Broderick

On 5/19/2020 at 10:37 PM, Legacy said:

I think i know the scene your talking about, lauren trys to embarrass traci about her weight in front of danny and Amy is in that scene as well.

 

Aint that something in most of the clips i see of Amy she's usually with Paul or Andy or those 2 brothers she had a traingle with so i guess she came on as those random teen girls who happen to be black just to set the mood which is good I think every race/culture should be explored so we can know about them as well.

I don't remember Amy Lewis ever being a "random teen girl".  Seems like Amy was always Traci's best friend from the time that Amy appeared, a dance and aerobics instructor (Stephanie was a dancer in real life), and the daughter of Commander Frank Lewis of the police force.   She was a contract character from the get-go.   Lauren didn't like Amy, because Amy knew Lauren was a heifer.  Later on, Amy went to work for Paul and Andy, but at first she was a college girl teaching aerobics and helping Traci deal with the snotty Lauren.      

4 hours ago, feuxdelamour said:

But unfortunately I haven't seen any photo of Beth Maitland from this event... And I don't know yet when she appeared in 1982.

 

My recollection is that Beth Maitland first appeared on-screen about 4 episodes after Eileen Davidson.  (Miss Davidson debuted in #2350, so I'd say Maitland was about #2354 or #2355.)  Both of their initial scenes involved graduations in the spring of 1982.   John Abbott went first to collect Ashley from college.   (Ashley was graduating from college in the spring of '82.)  When we first saw Eileen Davidson's Ashley, she was living in her sorority house, was very bouncy, beautiful, aggressive, and straight-forward.   A few episodes later, John Abbott collected Beth Maitland's Traci from boarding school.  (Traci was graduating from high school in the spring of '82).  Traci was all downtrodden, bashful, and indecisive.   Both of the characters were clearly identified and developed from the moment we saw them.    A few episodes after their initial appearances, they were both living in Genoa City with their father and served as bridesmaids in Jack and Patty's wedding.         

38 minutes ago, will81 said:

For sure, yeah I figured they had some scenes when Kay was dead and Jill was still married to Stuart. Lorie and Brock worked together to get Jill out of Stuart's life

My feeling has always been that Bill Bell originally had an entirely different "blueprint" for the Phillip/Jill storyline, and he changed his mind once he saw how pathetically engaging Jeanne Cooper's Kay Chancellor character was.   It's always appeared to me that Bill Bell originally intended to kill-off Kay Chancellor, have Phillip Chancellor marry Jill, and then Lorie Brooks would become "the other woman" in Phillip's life, just as Jill had been "the other woman" while Phillip was married to Kay.   But Jeanne Cooper just nailed the Kay Chancellor character from day one, and that seemed to necessitate changing the trajectory so that Phillip died in the storyline instead of Kay.    (The reason I believe this is because Bell had tried on several occasions to create a middle-aged, vain, selfish female character on Y&R whom the audience would sympathize with:  Jennifer Brooks and Regina Henderson both come to mind.  The audience never really seemed to have much patience with Jennifer and Regina's vanity and self-absorption, but the audience immediately felt sorry for Jeanne Cooper's Kay Chancellor, and while Regina and Jennifer were soon ditched from the canvas, Kay was saved in perpetuity.) 

Yes, Kay and Lorie interacted sparingly on several different occasions.  During the 1979 storyline when Kay "died" in the sanitarium fire, Kay secretly lived in the Foster house with Liz.  Meanwhile, Jill was living in the Brooks home with Stuart, and was about to bilk Stuart out of a huge divorce settlement.  Kay Chancellor called Lorie on the phone, revealed that she was alive, and instructed Lorie to tear-up the check.   

Kay and Lorie also interacted during the "royal wedding" storyline in the summer of 1981, although the interactions were fleeting.  (Kay Chancellor and Jerry Cashman joined Stuart and Liz in London, where Lorie, Leslie and Lance were also in attendance.)  

