Author Topic: #0996/0997: Robservations 06/25/03: Yaeger & Buffy  (Read 975 times)

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Offline ROBINV

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#0996/0997: Robservations 06/25/03: Yaeger & Buffy
« on: June 24, 2003, 10:07:12 AM »
996 - Barnabas is still captive of the avaricious writer, Will Loomis, says Lara Parker's voice-over.

Cyrus, now a completely different person, looks at the ugly hair on the backs of his hands, feels his face. I remember who I am, he says gleefully--I'm John Yaeger, that's who I am! He's thrilled, his voice coarse.  He searches the lab for a mirror in which to admire himself, trashing Cyrus' lab in the process. He finds a silver tray and looks at his reflection, pleased, then gazes at Cyrus' network of fluids, tubes and beakers, referring scathingly to Cyrus as "the noble, dedicated scientist, the passionate believer--where are you now, Cyrus? "To bring forth all that is good in man"--we see him reflected in a magnifying device that makes him look upside down--"to deter the impediment of evil, to bring out what is best in his divided nature...the best is standing right here, and his name is John Yaeger!" John literally hops around a few steps, then goes to a closet, exulting in the fact that while Cyrus may have forgotten where the key is, John Yaeger remembers. He opens a small drawer in the desk and unlocks the closet, saying happily, the mirror will tell me what I don't remember--what Yaeger really looks like. He opens the closet to find a large mirror, and stares at his reflection, touching his face. I remember, he says, there's no clear, honest eyes here, no pale face, the milk of human kindness doesn't flow through these veins. (But the new nose has got to go, and seems to be trying to of its own volition.)
Oh, he says, admiring his wardrobe of Yaeger clothes--I've got style, flair!--too bad they never caught the man who broke into that clothing store, eh? He chooses a suit. When was the last time I became myself? he wonders--I don't know. He looks at himself in the mirror--welcome back, he says--this night belongs to you.  He grins ecstatically--and evilly.

Trask locks the front door of Collinwood. Alexis walks halfway downstairs and asks him, who are you--what are you doing?  Though stunned to see her, he covers it well--I'm Trask, the butler,he explains--I've been away. Oh, yes, she says. Surely Mr. Collins has mentioned me? asks Trask, sounding wounded. Yes, of course, says Alexis, coming the rest of the way downstairs, sorry for my abruptness. Were you told about me? she asks nervously.  He identifies her as Miss Alexis, Mrs. Collins' twin sister--is there anything I can do for you?  I was looking for Quentin, she says, have you seen him? Yes, he took Amy to visit the Loomis' at the Old House, says Trask. So, he decided to take Hannah Stokes' advice after all, she says--did he say why he was taking Amy there? She enjoys visiting her cousin Carolyn from time to time, says Trask. Does she always go there this time of night? asks Alexis.
I really couldn't say, says Trask, uncomfortable--if you'll excuse me... If Mr. Collins is out of the house, asks Alexis, why have you bolted the door? Trask stiffens--I'll open it when he comes back, he says. Is it always your habit to answer questions indirectly? She asks--why did you bolt the door? Because...I really can't talk about it, ma'am, he says. Please tell me if something happened to induce Quentin to take Amy from the house, says Alexis, i must know. I don't know what you could be referring to, he replies. Trask, she says warningly.  He admits something has happened--you must help us, help all of us--we must leave this house, all of us! Someone knocks at the door.  Trask, terrified, he doesn't want to open the door. What if it's Mr. Collins? she asks--you must open the door! Trask very reluctantly unbolts the door. It is Quentin, who, annoyed, asks, why was the door bolted? Something has happened since I heard the music in the room, says Alexis, with no one at the piano--do you know what it is--you must tell me. Close up the house, Trask begs Quentin, we have to leave, all of us!  We aren't doing that, insists Quentin, so you should just relax. Alexis, agitated, watches as Quentin picks up the phone. You aren't calling the police, are you, sir? asks Trask nervously. I'm calling Cyrus, says Quentin, perhaps he knows what we can do next.

