MIRACLE AT SANTA MARTA

• I enjoy the opening of this episode: our favorite outlaws, unnoticed, just strolling around among the festivities at a horse race. The boys sure look nice leaning against the rail, watching the handlers deal with their horses and snacking on popcorn and peanuts. In all the episodes, I have always enjoyed the men portraying the most mundane of activities as much as the adventurous and dangerous ones.

• I wonder if this horse owner, Bleeker, brought the horse all the way from New Orleans. He sure has a Cajun, southern Louisiana drawl. I think he may have been sucking the brains out of crawfish and listening to jazz before the race. *wink*

• Boy, Rolf Hanley sure stands out as a southern gentleman among all the more rough and ready cowboys wandering around. He carries himself with such an air of confidence, but he somehow manages not to attach a sense of arrogance to it. I like that.

• I love that our boys are able to just look on a horse and determine instantly that she is a thoroughbred and the one they want to bet on. They exchange knowing glances once they have seen her and leave Mr. Bleeker, practically mid-sentence, to follow Mr. Hanley over to the beautiful filly, Hyperia. Heyes and Kid ask pertinent and important questions of the owner that surprise me, especially those coming from the Kid, and Mr. Hanley can tell they know horses.

• Just an aside as I burst a delusion bubble. The horse in this episode is NOT a thoroughbred. I consulted with my favorite expert [:Laura because I didn’t think she looked how I imagine a thoroughbred to look and my suspicion was confirmed. This is a beautiful horse, no doubt, but she is simply not a thoroughbred.

• I love the fact that this female horse has shamed all these macho cow ponies and their owners! I look for moments of female equality in all facets of life and this rates well—even to the degree of female superiority... awesome.
• I’m not quite sure what happens between Peter and Ben at the moment they are going to shake hands over winning the race. There seems to be a split second of miscommunication as they clumsily alternate between looking at their winning tickets and shaking hands. It tickles me, just like all human errors in this series have tickled me.

• I can’t believe the boys just walk away from the bookie without getting their payoffs, leaving their winning tickets with him. It seems totally out of character to me. These men have shown us time and again just how much they worship the almighty dollar. It seems doubtful they would be so careless with these winnings. They would most certainly have grabbed their tickets back before heading over to gallantly save Mr. Hanley from the irate and unreasonable Mr. Bleeker.

• There is something that always makes me smile in the line from Mr. Hanley “…not being given to pulling con games.” I haven’t a clue why, but I like it.
  

• It seems to me in a race such as this, attended and participated in by cowboys and chauvinistic handlers, the odds against a filly winning would be better than 7.5 to 1. Not much of a payday for those betting on such a supposed underdog.
• Close-ups on Peter in the scene where Bleeker is threatening Mr. Hanley are the first in which I begin to notice the physical change taking place in him. His eyes seem different; his expression flat. It saddens me greatly, since I know the changes will begin coming more quickly and much more obviously in the final four episodes. I ready myself for the worst, but there is no real preparedness to ease the pain of what I know will take place. *sorrowful sigh*

• It always impresses me that the Kid will try everything he can to avoid a gunfight. Other than the obvious need to remain incognito, it seems to me he has an honest distaste for having to use his gun. I think that is an admirable quality for a fast draw expert—reputedly one of the fastest in the west—to have. My guess is most men with the skill and prowess the Kid has with his gun would want to show it off and try it out any chance they might get.

• And in the blink of an eye and the draw of a gun, the situation is neutralized by Kid Curry. Poor Bleeker looks downright shriveled in his defeat.
• I love Heyes’ facial expressions as he plays poker with the incompetents in the saloon. He knows darn well he has them all over a barrel and he has not even one iota of misgivings over taking money from less capable players. Sweet.

• I delight in the entire couple’s moment exchange between Heyes and the Kid at the bar. Really, no one does asexual man-flirting better than these two men. I giggle a bit as Heyes declines the offer of a beer but then the Kid orders it anyway—what an entirely couple thing to do—and Heyes thanks him and drinks it without protest. And I can’t help but smile as Heyes delivers the silliest line of the episode—I think I’m beginning to like ya—because even silly, it speaks volumes on the nature of their relationship. And I think it goes without saying at this point—I simply love their union, every moment of it.