There was a bit more interaction just before Lorie Brooks left the show in 1982.   Lorie was becoming engaged to Victor Newman in an effort to retrieve her Prentiss Industries stock proxies from him.  Nikki, who had a crush on Victor, was extremely jealous of Lorie and confided in Kay Chancellor that she was afraid Lorie Brooks was up to no good and was going to take advantage of Victor financially.  When Kay learned that Lorie Brooks was in the picture, she darted her eyes from side to side, waved her jeweled talons in the air and said, "Dear God in Heaven, Nikki, I'm afraid you've met your match with Lorie Brooks!"     

3 hours ago, Paul Raven said:

I read that all actors renegotiated when the show went to an hour. Brock/Beau remained on air and Bill started the whole Brock/Julia/Victor story - really the first time Brock had a leading story.

Then Beau left which seems strange unless he only agreed to a 6 month contract?

I'm pretty sure that ALL the actors on Y&R had negotiated contracts to appear on a 30-minute show.   When Y&R expanded to an hour, everyone's contracts were automatically voided.    (A contract actor on a one-hour show has a higher scale-rate than an actor on a half-hour show.)   There were only about 17 contract actors on the show at the time --- Stuart, Lorie, Leslie, & Chris Brooks; Liz, Snapper, Greg, and Jill Foster;  Nikki Reed and Casey Reed; Lance Prentiss, Lucas Prentiss, and Vanessa Prentiss;  Brock Reynolds, Kay Chancellor, Derek Thurston, and Suzanne Lynch.   Maybe April Stevens.   (Peggy Brooks was gone at the time.)  

My recollection is that Brenda Dickson (Jill) bolted immediately when the show went to an hour and was replaced by Bond Gideon.    John McCook (Lance) also opted out, but stayed for about a month while his storyline with Lorie was wrapped-up.  (Lance and Lorie divorced -- after tearfully singing a duet of "The Way We Were", lol -- and Lance moved to Paris.  I thought he was gone for good, but then he inexplicably popped-up a few months later with a French fiancee named Simone, and then he vamoosed again.  Ultimately he was replaced a few months later by Dennis Cole.)   Beau Kayzer (Brock) also opted-out, but agreed to stay for a few months to introduce the Victor and Julia Newman characters.  (Brock represented a girl named Cathy Bruder who was accused of stealing Goat Daddy's Rolls Royce for a joyride.)   David Hasselhoff (Snapper) didn't exactly "leave" but negotiated fewer appearances per month so that he could audition for nighttime shows.  Snapper went from appearing several times per week to only a few times per month, which left him and Chris in this disjointed, recurring storyline in which the pregnant Chris may or may not have been exposed to someone who may or may not have had German measles.  Hasselhoff left for good in 1982.      

It was a weird transition.       

5 hours ago, BetterForgotten said:

I think Bill credited Lee's background as a talk show host for influencing topical issues he did on Y&R from time to time.  

Bill Bell also praised her tremendously for relocating with him from Chicago to California in 1986 when they were creating B&B.   He said that for him the move wasn't that big of a deal.  But for Lee Phillip, it was a VERY big deal, because in Chicago she was sort of a celebrity --- the precursor of Oprah Winfrey in the talk show market --  and she gave up her local position of celebrity to move to LA, where no one knew her from Adam's housecat.  He said it was only AFTER they'd moved that he truly realized how much she'd given up to accompany him.    

21 hours ago, edgeofnik said:

@Broderick With spades with those actresses! SG became the 'star' of the show for good reason. It also helped that HS wrote Raven with traits, dialogue and drive normally associated with a man. But Sharon's inherent sultry sensuality was never compromised so she never came away as harsh or, using a very un-PC term, "butch.' Something that isn't easy to accomplish.

 

Raven was easily one of the strongest women in the history of soaps. Even when she was down, she never felt like a victim because HS always had her forge her own path to the top. 

I saw an interview one time with Sharon Gabet, where she talked about her relationship with Henry Slesar.   She said that Slesar watched  the show every afternoon, and he tailored his writing to the strengths and weaknesses of the performers.   If he observed a quirk or a trait in an actor that appealed to him, he worked it into the character.   He obviously studied her very closely and worked her best traits into the Raven character.  It also helped that he wrote Raven's "adversaries" with certain strengths, so that they often just appeared fed-up with Raven, instead of cowering in terror when she tormented them.   It made her interactions with each of them more riveting and interesting than just a run-of-the-mill "vixen versus hero/heroine" scenario. 