Yaeger has changed into his super-cool threads and admires himself in the mirror. The phone rings.  Someone is calling the good Dr. Longworth, he chuckles, which is a pity, because he isn't here. Yaeger sits next to the ringing phone on the desk, looking at it. Maybe it's a friend in need, he ponders, his friends had better get along without him. The ringing stops. That's better, remarks Yaeger, "If it's Dr. Longworth you're looking for, YOU'D BETTER GIVE UP!" He laughs. He holds up a bottle of red liquid with a label that says DO NOT TOUCH, remarking, it's here if I should ever need it. He stows it away in a safe and covers it with a painting. There's something else, he says, of course--he takes out a walking cane with a hidden blade that flashes, exposed, from the tip. "I wouldn't want to do without you, would I?" he asks.  He returns the blade to the bottom of the cane, closes the closet, knocks something over, and saunters jauntily out of the lab.

Eagle - A pretty waitress (played by the wonderful Elizabeth Eis, who also briefly played a Leviathan in that storyline) cleans up ashtrays on the tables.  She advises a man in a red and black checked coat standing nearby, drink in hand--there's no reason to hang around--I won't go out with you. That's what they all say, he replies. This place is empty, she says--why not go someplace livelier? I like it here, he says, it's nice, peaceful--he slips his arms around her from behind, but she pulls away.  No place is peaceful with you around, she complains. He follows her, putting his hands on her shoulders, trying to kiss her neck. Doesn't having me around make you feel all peaceful inside? he asks. Although she seems to be enjoying it, she says, I've got to do some work. It can wait, he says, still revving her up, kissing her ears. It can't wait, she protests flirtatiously--let me go.  Make me let you go, he suggests. I don't think that will be necessary, says John Yaeger, who has interrupted them. I think you'll do what the lady asks without being forced. It's you again, says the waitress--look, it's all right, I don't want any trouble like the last time. Yaeger chuckles, then advances on the other guy and asks, "You were just leaving, weren't you?" No, says the man, as a matter of fact, I wasn't. Strange, says Yaeger, I had that distinct impression.  He grabs him by his coat collar and sends him flying to the ground, overturning a table in the process. The waitress, upset by the violence, threatens, I'll call the police on both of you! This doesn't stop the men, who continue to grapple and pummel each other. The guy in the red and black checked coat grabs a bottle on the bar, intending to smash it over Yaeger's head, but it shatters in his hand right on the bar, a classic blooper, so the guy attacks Yaeger with a chair, smashing it on the bar when Yaeger moves to avoid it. The waitress, who has moved out of the line of fire, screams, "That's enough!" The two men continue to fight.  Yaeger pins the other man's arms behind his back and literally throw him out--I don't think you're going to come back, says Yaeger--"at least not when I'm here!"  I'll get you for this! threatens the other man, and don't think I won't!  Good, I'm looking forward to it eagerly, says Yaeger, closing the door. Yaeger apologizes to the waitress for the disturbance. Look what you did--you're no different than him! the angry waitress says. I think you'll find that I'm quite different, promises Yaeger. (His fake nose has pretty much disintegrated.) Look at everything you smashed, she says--it's worse than the last time. Oh, no, I think it's much better than the last time--last time my opponent was five times as big, he brags. Who's going to pay for all this? she asks. I am, he assures her. Sure, she says, and I'M going to get fired because there was a fight here! You don't believe I'm going to pay for the damage I've done? he asks. Frankly, no, she retorts, hand on hip. What makes you so sure? he asks. Because you guts are all alike, she says--you wreck a place, then say you're going to pay for it, and that's the last I ever hear about it. But I told you I was different, he says, and I'll prove it--I'll be back in a very little while with a very generous check. She clearly doesn't believe him. Will you still be here? he asks. Probably forever, she says angrily, cleaning up the mess YOU made. I won't be nearly that long, he assures her. He picks up his cane from the debris on the table and leaves. She continues to clean up, her lips pressed tightly together.

