigars. Phillip the Zach snatcher. Alexandra the dragon queen. I can't even stand to look at any of these people. Coop, do I seem like a Spaulding to you?
Harley: The only thing you have in common with the Spaulding men is me, okay? Honey, we don't even know for sure that you're one of them.
Gus: Well, what would you call the "S" on the bracelet? And Alexandra's obsession with keeping who my birth mother is from me? She shouldn't care if I'm a Simon or a Smith or a Santos?
Harley: Okay, let's say you're right. Say you are a Spaulding.
Gus: Ah. That sends shivers down my spine.
Harley: Who's your father?
Lucia: Gus is my son. When I left him with the Augustino's I thought that he was happy with two parents who loved him. You promised to keep tabs on him for me, and to make sure that he was safe. When the Augustino's died, you should have told me.
Alexandra: I was out of the country, Lucia. I mean by the time I got back, Nicky... well, Gus had changed his name. I couldn't find him.
Lucia: With your money, you could have found anybody.
Alexandra: Well...
Lucia: You left those kids alone to grow up in the streets. We were the only family that they had.
Alexandra: Are you including Alan in reference to family? Because don't you remember how badly he treated you? And you'd done more than just fluff his pillows for him.
Lucia: He's still Gus's father.
Alexandra: Yes, but look what he's done to his other sons. You ask me, Gus is... it's a blessing, he never knew his father. Gus is a fine young man, Lucia. God answered your prayers, he did. Not in the way exactly that you and I would have wished for, but he answered them.
Lucia: God has never failed me.
Alexandra: I know. And I have, and I'm very, very sorry. But your son is happy. He's got a respectable job. He's got the love of a woman who even I approve of. You can leave knowing that you did the right thing, Lucia.
Lucia: I can't go back to the convent. I can't pretend I never saw my son.
Alexandra: Lucia. Wait a minute. Wait a minute. What could you possibly hope to gain by staying here? He... Gus is a grown man. He doesn't need you in that way...
Alan: Alexandra, I... well, hello, I'm Alan Spaulding.
Lucia: Lucia Rinaldi.
Alan: Have we met before?
Alexandra: I don't think so. Please, Alan, come here. Does this briefcase mean that you're trying to go to the office?
Alan: Where else would I be going, Alexandra?
Alexandra: Possibly to bed so you don't collapse again like you did at the Country Club. Now the doctors told you that if you don't get some rest...
Alan: I don't give a damn what the doctor said. I don't trust them anyway. And, oh, by the way. I threw away those tranquilizers and I've never felt better.
Alexandra: My dear, you may just be dead. You've had two bloody heart attacks, Alan. If you don't slow down and take care of yourself. Now, really. Is Spaulding Enterprises worth dying for.
Alan: You would love it if I never went back to work again, wouldn't you? Well, it's not going to be that way because I am going to take back the company that you stole from me. And that you can depend upon. Miss Rinaldi, it's nice to see you. Are you sure we've never met before?
Lucia: Actually, we have.
Alexandra: No, that would be impossible, I'm sure.
Lucia: I used to work at the Country Club years ago.
Alan: That's why you look familiar. The Country Club. Well, it's good to see you. Good day.
Olivia: You know, it's funny how your priorities change. I remember standing out here a year ago thinking that if I could have all this, then I'll have everything. Yeah, I wanted to be the lady of the manor, queen of all I surveyed.
Phillip: Yeah. Decided to take a vow of poverty, have you?
Olivia: No, I can't. I mean I'm not ready for that.
Phillip: I didn't think so.
Olivia: Just yet. But uh... no, there are more important things in my life right now.
Phillip: Like what?
Olivia: Well, my freedom for one. Having a healthy baby. The love and trust of a good man. I've just taken so much for granted.
Phillip: I don't think you're taking anything for granted right now.
Alan: I'd like to have a word with Olivia.
Phillip: No, I think you've upset her enough already.
Olivia: You know what? It's okay. I'm okay. And I'd like to talk to Alan.
Phillip: Yeah?