Besides playing so well off all the leading men that you mentioned, Sharon Gabet also had some incredible chemistry with Geraldine Saxon, Deborah Saxon, and April Scott. 

3 hours ago, edgeofnik said:

@detroitpiston  That scene could've worked with zero dialogue or 1-line. Just have Phyllis storm in, the waitress approach, Phyllis stops and looks at Nick: "I'm taking the high road this time." And turn around and walk out. 

The ONLY things going for that scene were the snowflakes in the windows and the music. 

The way it played out, Phyllis didn't look as though she were even trying to DECIDE whether or not to tell Nick her news.   It looked as though she just walked in to confide in the hostess --- her best friend and confidante -- that she had some information about Nick's brother, but she'd determined in advance to "take the high road", and she was just letting her dear friend, the hostess, know what was going on.   How stupid.  

Would've been ten times better if she'd given it some thought, taken a step toward him, changed her mind, then said, "Naw, I'm taking the high road" and left.  It's really hard to watch scene after scene fall flat on its face like this.    

3 hours ago, EONGLOLTL said:

I thought the actors from the Mansion of the Damned storyline were all just short term contracts for that specific storyline.  I read that Kim Hunter and Bruce Gray signed contract extensions because Henry Slesar wanted to use them for the Deborah/Steve/Owen triangle and the Margo Huntington murder.    My memory is fuzzy but I think that is how it went.

That sounds about right.   Henry Slesar seemed to be on a VERY tight timeline with Kim Hunter, in particular.   I'm sure she didn't come cheaply, plus she got "star" billing  ("and Kim Hunter as Nola", in the closing credits).   The budget probably dictated how long she could stay on the show, and how hurriedly her storyline had to conclude.   The most GLARING example involved the speediness of the Draper Scott trial, which would conclude with certain confessions from Nola Madison.   In one episode Draper was indicted, in the next episode Logan broke the news to Draper that he'd been indicted, and in the next episode his trial began.   Not much time for the prosecution and the defense to prepare a case for a murder trial!   I was watching it a few days and scratching my head about the speediness of it all, but then realized that Kim Hunter's exit probably dictated that Draper had to be sentenced by March the whatever of 1980 so that Kim Hunter's paychecks could end.        

4 hours ago, RavenWhitney said:

P&G were idiots for firing Henry.  

Yes, indeed!  Complete idiots.   I'm sure P&G was bewildered why "Edge" wasn't performing well in the ratings, while the rest of ABC's line-up was soaring.  But the problem was clearly the time slot (very low clearance in many major markets), as well as the "niche" appeal of a 1940s-style detective story with off-beat characters and twist endings.   The problem was never the writer.   Slesar was an expert at crafting clever tales, dropping vague hints, throwing in red herrings, keeping us guessing, and surprising us at the end.   Lee Sheldon didn't just have what it takes; maybe he got slightly better once he settled in, but he was never anywhere near in the league of a Henry Slesar.   I remember reading a short story by Henry Slesar when I was a kid, and being very impressed.   Once I realized that he was writing "Edge", I was hooked until the day they canned him. 

1 hour ago, Efulton said:

Did Terry Davis and Tony Crag leave on their own or were they let go?

My recollection is that Tony Craig left on his own, fairly abruptly, and without much advance notice.   I believe the actor's official story was that he was suffering from "burn out".   You could sense there was some backstage scrambling and re-writing going on to explain his exit.   Suddenly one day Draper was appointed to some special "crime council" in London, and the next day, during the middle of an episode he said, "Oh, and by the way, I'm leaving today.  Bye!" It was just a bizarre and jarring exit for a character who'd been on daily for the past several years.   (I would assume that at contract negotiation time, everyone thought Tony Craig would be re-signing for another three years, and instead he evidently said, "No thanks" at the last moment.)