• That Kid! He can sleep through anything, from the roughest ride to Mr. Hanley yelling to the stagecoach driver. I wonder if he has ever fallen asleep riding a horse! Ben did a really good job—intentional or otherwise—of weaving that thread of the Kid’s character throughout the series. We could maybe give credit to the writers, but Ben carries it off so well, I prefer to send the kudos his way.

• That stage coach driver has always creeped me out. I have seen the actor many times and always instantly think of a bird of prey—but one of the less attractive ones like a vulture or hawk. I think it is based on his beak--er, nose, eyes and eyebrows. There are quite a few celebrities in which I have always seen a resemblance to some animal…several as birds. The old guy checking Mr. Harlingen’s gems in Never Trust an Honest Man comes instantly to mind as one of the bird variety, *chuckle* but he seems more a tired old robin than a carnivorous predator.

• You know, this says much more about me than the man I am prefacing. I am very sensitive to sound and irritating movement. It may be a sign of mental illness—I don’t know! *wink* But I get extremely annoyed by needless sound or movement. An example: my mother has a kitchen timer with a shrill beep. It never fails that when I am there visiting, she cooks and sets the timer. But she doesn’t turn it off when it begins to beep…she lets it beep and beep until I want to scream and throw it out the window, or stomp it to smithereens. She gets a real kick out of the fact it annoys me. Well, this man sitting there at the table in the restaurante, tapping his fingers maniacally to the music makes me want to run right over there and shove his cigar up his nose. His finger dancing is so frantic I can’t even catch it in a vid cap. Cripes.
• Ah, Nico Minardos. I enjoy him in his roles on Alias Smith and Jones. I don’t think I ever had any previous knowledge of the guy before rediscovering all this glorious entertainment about a year and a half ago, but he has left an impression on me now. I love that he is a Greek man playing a Mexican so well. (I won’t bore you with my reminiscence of a summer love affair in Athens in 1974—just suffice it to say, I have a lasting attraction to the dark sultriness of Mediterranean men, although in this case the tightly curled hair leaves me a bit cold…) I also absolutely love the scenes with Peter, the jail guard and Mr. Minardos in Cannon for Cordoba.

• hmmmmmm….interesting that he is named Cordoba in this episode. I better check and see if Roy Huggins had something to do with the production of that movie! I doubt it, but that man could recycle character names and stories like nobody’s business.
• Señor Jones, pronounced hone-us. Too cool.
• I love the exchange between the Kid and Señor Cordoba over the Kid’s gun. “This pistol’s been cleaned recently.” says the Alcalde, quite arrogantly. “My pistol’s always been cleaned recently” retorts the affronted Kid, equally as arrogantly. This could be a grand battle of the wills shaping up here.
  

• And I have to admit to enjoying the way the Kid says "the United States of America". We Americans, man, we are just pretty full of ourselves. It is a very American quality to have what I guess could best be described as pride—to assume we are special simply by virtue of where we happened to be born. When Kid says it in the way he does, he lets us know he thinks nothing more need be said, for we, from the United States of America are to be revered and treated accordingly. Very well done, Ben. Too bad the Alcalde undoubtedly has the same reverence for his own country!

• Oh, my. Give me strength…here is an example of one fine man walking…Heyes heading for the stagecoach and strongly throwing his baggage up to the driver is a sight to behold. Now, you know I am not one to focus on such things, but it seems to me he is filling out those buff jeans quite nicely lately. I catch my breath a little because truly, is there anything more appealing than the way the gun belt rides low on that right hip? Or the confident posture Peter carries? For the countless time, I am in Hannibal Heyes Heaven. Peter Paradise. A Have Mercy Moment. Call it what you will, it is exquisite. ®®®§

• It is a really fun moment when Heyes, hearing Miss Parker correct him with “It’s Mrs.” can’t—or maybe made no attempt to—conceal his disappointment. I think it gives her a bit of a thrill to see that this attractive man is overtly interested in her.

• Sometimes I really question the choice of the women hired for guest spots. This actress, while quite attractive and talented, seems too old and too damn cultured for our boy. I sense that Heyes likes a bit of bawdiness in his women, and this woman would have none of that.