Olivia: Mm-hmm.
Phillip: Oh, okay. I'll be inside.
Alan: Well, I'm glad you're not afraid to be alone with me.
Olivia: I'm a very brave woman.
Alan: Tell me something. How did we get from there to here?
Olivia: You're a smart man, Alan. Why don't you look at a map and figure it out?
Alan: Why didn't we get to our destination? We were a perfect team, Olivia. We finished each other's sentences. We never had to discuss anything. We just knew.
Olivia: You changed all that, Alan.
Alan: You and Phillip changed all that.
Olivia: Okay, what do you want?
Alan: You know what I want. And you know that I still have feelings for you. I don't care if you stranded me on some island or you stalked Reva. The only thing that I care about is what we made together, our life together-- us and our child. And believe me, I know that you are carrying my child. And I am not going to let you cut me out of his future.
Gus: All right, what do we have? We know that Joe and Angela Augustino are not my birth parents. Right.
Harley: We know that Eden is not your biological sister.
Gus: Yeah. We were lead to believe that my real birth mother Regina was dead. Her casket was empty.
Harley: Which means that somebody went way out of their way to concoct an elaborate scheme.
Gus: Yeah, an expensive scheme.
Harley: Mm-hmm. And who's got that kind of money?
Gus: Alexandra is way too obsessed with covering up who my birth mother is. She had the safety deposit box emptied out. She sent Edmund for the bracelet. She sent Roy Baker off to Germany.
Harley: And Roy Baker said that Miguel Santos is your father. Which seems highly unlikely now. And it means that somebody paid him to lie.
Gus: Got the lady at the convent.
Harley: Lucia.
Gus: Yeah. You know she seemed very nervous around me like she was rehearsing or saying lines from a script. Like she'd been coached, you know. Come on, let's go.
Harley: Wait. Where are we going.
Gus: We're going to see my mother.
Tony: Marah, you can't live here.
Marah: Why not? This place is big enough for all of us. I know Bill would help me redesign the inside, and Ben and Remy, they would paint the place and stuff. We could do this place... we could do anything we wanted with this place.
Tony: You want to live in the worst neighborhood in town.
Marah: It won't be once you guys fix it up.
Tony: Well, baby, that's going to take a while.
Marah: Okay, so we start here. I mean we have to move out of the carriage house soon anyway. This is perfect timing.
Tony: Okay, so you need a new place to live. We're going to pick up the paper. We'll look at the real estate section.
Marah: And find what. Some boring little apartment in some boring building? No. I mean most people don't even rent to college students anyway. And the people that do, their buildings are already taken until the end of the school year.
Tony: Look, I hate to tell you, but Danny would never go for this. This spot is the center piece of his plan. It's new housing for people who need it. And this museum has to come down before apartments can go up.
Marah: Tony, look at this place. It has so much history. You can't just tear a place like this down.
Josh: She's absolutely right. This museum is a landmark. You can't demolish it. You can't touch the facade. Just the interior.
Marah: Ah-huh. See. It was meant to be.
Olivia: You know what, Alan. I'm not going to change my mind. You framed me. You made the whole world think that I'm a stalker. And what am I suppose to do? I'm suppose to just throw myself back into your arms and raise a baby with you?
Alan: You know, you can cut the act. Phillip can't hear you now.
Olivia: The only acting I'm doing right now is tolerating your presence.
Alan: I know what you're doing, Olivia. You're trying to play the victim so that Phillip will come in here and rescue you, because he's so naive, and he can be manipulated. But I know who stalked Reva. And I...
Olivia: Oh, boy, the walls are really closing in on you aren't they, Alan? That's why you lost it at the Country Club the other night. You're slipping. You've lost your grip on your wife, your son, your sister and even your business. Now you're losing your grip on yourself. All the cracks are showing now, Alan. And pretty soon they going to split wide open and all that ugliness that's inside of you is going to come pouring out and that's when you're going to figure out that you have nothing left.
Alan: That was your last chance, Olivia. I'm sorry you didn't take it.