The drawer opened by itself, Quentin tells Trask, inside was some music of Bruno's, and his picture, blood-stained. No, says Trask. Later on, continues Quentin, the drawer was empty--no one could have emptied it, no ordinary person--now why don't you tell me that it mean to you? Like I said before, sir, I think we should close up the house and leave, advises Trask. We aren't going to do that, insists Quentin, so why don't you tell me everything you know. Trask evasively says, I don't know everything--I've been away. Quentin crosses his arms and says, you weren't away the day Dameon disappeared last year. Sir, I swear I don't know anything, says Trask. Tell me what Bruno knows of Dameon Edwards' murder, demands Quentin. MURDER? repeats Trask--what are you saying?  Dameon is dead, says Quentin, and I have every reason to believe he was murdered--now, I believe it was Bruno, am I right? How would I know? asks Trask. Because you were involved in some way, am I right? asks Quentin. Sir, that's a terrible accusation; do you realize what you're saying? Trask asks. I wonder why you acted the way you did when Amy said she saw Dameon, says Quentin--and why did you run to Bruno's cottage almost immediately afterward?  Trask turns, surprised, but before he can answers, Quentin says, you said you were just checking the grounds, and we both know you went to Bruno's--tell me what you know about the murder of Dameon Edwards. Nothing, says Trask defiantly. Was Angelique involved in any way? Quentin asks. I don't know, says Trask. I wonder why the ghost led Amy to the room in the cellar? Asks Quentin. Please sir, I don't know anything, insists Trask. Quentin grabs him and pulls him around to face him--"You do know, and you're going to tell me everything!" he says roughly. "SIR!" cries Trask indignantly. They stare at each other a moment. Trask straightens his jacket and suggests, I was wrong to come back here tonight--perhaps I never should have come back at all!
I advise you not to leave, says Quentin--I'll find you wherever you are when I want to ask you questions. But I have no answers, sir, says Trask. I hope you're right, for your sake, says Quentin, and leaves the drawing room. He puts on his coat and says, I'm going to Cyrus' house--perhaps he'll know how I can get to the bottom of this--you are to stay here, is that clear? Yes, says Trask.  When Quentin leaves, however, he looks like what he really wants is to flee.

Eagle - Yaeger tells the waitress, the first thing you should know about me is that I'm a man of my word--he hands her a check. She's shocked.  Is the sum insufficient? he asks. What is this, some kind of joke? she demands--look at the signature--Cyrus Longworth! Yes, a very respected, reliable name, he points out. You think I don't know who this is, but I do, she says, I used to work for the Collins family, and used to see him at Collinwood, and he isn't you, not at all. Yaeger chuckles--I never said I was, he points out. How are you going to pull off this check with his signature? she asks. Longworth signed it, he assures her. Oh, yeah, yeah, she scoffs. Growing angry, he warns, don't imply that I'm a liar, or a forger, or anything else derogatory, hmmm? All right, all right, she says, placating him. And I also think, he says, holding his cane aloft, tickling her throat with the tip, you had better not mention who gave the check--that's part of my promise to Dr. Longworth, because, generous as he is, I don't think he wants his name mixed up in the events of tonight--do you understand? He stops caressing her throat and shoulder. Yes, I understand, she says, looking pretty angry herself. Good, I like people who understand, says Yaeger, and as for those who don't understand, well, the less said about them, the better, because their fate is best forgotten. Leaving her shaking, he leaves the bar.

In an alley, Yaeger runs into the guy he'd fought in the Eagle. The man is just about to light up a cigarette. I was hoping to run into you, says Yaeger--you promised to "get me", if I remember correctly. If you're smart, you won't mess with me, says the man--now I'm warning you...  I'm afraid I don't heed warnings, they sound too much like a threat, says Yaeger, who turns and begins beating mercilessly on the man with his cane. Taken by surprise, the man is down, crying out with each savage blow from Yaeger's cane. Only the timely intervention of Quentin, who demands to know what's going on, stops Yaeger's pummeling; he runs off. Quentin kneels down to help the fallen man--"Get him, stop him!" the man cries.  He's gone, says Quentin--"Are you all right?"  I'll get him, vows the man furiously, I swear I will. Quentin helps him to his feet--I'll take you back to the Eagle, he offers. I'll be all right when I get even with him! the man says.