Terry Davis, of course, was on a different contract schedule from Tony Craig, and just because he left, that didn't mean she had to be disposed of also.  Henry Slesar kept April Scott in Monticello for several more weeks (probably until Terry Davis's next 13-week contract cycle was up).   Then April said, "Oh, by the way, I'm joining Draper in London.  Good-bye, everyone!  Here, Miles, you can have my penthouse!"  And she left too.   My feeling is that if she'd been written out when Tony Craig left, the show would've probably been obliged to PAY her for the remainder of her contract, so they just waited until her next 13-week "drop date", and then exercised their chance to let her go without a big pay-out. 

Someone else may recall more details.  I was just a kid, then, but it all seemed haphazard, unplanned and sudden to me --- which always stuck-out like a sore thumb on a show that was, in most respects, so carefully plotted and scripted.

23 hours ago, j swift said:

    

 

I am not as much of a fan of Draper's mostly because he was never able to have the gravitas in courtroom scenes like Mike.  I cannot recall a single cross examination or closing argument from Draper that became as iconic as Mike's cross examination of Serena Faraday or his closing in Logan's murder trial.  It may be unfair to compare the two because Draper wasn't given the same opportunities in the writing of the scripts at the time.  However, I have doubts that Tony Craig could carry it off.  In my mind he was always an Adam Drake/Logan Swift-substitute (without the charm or Geraldine connection) and the need for Mike to continually have a younger associate became null as there were fewer trials in the later years (a huge loss in storytelling in my opinion, I liked the pattern of the police working the mystery and the solution coming during the trial).

 

 

J Swift, as I'm re-watching the old episodes from 1979 to 1981, the word that keeps crossing my mind to describe Draper Scott is YUPPIE.   We see Logan Swift as charming and clever; Cliff Nelson is hilariously immature and theatrical; Miles Cavanaugh is smart, sincere, and dedicated;  Mike Karr is perceptive and intuitive, and provides the necessary "gravitas" to his courtroom scenes.   Schuyler Whitney, when he appears later, is a suave, sophisticated, worldly young tycoon.   Draper Scott provides another archetype entirely --- the fairly bland, handsome, upwardly mobile yuppie.

I'd never even heard the word "yuppie" in 1980, as the word didn't become fashionable until the middle-1980s, but obviously young, climbing urban professionals were a demographic that existed in 1980 (especially in the legal profession), and Henry Slesar put all the components in place for Draper.   We learned that Draper would ditch Monticello in a heartbeat, if he could secure a position with the prestigious, upscale Seward, Paxton, & Whiteside law firm in New York City, and, as we would expect, Draper throws a childish hissy fit when Margo Huntington denies him the opportunity to move.  He decides to live in a trendy home in the suburban utopia of Oakdale, and when he finds out that Margo paid $35,000 to make the house more affordable to him and April, he becomes offended and says, "By God, I'm going to pay for my OWN house for MY wife!"  For Draper, everything should be prep-school perfect, and when things don't fit his preconceived Ivy League whitebread notions of life, he's embarrassed by them.    ("Oh, April, don't tell these people about your premonitions; they're not interested!")  He's sheepishly ashamed of his father Ansel's tendency to rendezvous with attractive young starlets and wealthy widows.   Raven's fondness for utilizing sex as a bargaining tool --- well, that kind of behavior is just downright EMBARRASSING to Draper.  That doesn't fit into his ideal of how people should behave in the junior chamber of commerce.  

Yes, he could be dull as hell, but he provided a much-needed archetype on the show, and one that Slesar evidently loved writing for, because for long periods of time, Draper literally appeared in five episodes per week.   Maybe not so much for what Tony Craig brought to the part, but rather for the interactions generated by the other quirky characters when they played off the Yuppie.   I really feel that Henry Slesar lost some steam when his Yuppie (and by necessity of course, April) were removed from his canvas of characters.         

23 minutes ago, Aback said:

I wish Sally would come back (together with Kay Alden). Their last stint was the last time Y&R resembled itself and I was watching every day. Period.