Phillip: Pleasant conversation?
Olivia: The usual.
Phillip: Yes, and as usual, he has left a mess to be cleaned up.
Olivia: Is this your phone?
Phillip: No, I don't recognize it.
Olivia: Really. I know it's not Alan's. It kind of looks like mine. Oh, my God.
Lucia: What happens to Nicky... to Gus when he finds out who his birth parents were.
Alexandra: Hopefully he never will.
Lucia: Really? You said he was a talented detective. You think he'll stop now? He'll find Alan. He'll find me. I know it. I know it in my heart. I think I've always known it. You can't give away a part of yourself, even if you've done it for all the right reasons.
Alexandra: Oh, come on, Lucia.
Lucia: Or the wrong ones.
Alexandra: Lucia, your son has been happy for years.
Lucia: Yes, but for years, he wasn't. The time I spent in that convent trying not to think about him, telling myself what a great sacrifice I made because I put him first. I pictured him going on vacations, riding his bike, the day he was going to drive in his first car. And all the time I pictured him smiling, but he wasn't. And I wasn't there to help him.
Alexandra: But you gave him the best gift of loving parents. You know, don't ever... don't ever regret that.
Lucia: What happens when Gus does find out that Alan is his father? What then?
Alexandra: Well, I will make... I will make certain that Gus is well taken care of.
Lucia: Will he become a Spaulding heir?
Alexandra: Lucia, I'm going to have my driver take you back to Chicago-- just for now. And if anything develops, I'll get in touch with you.
Lucia: You want me to just walk away and pretend I never saw my son?
Alexandra: Lucia, believe me, it is for the best.
Lucia: For whom?
Gus: I don't give a damn. Let the butler press charges for all I care. This is an appointment I've been waiting to keep all of my life.
Harley: Gus. Gus. Just calm...
Alexandra: Gus.
Lucia: That's Gus.
Alexandra: Trust me. Just hide.
Lucia: No.
Alexandra: Just for now.
Gus: Well, you can't hide it from me anymore, okay. Because I know the truth. I know everything. The only thing I don't know is why it took me so long to figure it out. Did you actually think that I would not find out?
Tony: Okay, I'll you what. I'll make you a deal. See, your dad over there, the guy who wants to keep you chained to his wrist for safekeeping? He said it's all right for you and your friends to move in here, I'll make it work with Danny. Go ahead. Tell him you want to live in an old abandoned building. See what he says. I'll be right here. Go ahead.
Marah: Okay, I'll do it.
Tony: Okay.
Marah: Okay.
Tony: Love you.
Marah: Daddy?
Josh: Yeah.
Marah: It's beautiful, isn't it?
Josh: Yeah, it's must have been something in it's day.
Marah: You know, I've been doing some interior design work in school and I actually have some pretty good ideas for this place.
Josh: Really?
Marah: Yes. You see that window right over there?
Josh: Yeah, the one that's not broken?
Marah: Well, that would be the ultimate meditation room.
Josh: Yeah, what are you going to meditate on? Your widescreen TV.
Marah: No. Actually the media room would be in one of the rooms in the back that have less windows. So you could strip the walls down to the original wood and the light would sort of play off the texture. And you could do it all really cheap with discards and secondhand stuff.
Josh: You know those are great ideas. They really are. You should draw up a proposal of some kind, you know, maybe hand it off to Danny.
Marah: Well, actually I don't want a consulting job. This actually has nothing to do with the job. I, um... I want to live here.
Josh: (Laughs) It's a joke, right?
Marah: What.
Josh: I mean you've had some wild ideas before, but come on, this is...
Marah: Okay. Okay, I know it's not the best neighborhood.
Josh: It's dangerous, Marah.
Marah: Yeah, but your crew is going to be here. And Danny's going to be here and Cassie will be around.
Josh: Wait. I haven't decided yet if I'm going to get involved in this project. But I do know this. I don't want to see my daughter walking around this neighborhood at night.