The waitress is cleaning up the mess made by the fight when Quentin and the man enter the bar. Do you know who he was? asks Quentin. She does, the man says, pointing at the waitress. Quentin addresses her as Miss Harrington--get him in a good, stuff drink, he orders--he's been in a fight. I don't want a drink, says the man, making a fist--I swear I'm gong to find him, and when I do... You've had enough fighting for one night, points out Quentin. You mean you started all over again? asks Miss Harrington. HE started, says the man, but I'm gonna finish it, right now!  He stomps out of the bar. You're in bad shape, begins Quentin.  He won't listen to you, says Miss Harrington--you should just let him go. Do you know the man who attacked him? asks Quentin. He's only been in here a couple of times, she responds, I don't know him at all. Whoever he is, says Quentin, he must be pretty dangerous--I've got other things to worry about--good night. She stops him before he leaves, reminding him, when I was at Collinwood, you were very nice to me, and I never lied to you--I don't know his name, but there is someone who does know. Perhaps if there's anymore trouble, you can give the name to the police, suggests Quentin--good night. That someone is a friend of yours, she says. A friend of mine? he asks. They fought here tonight and broke a lot of stuff, explains Miss Harrington, and this guy says he's going to pay for it, and he goes out and comes back with this check, which is probably forged, but look at the signature--Cyrus Longworth. He gave you this? asks Quentin, stunned. Yes, but like I said, it's probably a forgery, says Miss Harrington. Yes, says Quentin, staring at the check, distracted, probably is. He hands her back the check, they bid each other good night and Quentin departs. Yaeger appears, seemingly from no where, reminding her of "our understanding"--you weren't to mention who gave you the check. She looks frightened. Apparently, you didn't understand, he says menacingly, moving towards her--that's a pity, because now I'm going to have to teach you--to understand.
He grabs her around the throat and begins strangling her.

NOTES: The introduction of Buffie Harrington was, to me, one of the few bright lights of this storyline, which I always think of as the tale in which all the best DS actors were gone and they brought in the second string. Considering how many deserted the show during the Leviathan storyline, I felt this ill-advised. Who would want to watch with the main cast missing and Selby acting in a role that seemed, like a cheap suit, so ill-fitting?  Elizabeth Eis' character already seems more fleshed out than the rest of the 1970PT cast. One wonders why she stopped working at Collinwood--did Quentin fire her? Who else would have had the authority--and why?  Or was it a jealous Angelique?

John Yaeger, he of the askew nose, is definitely a violent, cruel man. You sense evil emanating from his every pore, the antithesis of the calm, gentle Cyrus. Why would such a good man want to release such an awful man to torment and torture others in the world? By the way, that caning sounded like it should have killed Steve.

We know Trask was involved in Dameon Edwards' death, but how--an accomplice to Bruno? Did he get rid of the body? Trask is a basket case over this, isn't he?

At least we didn't have to go through another stunned soul viewing what they are sure was Angelique's ghost when Trask saw Alexis--someone actually warned him about the close resemblance. He sure looked as if he'd seen a ghost, though, didn't he?

Yaeger's behavior toward Miss Harrington (who the credits call Buffie), is disturbing. He is charming and kind in one moment, cruel, dominating and violent in the next--yet you sense she's attracted to him. The scene in which he was caressing her neck with the tip of his cane was somewhat erotic--and oddly violent, too, knowing what that cane conceals.


997 - Lisa Richards doesn't do the intro well, putting little or wrong inflection on the words, but that doesn't surprise me.

Caught in Yaeger's strangling grip, Buffie battles for her life, begging, let me go!  Why should I let go? demands Yaeger, you're like all the others--you have to be trained.  She frees herself, pushing his arms away.  Like a dog, you have to be hit to learn, he insists. He pulls her arms behind her back.  Let me go! she cries.  You haven't learned your lesson yet, he says. You're hurting me! she protests. Just a little, says Yaeger, just so you'll learn to do what I say--you will, won't you?  He wrenches her arms painfully behind her back. Yes, she says, falling into a chair, crying. He lifts up her head, gazes into her face and observes, how pretty your tears are. You're insane! she cries.  I'm not, he says, I know how to live, how to get things from people, how to make anyone do as I say--an invaluable thing to know, something you must learn unless you want to live the rest of your life like this--you don't, do you? What do you mean? she asks, facing him. I want to give you the finest things, he says--money, furs, and riches--I'll give you anything, I want to make sure that you have everything. She pushes him away and stands. You don't want me to know how much you want them, do you? he asks breathlessly, laughing--I know you better than you know yourself, and you'll know that soon. You don't know me at all! cries Buffie angrily. That's a pointless thing to say, says Yaeger.  He caresses her cheek with his finger and says, I'm not angry you're fighting me, nor bored, either. Get out of here! she orders, moving away from his touch.  Gladly, he says, because you need time to think. Leave me alone! Demands Buffie.  I'll be back, he promises, and soon you won't be able to wait until I walk in that door--which will be soon, very soon. He leaves.  Buffie looks helpless and miserable.