Same here.   I rarely skipped an episode while Sally Sussman was writing.   I didn't care for her the writers who preceeded her, and haven't cared for the ones who've succeeded her.    But I thought she did all right.  Yeah, some of her material was pretty dull, but it seemed like Y&R, and it seemed to moving forward in a somewhat logical manner.  None of the other writers since about 2005 have even come close to crafting anything I've cared to watch daily. 

Check out the very brief scene from 15:10 to about 17:10, from January 1980, where Henry Slesar takes the huge risk of effectively "spoiling" the entire storyline that he's crafted to last through the entire summer of 1980.    Over an innocuous game of Monopoly while Logan Swift is recovering from the flu, Draper and April discuss April's recent dreams --- she's in the hospital with a new baby named "Julia" (whose name she's unable to explain the origins of), a plaintive train whistle blows, a man appears with silver bracelets, and Draper disappears to some strange and faraway place where April is unable to locate him.  In this brief two minute scene, we are given a preview of Draper's arrest for Margo's murder (though Margo is still alive and well when this scene aired), the train derailment at Grant's Falls, Draper's "abduction" by Dr. Gault and Emily Michaels, and April's subsequent relationship with Logan while Draper is presumed dead.   This is definitely "high stakes spoiling" on Henry Slear's part, but he wraps-up the entire scene in such a vague and mysterious manner that it only leaves you WONDERING instead of truly "spoiling" anything at all.        

Seems to me (in hindsight) that the show really suffered a lot after Tony Craig (Draper) left, because Draper & April were really in the "heart" of the storyline from about 1978 until their departures.   I've been watching the Margo Dorn storyline on You Tube, followed by Kirk & Emily Michaels, followed by the Clown Puppet, and then of course there's Dr. Bryson.   It's amazing how much of those stories are centered almost entirely around the lives of April and Draper.

Back in the day, I thought April and Draper were kinda "goody-goody", and were therefore fairly dull.   But in hindsight they aren't that way at all.   Draper is fairly flawed (too much pride, too resentful of Margo's presence in his life), and April is downright MEAN sometimes -- sarcastic, cutting, and impatient.   They definitely weren't traditional hero and heroine material.  And they were very good foils for Sharon Gabet's manipulative Raven character.   She sees them as soft, weak, and vulnerable, and she bats her eyes, smirks and tries to run all over them, which usually results in them raising their voices too loudly, rolling their eyes, and throwing her out on her tail.  

Once April and Draper were gone, Slesar seemed to position Miles and Nicole in the roles of the "young married centerpiece couple".  But they really ARE awfully goody-goody, and they don't have the biting interactions with Raven that characterized April and Draper's relationship with her.   Just something missing from thenceforth onward.         

7 hours ago, Khan said:

 

 

I wouldn't put it past TPTB to offer a sweetheart deal to Bob Guza. 

It's no telling what horrible writer they've actually got their eyes on.   Whoever it is, I'm sure he or she is wretched.  

But it does seem mighty coincidental that an actual GOOD writer suddenly and inexplicably leaves a Bell soap, and publicly announces that he's not retiring, just when another Bell soap is in dire need of a good writer and the current headwriter's contract is about to expire.  

But I ain't getting my hopes up.     

2 hours ago, detroitpiston said:

I'm hoping the 3 months is just to transition over to whoever the next head writer is (I'm pulling for Patrick Mulcahey )

I've been assuming it's Patrick Mulcahey. 

Seems like Mal Young was terminated in December of last year, so I figured Josh Griffith would get his walking papers this December. 

If there's a three-month extension on Griffith's contract, perhaps it's so that Mulcahey will have an opportunity to better research the show and its characters before diving in.   

2 minutes ago, yrfan1983 said:

Ha! Sort of like how Flo Webster made love to her new husband "Jim" aka David Kimball without any of his make-up foundation rubbing off on her

Yes, and the way "Robert Tyrone" walked around looking and sounding exactly like Tyrone Jackson (but dipped in all-purpose flour and wearing Groucho Marx glasses & mustache), but no one in the Syndicate noticed any similarity. 