Marah: Okay, well, I'm not going to be alone. Bill and Ben and Remy, they'll all be here, too.
Tony: And me. I'll keep her safe.
Josh: Well, how exactly are you going to do that?
Tony: By moving in with her.
Alexandra: Whatever it is you think you know, Gus...
Gus: Look, I know who my mother is, okay. So stop it. No more lies, no more games. No more schemes. It's just you and me face to face, okay.
Alexandra: Harley, would you please...
Gus: How do you do it? How do you sleep at night? How do you close your eyes and rest? How do you do it? You pretend so much to care about family, but all you do is pull strings and hurt people just to suit yourself. Did you ever think about it just once over the 30 years, what you were doing to me? Ever? No. About the pain that your lies caused me? No.
Alexandra: Oh, God, I... no one has tried to hurt you.
Gus: No.
Alexandra: I was only trying to do what I thought was fair.
Gus: I don't hear you. You're not talking, okay. You were so obsessed with keeping who my mother is from me and now I know why. Because it's you, isn't it?
Alexandra: Me?
Gus: Yes, you. You gave birth to me.
Olivia: This is my phone.
Phillip: What are talking about? It can't be your phone. The police confiscated your phone when they arrested you, right?
Olivia: It's not my actual phone. It's a copy of my phone. It has my numbers entered on it.
Phillip: What?
Olivia: It has my address book, it has all my speed dials. I mean Alan must have programmed all the stuff from my phone into this phone.
Phillip: Well, wait a minute. Wait a minute. Have you used a new company lately? Could this be an old phone that was just laying around and maybe he picked up?
Olivia: No, no. Phillip.
Phillip: What.
Olivia: It's voice activated. It should recognize my voice. Dial Phillip. I guess that's one that he didn't transfer.
Phillip: Or it's broken.
Olivia: Well, we could find out. (Phone rings) What's the call I.D. say?
Phillip: Your name.
Olivia: This is how he did it. This is how he made people think that I was making those threatening calls to Reva. We've got it, Phillip. We've got the smoking gun.
Josh: (Whistles) Hello? Remember me?
Marah: Yes.
Josh: You guys, what. Celebrating how good Tony just made me feel.
Marah: He wasn't... (Josh laughs) Okay, so maybe he was...
Josh: Yeah, yeah.
Marah: ...Trying to make you feel better. But is it really that terrible?
Josh: No, actually it was very nice. I can't figure out what I like more, you know. I mean the fact that my 20-year-old daughter is going to move into a dangerous neighborhood or the part where she's shacking up with her boyfriend. ( Laughs)
Marah: Well, it's not just going to be Tony. I mean I'll be surrounded by three other guys.
Josh: Oh, well, thank you for sharing that with me. That makes me feel so much better. So there'll be a bunch of guys around here-- not another girl in sight-- and you'll be living in dilapidated museum and a bad neighborhood. You know, it really is. It's getting better and better.
Marah: Come here.
Josh: Uh-oh. Don't hurt me, now.
Marah: I just want to show you something.
Josh: Okay.
Marah: Now close your eyes and imagine. Remember, you used to say that to me?
Josh: Yeah.
Marah: Close your eyes and imagine what it could be. You'd bring me to all your old construction sites. All right, well, I already see it. I see it because you taught me to never give up, to never be afraid if I wanted something and if I believed in something, if it's worthwhile. And I believe in this. I see it, Dad. I see it because of you. You opened my eyes. So please don't ask me to close them. Please. I really, really, really want to do this.
Josh: You're not really asking my permission, are you?
Marah: No, but I would like it just the same. For old time's sake.
Josh: Well, for old time's sake, is there anything that I can say or do that will dissuade you?
Marah: I think a rope and a tree might do it. (Josh laughs)
Josh: Sweetie, you're not going to... listen to what I have to say.
Marah: I'll listen.
Josh: But then you're going to do whatever you want to do. Just like somebody else would that we know.
Marah: Yeah, well, she is my mother.
Josh: How about if I threaten to cut you out of the will?