Lab - We see the pretty black and white bunny. When did Cyrus leave? Quentin asks Sabrina.  The night before last, she replies. He went to New York?, asks Quentin. Yes she says. Did he drive? queries Quentin. Yes, she answers. His car is gone? Quentin asks. What's wrong? demands Sabrina, immediately becoming edgy. I don't know, says Quentin, and explains about the girl at the Eagle and the check Cyrus wrote yesterday. Cyrus was at the Eagle yesterday? Sabrina asks. No, says Quentin, he gave the check to some roughneck who tore up the place and gave a check in payment. I'll be able to tell, she says, I balanced Cyrus' records yesterday; he's one of the few scientists who can't subtract. . .there are two checks gone, she says--I know they were there when I finished--do you know this man's name? No, he responds, he said he was a friend of Cyrus', but the girl didn't seem to think he was Cyrus' sort, and found the connection odd. Sabrina thinks it over, and says, last week, I found an IOU made out to Cyrus from a man Cyrus claimed was an old friend--John Yaeger. You never saw Yaeger? asks Quentin.
No, she answers, but it couldn't have been Yaeger--no friend of Cyrus' would come and take his checks--unless...something has happened to Cyrus--suddenly afraid, she says, I know something is wrong--he said he would call last night, but didn't--that Yaeger must have him someplace!  Quentin tries to reassure Sabrina, and says, if he does have Cyrus, I'll find him, he promises.

Buffie sits in her room, putting on earrings. She opens a closet and is taking out her coat when she notices the doorknob turning. She stares at it, demanding, who's there? It's her landlady, Mrs. Duval (one of Angelique's surnames, ironically).  When Buffie unlocks and opens the door, the elderly lady (from the Leviathan storyline, the one who told the sad tale of Michael and owned many birds) comments that Buffie is getting awfully private, locking her door--no need to in this house--do you have something for me? Buffie makes a face at the woman's prying--I do have the rent, says Buffie--I meant to leave it this evening. Buffie reaches for her pocketbook.  I can sure use it, dearie. "believe me," chirps the landlady, complaining about the price of owning property--I'm helping you out a lot. Mrs. Duval greedily accepts Buffie's check and puts it down her blouse. I really have to get to work, says Buffie.  You have plenty of time, dearie, the landlady assures her--you haven't thanked me yet. For the rest? asks Buffie, surprised. No, you know what I mean, the landlady says. No I don't, says Buffie. My four best rooms, that's what I mean, the woman says---I'm getting more money for them than I've ever gotten before--and unfurnished, too--it's going to be just grand--and you're responsible, too--here I thought you were just wasting your time with that Steve. Buffie is puzzled, then annoyed. When you get to my age, explains Mrs. Duval, you regret missing any chances, and you can't go back and start over again, believe me, I know--glad to see you're using your brain. How am I using it? asks Buffie, confused. You know, hints the lady. No, I don't, says Buffie. Come on, you're the one who recommended my place to this gentleman, the lady reminds her. What gentleman, who? asks Buffie. From the doorway, Yaeger says, "The gentleman, my dear, is me." He grins at the terrified expression on Buffie's face.