48 minutes ago, yrfan1983 said:

 

Was anyone watching during this time period? What are your thoughts on this story?

It was as dreadful as Y&R's other "I'm-in-disguise" storylines.   She basically put on a pair of eyeglasses and draped a mop head over her hair, and that fooled them. 

Yeah, I think Jill loved Phillip (in her own selfish way), but as Phillip pointed out in his testimony ("she abandoned me YEARS ago!"), he was often merely an inconvenience to her, and she was more than happy to ship him away -- out-of-sight, out-of-mind.   It was only Kay's interest in Phillip that re-energized Jill's own interest in him, as she didn't want to lose her son to Kay Chancellor in the same manner as she lost her husband to Kay Chancellor.   And Jill was definitely smug in this episode, knowing that Kay was about to be exposed as the wicked old witch who stripped him of his name and his inheritance when he was an infant.   I think that's the fundamental key to Jill's behavior --- her love for her son always took a backseat to her hatred for Kay Chancellor. 

Somebody mentioned Joe Blair, and how long he was around.   I believe these were some of his last scenes.   "Capitol" went off the air in March of 1987, and soon afterwards, Todd Curtis(?) who'd played Jordy Clegg on "Capitol" was moved to Y&R as photographer Skip Evans.    

Thanks for the clip!   Phillip's court hearing was one of my favorite stories of that time period, because it brought back all the animosity between Kay and Jill, plus involved having lawyers "distort" the facts of their misdeeds, to make them both sound even worse than they really were.  And say what you will about Thom Bierdz, but he had the Little Lost Boy role down to a science.   

Cricket, though --- good Lord, it's even worse than I remembered. 

3 hours ago, SoapDope said:

What was so great about Lance ? Those ladies fought over that man for years.

I guess Lorie and Leslie just had a THING for boys with holes in their chins who were tied to a mean old lady's apron strings lol.

Seriously, I guess it's what Lance did for them when they were vulnerable.  He helped Leslie get over Brad, and he helped Lorie get over Brother Mark.  But he'd accomplished that in what -- 1976? -- and they were still collectively swooning over him five years later.   As was his wretched old mother.    

Yeah, it seemed that Lorie was REALLY shafting Goat Daddy, and I thought that was wonderful, but then Victor kept laying it on so thick and throwing jewelry at her and so forth that you could tell she was melting for his Goat Charms.   And then that stomach-turning letter:  "we've loved, we've fought -- the circle is complete."  I about vomited. 

That whole harangue about the Four L's seemed to be Bill Bell's attempt to rewrite "King Arthur".  Sir Lancelot was played by Lance Prentiss.  King Arthur was played by Lucas Prentiss.  Lady Elaine was played by Leslie Brooks.  Guinevere was portrayed by Lorie Brooks.   (I was reading "King Arthur" while that storyline was going on, and you couldn't help noticing the similarities.)   The dialogue even referenced it.   There was a tearful scene about 1980 when Lorie passionately cried out to Lance, shortly before John McCook left the show, "My God, Lance!  We've had our Camelot!  Let it be over!"   I remember telling my sister that I was about ready to pull out my Excalibur and chop-off Lorie's head. 

Right before Lady Elaine dyed her hair blonde and started calling herself "Pris", I'd about reached the point where LUCAS was the only one of them I could tolerate.  All Leslie did was sit around making goo-goo eyes at Lance.   And all Lorie did was pout because she noticed Leslie was making goo-goo eyes at Lance.  And both of the girls were dying to be the official guardian of Little Brooks, because he'd sprung from the loins of the wonderful Sir Lancelot.  Leslie went around crying all the time, and Lorie went around making her cry.  "You're in love with Lance, aren't you, Leslie?  You're in love with MY husband!  Admit it, Leslie.  You WANT Lance for yourself.  Well, you can't have him.  I'll make sure of that."   They were all just so OVERWROUGHT and SELF-ABSORBED that when Lucas came ignorantly breezing through, he was a breath of fresh air.   But then when Vanessa took her swan dive off the balcony, he got just as annoying and self-centered as the other three of them were. 