Marah: Well, now, that's not going to work, because you're going to die until you're about 150, and by that time I'll have my own money.
Josh: That's an excellent point. How about if I threaten to back away from this project entirely and disown it?
Marah: See, now I don't think you're going to do that. You’re not 100% against this idea.
Josh: How do you know that.
Marah: I just know.
Josh: (Imitating Marah) "I just know." (Laughter) How do you know?
Marah: Well, if we move in here, we will be planting a flag in the ground saying that we feel safe here, we believe in this place and so should you. Admit it. Come on, admit you think it's kind of cool.
Olivia: We've got proof. We've got proof that he set me up. Now we just have to take it to the police.
Phillip: No, but it won't hold up. We never saw this in his possession and there's no way of proving that he programmed it.
Olivia: It was in his briefcase.
Phillip: Prove it.
Olivia: The police have my phone. Why would he be carrying around a duplicate?
Phillip: Well, to frame him.
Olivia: Oh.
Phillip: Clear yourself. Think about it; makes perfect sense. Think about the lawyers that he can use. They can spin this anyway that they want to. No, it's not enough.
Olivia: Well, there has to be someone we could trace the phone back to prove that he bought it.
Phillip: Too smart for that, you know that.
Olivia: There has to be something, Phillip. Something we haven't seen. Sam. Sam is a wizard of electronics. I mean he would know something that we don't. I've got his new number upstairs. I'm going to call.
Phillip: Olivia, you're wasting your time. It won't work.
Olivia: Maybe you don't want it to work.
Phillip: I'm just trying to be realistic. How do you do it, Alan?
Alan: What are you talking about?
Phillip: Why can't I just write you off? Because you've always lied to me more than you ever told me the truth. You tried to control me. You have hurt me more than anyone ever has. I have watched you do the most horrific things to me and to people that I care about and yet, some part of me still wants to give you the benefit of the doubt. Some part of me needs to believe that there is good in you somewhere and that you must care for Olivia and this child that's she's carrying-- that you must care for me and your grandchildren. What is it that keeps me from giving up on you?
Alan: I'm your father, and you love me.
Phillip: Swear to me... swear to me that you did not frame Olivia for stalking Reva.
Alan: It wasn't me. I swear it.
Alexandra: Oh, Gus, I am not your mother. I don't know where you got that idea.
Gus: You have had me chasing my tail for months, trying to keep me away from you. What's the matter, Ma? You ashamed of your boy? Did you think I couldn't live up to the Spaulding name? Is that it? Well let me tell you something. You're right. You're right, because now that I know, I am going to spend the rest of my natural life making sure that I am nothing, nothing like you people!
Alexandra: All right, Gus, you have to believe me...
Gus: No, I don't believe you. I don't believe a word that you say, okay. Because I think that you are a sick, twisted, coldhearted woman. You left me and my sister on the street to rot after my parents died. My sister hardly made it out of there alive. She was physically and emotionally damaged for life. I couldn't help her. I couldn't help her. I was in a juvie hall. For half my teenage years, I was in a juvie hall just waiting, praying for somebody to come and rescue me. They never came. You never came.
Alexandra: Well, I'm so sorry that all that happened to you, Gus.
Gus: Oh, you're sorry. You're sorry. You're sorry. You want me to tell you what it was like trying to raise a little kid sister with no food, or no money, no place to live. Counting on handouts from your parents' friends. Want me to tell you what it's like to actually have a kid sister and watch her be cold, watch her forget how to cry because she has reached the human limit on sorrow? I'll tell you what it's like. I will tell you what it's like. We were cold, we had no food, we had no place to live, okay? But I was too proud to ask for any help. And you were up here in this big, fat mansion pretending that your bastard son never existed!
Alexandra: Stop this. For the last time, you are not my son. And, Harley, will you talk to him. Talk to him.
Harley: Don't look at me. It all fits, Alexandra.
Alexandra: What fits? I mean, how could you come to this kind of conclusion? What kind of proof do you have?
Harley: Gus, can we go? She won't admit it.