YOU! exclaims Buffie. Mrs. Duval, isn't she outrageous? Yaeger asks the landlady. He hangs his cane on a chair and says, Buffie was so enthusiastic about the place, I just had to come along. Yes, you did, says Buffie, annoyed, walking away from the other two. I learned to trust Buffie's taste, says Yaeger, and she'd learned to trust certain instincts of mine. I can understand that, says Mrs. Duval.  Yes, I'm sure you can, he says--you're an admirable landlady, you really are, I hope you won't mind if I send a few workmen up to my rooms, to work them over. (We see a TV set on DARK SHADOWS, right there in Buffie's room!)  I don't mind, she assures him. A few weeks of refurbishing it, he says--I want things exactly right. That will be a real education for all of us, says Mrs. Duval.  Especially for Miss Harrington, he says--I think she has to learn to live with beauty, it's amazing how much it does to the soul, beauty--well, this print for example, he says, taking it off the wall, no wonder you're depressed. I always wanted to get rid of that, says Mrs. Duval. Yaeger hands it to her--take it and burn it, he says. That's mine! Insists Buffie. I'm going to give you something far grander, he promises.
I don't want anything from you, she says. Spirit, he says excitedly, that's what attracted me in the first place. I want my rent check back, Mrs. Duval, insists Buffie. I don't give rent checks back, says the landlady. That's unheard of, agrees Yaeger.  You're paid up for one month, as far as I'm concerned, Miss Duval tells Buffie. Yaeger laughs, and asks Buffie, do you need money?--I can advance you a little. No, says Buffie defiantly. What do you want? asks Yaeger.  Nothing, she says. Good, he says, I think the little storm has passed, Mrs. Duval--would you mind going up to my rooms and cleaning them up? Of course, she says, fawning over him--and this starts a new beginning for my house, she says eagerly. She leaves. Buffie starts to walk past Yaeger, who grabs her arm and asks, are you leaving without your things?  Yes, she says. I suggest you don't, he says, easing her down onto the sofa, I suggest you have a little patience with me, I think you want to live just as much as I do--I think you want excitement, don't you, because I think right now you're afraid of excitement--but you won't be for very long. I don't understand, says Buffie helplessly. Why you don't want to leave? Yaeger asks. That I do...and I don't, she says. The phone rings; she rushes to answer it. It's Quentin.  I can't talk now, she says. Hearing how upset and nervous she sounds, he asks if something's wrong.  No, she says, I was just going to wash my hair. Yaeger listens in on her conversation. It won't take long, Quentin assures her--I just want to know if you've seen the man from last night. Yaeger grabs her hand, whispering a warning no in her ear. No, she answers. Are you sure? Quentin asks, it's very important. I hope I never see him again, says Buffie, please believe that. Yaeger grins. I'm very worried about Cyrus, says Quentin.  I know nothing about him, says Buffie. Just tell me where I might find that man, begs Quentin. I can't tell you anything, says Buffie, and hastily hangs up the phone. She looks at Yaeger and says, "I like him, and you made me lie. I like him, why did I lie?" Cyrus Longworth is safe, Yaeger assures her. Quentin Collins has been really nice to me, says Buffie sadly, real nice, and YOU... I'm going to be nice to you, too, Yaeger assures her. I hate you! says Buffie--I hate you! For the moment, yes, says Yaeger, but not for long. He advances on her.

At the lab, we see Sabrina and Quentin reflected upside down in the magnifying mirror.  The hotel in New York is Cyrus' favorite place, explains, Sabrina--he always stays there when he visits. Perhaps this time, he didn't. Quentin suggests.  He'd have mentioned it if he were going to stay someplace new, says Sabrina worriedly, I know Cyrus--they said he hadn't made a reservation for yesterday--you know how methodical he is, Quentin!  Perhaps Cyrus is staying with friends, suggests Quentin. But he never does, she says stubbornly--there's something wrong, and you know it as well as I do--don't protect me, you said you would find Cyrus--what happened to him? I think one of two people knows where Cyrus is, says Quentin--I'll find one of them, at least.

Buffie angrily tosses her clothing into a suitcase. Why are you going away? asks Steve. I want to, replies Buffie. Why, honey? Steve asks. Sometimes, you're very nice, she says. Only don't ask, says Steve, finishing her thought. Right, she says--I wonder why I'm kidding myself--I'm not going anywhere, I only have $13.40 to my name, I would land in Worcester, get a job as a waitress, and it would be just the same as this all over again. What's wrong? asks Steve--it's that guy, isn't it?--he's been bothering you again. Steve, says Buffie wearily, go have a drink somewhere, go away, don't ask questions. I don't "dig" you, he says.
It's about time you thought of that, she teases. Come on, he urges. Go, she says--just stay away from me, and don't get beat up for me anymore. I'll get him yet, vows Steve. No you won't, she says. You sound like he's some kind of superman, complains Steve. Maybe he is, she says, but don't bother trying to find out about him, just get out of here and leave me. He's holding her hand, looking at her as if he's in love with her.  "I mean it, Steve!" she says angrily.  His face twists in anger; he leaves. Buffie looks very sad. Steve leaves the rooming house, walking determinedly. Yaeger follows him, the deadly cane in his hand, smiling triumphantly.

Steve meets Yaeger on the docks, the same place where they fought before. We see Yaeger's shadow before the man himself. You're the reason she sent me away, Steve accuses. I can claim credit for that, admits Yaeger.  When Steve starts to attack him, Yaeger displays the business end of his cane, blade flashing out dangerously. Steve immediately disarms him and says, we're even now. Yaeger disputes this.  They get into another fight. Yaeger tightens his grip on Steve's throat, leaving him just enough air to call for help. Yaeger, hearing a policeman's whistle, looks around nervously, still throttling Steve.