When that kid nearly drowned, I was watching in horror thinking that Brooks was about to bond with Lance, because all we'd heard since 1978 was that Lance was the Real Father of Brooks.  And both of those dingbat girls seemed to think that if they could just get custody of Brooks and then spring the news on him ("Surprise!  Uncle Lance is your Real Father!  Now, let's be a Real Family!"), then life would be complete.  I was plumb terrified that was actually gonna happen.  But no, the little kid rose to the occasion and said, "Get away from me, Uncle Lance.  I want my daddy.  I want Lucas.  He's my daddy!  NOT you!"  That was the proudest I'd ever been of Bill Bell in my whole life.   That whole entire saga seemed to have been geared from 1978 to 1982 toward the moment when Brooks would realize Uncle Lance was his daddy, and then he would melt into Uncle Lance's arms, and either Lady Elaine or Guinevere would come gliding in and form a "real family".  But when the moment of truth finally came, that little kid practically knocked Lance down getting away from him and running back to Lucas.  I loved it. 

Ha!  I'm just glad you brought it up, because I've never even wondered about it before.

I guess they left in this order:  (1)  Lance, whose exit then inspired Lorie to write the expose' about Victor Newman and reject Victor's marriage proposal; (2) Lorie, amid a bunch of overdramatized tears with Lucas and Stuart waving good-bye; (3) Lucas, very quietly; and finally (4) Leslie, telling her dad that she was catching a plane for a never-ending concert tour that starts three minutes from now.   

The kid for sure didn't go ANYWHERE with Lance, because he'd have rather drowned himself.   He didn't go with Lorie because she needed a solo good-bye to maximize her emoting.   And then he "evaporated", which means he either (a) went with Lucas, and Leslie simply didn't give a damn or (b) he turned into a deaf/mute and never said another solitary word after Lucas left. 

From a real-life standpoint, it would've made sense for him to go with Lucas, because the main attraction that both Leslie & Lorie HAD for Brooks was that he was Lance's son, and Brooks made it clear that he didn't plan to associate himself with Lance period.  I guess after the kid put the kabosh on building a relationship with Lance, the two women washed their hands of him.  lol. 

Well, the one constant "parent" in Brooks Lucas Prentiss's life was Lucas.  The little boy had an endless parade of "mothers".   First his mother was Leslie, but then Leslie turned into Pris and ran away, and Lorie snatched him up.  But then "Aunt Leslie" came back and played the piano for him and usurped Lorie again.  lol. 

And there at the end of Lance's run, as you pointed out, everyone just kinda said, "Surprise, kid, LANCE is your father!"  To which Brooks responded, "Go jump in the lake!" (literally, lol) 

My recollection is that Lorie's final tear-jerking good-bye occurred in her penthouse, with Lucas and Stuart as the witnesses to her celebrated departure.  Pretty sure that she didn't have the kid with her, because a child actor would've put a damper on her emoting, and she went ALL OUT with the "smiling through my tears" routine.  "I'll be back one day, as God is my witness, with Lance at my side!" 

Lance had a weird good-bye.   Lorie threw herself at him (as usual), and he said, "I have to lay something heavy on you, Lorie.  We can never be together again, now that you've given Victor Newman your proxies.  It's over between us, Lorie."  Then he went running and proposed to Leslie, and she would've accepted but about that time Brooks fell in the lake.  I seriously think Lance's final good-bye was with Robert Laurence of all people (lol), who was renting the lakehouse from Lance.  The scene was basically just, "Here are the keys to the Lake Geneva house.  Tell everyone I left!" 

Lucas didn't get much of a good-bye.  I think he just told Lorie and Leslie (separately) that he might be leaving town soon.  (It's possible that he took Brooks with him.  But you'd think Leslie would've been heavily impacted by Lucas leaving town with her son, but she just kinda said, "It's time for a commercial break!  See ya!")

And you've seen part of Leslie's good-bye, which was all about Maestro and Stuart and the concert tour.  Not much concern about Brooks, which makes me think he could've gone with Lucas, but if he did, Leslie clearly didn't give two figs.  That's why I think he went with Leslie.