• It perplexes me that Peter’s looks change so much from one scene to the next. Early in this episode he looked disconnected, for lack of a better word, and now, standing there asking the desk clerk how to find his friend, he looks like the old Peter—handsome, animated, engaged. I do wonder what caused that. Maybe exhaustion at some moments can account for some of the variation. I guess I will never know. But I wish whatever made him appear as his old, charismatic self had been around more in these final weeks.
• Cute line: “How do I find my friend? He’s staying at the local jail.” But even cuter, the waw-waw musical commentary and overdone reaction of the desk clerk. Classic Alias Smith and Jones.

• Can’t you almost see a dialog bubble saying “Why would you have said that?” above Heyes’ head as he reacts with a quizzical look at the Kid when the Alcalde says he looks quite young to have retired from both the railroad and banking? Perfect.

• By the way, my crack investigative reporter/Chihuahua extraordinaire, Justin, has informed me by a complete lack of interest that the barking we hear throughout this episode is NOT that of Shoshone. It could be Carroll, though, because Justin has never shown her the time of day.
• Very few men, in my opinion, can carry off wearing a charro suit with any dignity. The ornate design feels effeminate to me and a man needs to be supremely confident in his masculinity to make it work. Nico Minardos is almost there, but not quite.

• I clearly remember the actress, Ina Balin, as someone I found to be wildly exotic as a kid. I am surprised to find that she was actually born in Brooklyn of Jewish descent—not at all what I would have expected her ethnicity to be. While I find her acting somewhat stilted in this episode, I have discovered information about her that has surprised and delighted me, including the fact that along with Red Cross volunteer Betty Tisdale, Ms. Balin rescued 219 orphans right before the fall of Saigon. She adopted three of these children. A movie was even made about this event called The Children of An Lac, in which she starred as herself. I think I will see if the movie is rentable anywhere. What an interesting story.

• Here I am with my spatial/noise issues (all related to claustrophobia in different degrees) again. I would just not be able to enjoy my dinner if I had a band standing over me like that, playing music and staring at me. It sure doesn’t seem to bother Heyes though, as he barely acknowledges their presence between bites.

• I do enjoy that Heyes has table manners. His napkin in his lap, wiping his mouth after bites…very pleasing.
• I am not a big fan of the girly-man silk bow around Heyes’ neck at dinner. I like him in his Sunday best, but this is just wrong on so many levels! Ugh.
• I don’t enjoy Meg Parker’s blatant flirting. It feels heavy handed, like she is smacking Heyes on the head with her desires and it also feels a bit cheap, which doesn’t seem to fit the cultured woman sitting there as she says the inanely stupid line, “It made me wish I were a man, so that I could go fishing too.” After Heyes’ response that he likes her as she is, she ultra-demurely replies, “maybe I was fishing…and successfully.” Geez, lady, give the man credit for enough intuition to not need you to scream your interest. Take a deep breath and let him court you.

• The Kid looks quite dapper, dressed up in his best suit and pretending to be a refined guest at the Alcalde’s dinner party. His delivery of the comment meant to trap Margaret Carruthers is excellent. “He came from Kentucky.” Eyes lowered, with a pause, then a direct look at Ms. Carruthers, “Lexington.” Very nice.

• What an absurd statement from "Margaret Carruthers" in response to the Kid’s suggestion she must have known Rolf Hanley if she, too, came from Lexington. “There were 16,050 people in Lexington at the last count. Many of them were my friends…” Even if she personally knew, say, 500 people (which I would say would suggest great popularity)—that is not many in relation to 16,000.
• I love the hat being shot off the Kid’s head after they run for cover behind the log. Little slapstick moments like that really amuse me, much more so than the farcical joke that follows: “Heyes? Is this good or bad?” Pause for effect. “Well, if you don’t get killed, I think it’s good.” That is just trying too hard to be funny for my taste, and it falls flat. I suspect I may have a much different reaction to that kind of humor than many fans.

• I love, love, love the moment when the Alcalde, following suit after the Kid uses the word gringo, begins to use the word also and catches himself. Very well played by Minardos. He doesn’t, in the grand scheme of things, seem particularly comedic to me, but in this instance, his timing is impeccable.
• Wow. That is one unfortunately misfitted blouse on Mrs. Hanley. Small breasts are fine, of course, but much better served in a top made with breasts of that size in mind. It looked much better on the more heavily endowed Rachel Carlson in The Fifth Victim!