Gus: I don't give a damn! I don't give a damn! Let me just ask you this, okay? Did you ever think about once? Just once? Just maybe on my birth-- did you ever see another little kid that maybe looked like me and thought and thought, hey, what's my son like? What did my son turn out to be like. Or maybe you did. You did see me. You thought, "Oh, look at that little runt. He's just too rough around the edges. He's not good enough to be a Spaulding." And I was like a piece of garbage on the bottom of your shoe. Is that why? Is that why you didn't have it in you to call yourself to my mother. Is that why.
Lucia: She's not your mother!
Marah: Well, say something.
Josh: I don't like it!
Marah: Something else!
Josh: What. Something that you want to hear?
Tony: You know, Josh, stuff happens no matter how safe you are.
Josh: So you just stop trying?
Marah: You know what he means. People get hurt even when they don't expect it.
Tony: Mostly because they don't expect it. But out here, we'll be watching our backs.
Marah: Come on. You and Billy used to do some crazy stuff when you guys were kids and you're still around, right? Go for it. That's what you used to tell me. You'll never achieve anything if you don't... what? What? Try, right. Come on.
Josh: Okay. All right. I will send out some of my guys to check out the electric and the plumbing.
Marah: Yay. Thank you.
Josh: But you're still going to have to deal with your mom, you know that. And not to mention the parents of the other roommates.
Marah: Yeah, and I'm up for the job.
Josh: I know you are. Don't make me regret this.
Marah: Thank you. Yay! We did it.
Tony: Mm-hmm.
Marah: Now all you have to do is talk to Danny. Are you sure that he's going to give in?
Tony: Oh, I could be very persuasive.
Marah: Yeah, I've seen that. My dad likes you, you know.
Tony: We got a ways to go.
Marah: Yeah, but we'll get there.
Tony: Yeah. Yeah, we will.
Alan: From the time you were very small, I wore the black hat. I was the villain, so you could be the opposite.
Phillip: You're the bad guy because you're so good at it.
Alan: What I'm trying to tell you, Phillip, is that it's time for you to take responsibility for what's gone on since the summer.
Phillip: Time for me to take responsibility?
Alan: I loved Olivia. We were having a relationship. We were very happy. And then I walk in on you kissing her in the hot tub.
Phillip: It was just a joke. Just a prank. It's not like you didn't deserve it. And, hell, it didn't matter. The joke ended up being on us, didn't it? As you clutched your chest and fell to the ground pretending to die.
Alan: You probably wished I had.
Phillip: No, I don't. And I know that what we did was wrong, but it's not an excuse for the hell that you put us through.
Alan: You were kissing the woman that I wanted to marry. You even kissed her right before I married her. Tell me, how would you feel if you caught me cavorting with Beth?
Phillip: What's the use?
Alan: None of this... none of this would have happened if you would have stayed away from my wife. The heart attacks, Alex's meddling, me changing the birth control pills... none of it would have happened. I would be happily married to Olivia expecting this child with her if you had shown some respect for your father.
Phillip: If I just respected my father. (Laughs) Yeah, I love you, Dad. And I don't think respect is something that you and I should talk much about.
Alan: Phillip, we do need to talk about the baby-- my baby. (Cell phone ringing) There are some things we need to straighten out.
Phillip: I need to take this. Hello? Alan's voice activated Olivia's phone. He did it. He set her up.
Gus: What are you doing here?
Harley: Who is this? Who are you?
Gus: Her name is Lucia. She was a friend of my parents-- the one I had a conversation with at the convent. You're part of this.
Lucia: One big part of it, Gus.
Alexandra: Look I can explain...
Lucia: No, no. No more lies. No more covering up. He deserves to know.
Alexandra: All right, but, Lucia...
Gus: Stay out of this! She has something on you. She's been paying you off to keep quiet. Is that why you're hiding in a convent?
Lucia: No. Alexandra Spaulding is not your mother.
Gus: Then who?
Lucia: Somebody's who's been missing you all your life.
Gus: You. My God, it's you.