 "You've seen Yaeger again--yes, that's his name," says Quentin, speaking to Buffie at her rooming house--"don't deny he's been here."  I do deny it, insists Buffie.  Quentin reminds her--I always trusted you, believed what you told me before (who fired this girl, Angelique? Quentin seems to have liked her a great deal--ah, perhaps that's why).  He has been here, Buffie confesses.  Yes, says Quentin, and I'm convinced he kidnapped Cyrus Longworth. Buffie defends Yaeger--he hasn't, she says. You've lied to me before, Quentin reminds her. I'm telling you the truth now, swears Buffie--he makes me lie, but I'm telling the truth now--he hasn't kidnapped anybody, otherwise he wouldn't be bothering me like he is. She seems ready to cry. Quentin mulls this over.

At the lab, Sabrina removes her lab coat and heads upstairs. The back door opens.  Yaeger, whistling very close by, leaps inside--the antidote, I must have it. . .the police will track me here--I must be Cyrus Longworth again! He reaches into the safe and is about to drink the potion when Quentin enters the lab. Yaeger? he calls. Ah, Mr. Collins, Yaeger replies in a friendly voice. So you're Yaeger, says Quentin. At your service, sir, says Yaeger grandly. Quentin comes closer. Aren't you surprised I know who you are? asks Yaeger. Where is Cyrus? Demands Quentin.  I was going to ask you the same question, says Yaeger. Don't lie to me, says Quentin. I wouldn't lie to a gentleman, Yaeger assures him.  Why won't you tell me what you've done with Cyrus? asks Quentin. What can one do with a Cyrus, an interesting theoretical question, isn't it? poses Yaeger Where is he?--you know! insists Quentin, walking over to the desk to close the safe. Now I'm going to be accused of being a burglar, says Yaeger--Cyrus can explain all that. Can he? asks Quentin. He gave me the safe combination, says Yaeger--I'm storing a lot of valuables in there. I don't believe a word you say--where is he? demands Quentin. Keep asking that, Yaeger suggests.  I will, Quentin assures him, until I get an answer, or Cyrus Longworth walks down those stairs.
Yaeger gives Quentin a weak grin, obviously wondering to himself--how am I going to get out of this one?

NOTES: So Yaeger thinks people have to be "trained," like dogs, huh?  What a sweetheart of a guy! His violence toward Buffie is and was shocking, but what was even stranger was the feeling that while she was protesting and objecting to what he did to her, she craved it as much as he enjoyed dishing it out--two people in a very dysfunctional relationship.

This is one of the uglier storylines, as I recall. There was something about Yaeger and his relationships, especially with Buffie, that really felt "off." It's hard to explain, but I'd never seen anything approaching it on any other soap of the time. That Yaeger was cruel, bad, violent, yet Buffie was undeniably attracted to him, wanted to protect him, made me wonder which of them was really worse off. In any event, it was troubling, but certainly interesting. Somehow, you just knew bad things would happen to Buffie, and mostly through her own choices.

Compared with Elizabeth Eis, Lisa Richards is a non-entity, and I'm not just talking looks. Eis is a fine actress, very believable, while Richards continues to irritate me with her voice and lack of acting skills. Both are young women, new actresses, yet are poles apart, talent-wise--IMHO.

Now, how will Yaeger get out of this predicament--chased by the police outside, Quentin demanding he release the presumably kidnapped Cyrus. Perhaps Yaeger should just turn into Cyrus before Quentin's eyes! That will certainly add to the fun Quentin's having these days!

Love, Robin

Offline Raineypark

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Re:#0996/0997: Robservations 06/25/03: Yaeger & Buffy
« Reply #1 on: June 24, 2003, 12:37:29 PM »
John Yaeger and Buffie are also reminiscent of Bill Sykes and Nancy from Dicken's "Oliver Twist".

DC only 'borrowed" from the best!  ;)
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Offline Patti Feinberg

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Re:#0996/0997: Robservations 06/25/03: Yaeger & Buffy
« Reply #2 on: November 26, 2015, 08:06:36 AM »
John Yaeger and Buffie are also reminiscent of Bill Sykes and Nancy from Dicken's "Oliver Twist".

DC only 'borrowed" from the best!  ;)

Oh,wow, I hadn't thought of that....it's spot on!

Patti