• I can almost see Ina Balin reading from the script as she speaks in the scene when the Kid and Mrs. Hanley visit her. I have to say, I am not all that enamored with her acting.
• How cute does Heyes look peeking around the door to Meg Parker’s room? Oh, to be the one he was anxious to see…

• Why the response of “Joshua, you idiot, come on in…”? I just don’t understand that kind of endearment, and I have to assume as an endearment is how it is meant here. She obviously doesn’t consider him an idiot. I wonder, am I the only one who has never called anyone an idiot when what I really meant was my friend, or sweetheart, or you beautiful, intoxicating man?
• Ben looks like he keeps looking in a rearview mirror as he takes Mrs. Hanley back to the hotel in the buggy!

• I comprende, Heyes. I comprende that I like you all aggressive and bothered…*sigh*

• Peter does the best guttural groans around. Just an observation. *giggle*

• Are those tears in Heyes’ eyes as he looks up at the Kid behind bars, who is imploring him to do something to save him from the inevitable firing squad? Wow, that’s deep. And it shows me that no matter how tired Peter was of doing the show; no matter how silly he felt playing the role or how personally unhappy he was, he never, ever let us down by not giving his all to the part. Bless him, he was one hell of an actor.

• Ok, I am not fixated on this actress’s chest. But my god, now the angle of her breasts seems to pull her whole body down and make her appear to have horrible posture. Someone make that woman an outfit more flattering to her figure type, please! I wonder if guest stars just picked out an outfit from the wardrobe department or if they had dressers. Either way, whoever chose this outfit for Joanna Barnes most decidedly failed.

• The Kid’s daydream about being executed is quite striking. The bullet holes in the wall behind him add an element of aching reality. At first I thought there should be more holes. But it’s always been my understanding that to protect the psyches of the executioners, with no one knowing whose bullet actually kills the condemned, only one gun of the firing squad is ever loaded with a real bullet, and all shooters aim directly at the head or heart. These would be fairly expert marksmen. There would not be many times they would miss. And depending on the distance and the caliber of the weapon, I suppose not many of the bullets that hit their target would necessarily make it into the wall. Ugh. Sometimes I really wish I didn’t have such an analytical mind.

• This could just possibly be the worst fake Mexican accent coming from an apparently authentic Hispanic human being ever to grace the screen as the little horse groomer tells Heyes where Mrs. Hanley has taken Hyperia.
  

• I always look forward to and thoroughly enjoy seeing Peter on horseback. His posture is as strong and straight as it is when he walks and his skill on a horse is always quite evident, even to a non-equestrian like me.



• I wonder if the outlaw the imposter Margaret Carruthers ran off from Lexington with is the same Charles Morgan Heyes ran into during The Great Shell Game and apparently ran with during his early days with Jim Plummer’s gang.
• Ok, I’m sorry. I have a feeling the scene where Heyes tells the Kid he has brought off the miracle and Kid’s reaction to the news is probably a favorite among fans. It makes me cringe. No one would be so stupid as to shout out a visiting fugitive’s name in a Mexican jail. It just gives me a moment of wanting to fast forward through the silly quavering mouth and huge, awestruck eyes of the Kid as he yells out “Heyes!” and slaps his hand over his own mouth to stop himself. I very much prefer the scene as scripted… Curry: (almost afraid to ask) You did what? Heyes: Brought off the miracle! On Curry’s face, a combination of relief, astonishment and sheer joy, we freeze frame and FADE OUT.
  
• *sigh*

• Domestic bliss. How could we not find the scene of the Kid bathing, with cigar in mouth, as Heyes mends his hat and explains Elizabeth Carter’s involvement in the whole sordid affair not absolutely adorable?

• A perfect, favorite moment in the episode as Heyes proudly shows the Kid his handiwork! I laugh every time. The look on the Kid’s face is priceless. Good job, Ben!
  
• Oh, my god. There’s the ugly bag. I thought I’d never see it again!

• Knowing Peter watched this episode only hours before his death and was apparently displeased with it has always made it a hard episode for me to fully enjoy. I think it was a fine show, however, and I struggle to understand what Peter found inadequate in either his own performance or the program in general. If only he could have seen the joy this silly, irreverent, wonderful series gave so many, and the breathtaking warmth and caring so many have found in him. We saw it. Why couldn’t he…?