EXIT FROM WICKENBURG**

• It aggravates me when during the poker game Heyes calls his opponent and then shows his own cards. If he does the calling, there is no reason for him to show his cards, unless after the other player has shown his own cards he knows for sure he has won. A good poker player, which we know Heyes to be, would never expose his cards unless he wants to reveal a bluff or has some motive to show the cards in order to keep his opponent off kilter. This is not the only hand of poker or even the only episode in which Heyes unnecessarily shows his cards. I know it is needed for the storylines, but there must be a better solution than to have a master poker player do a very amateurish thing.

• Ben looks good in that buckskin jacket and blue shirt. The colors are very nice with his complexion with the jacket matching his hair and the shirt dramatically bringing out the blue of his eyes…and anything that accentuates the blue in his eyes is a good thing, in my opinion.

• What’s with the arms we see dealing a hand of what looks to be 5 card draw? Are those the sleeves of a black synthetic nylon workout jacket in the 1880s? Come on!
• I actually like the look of Heyes with his hat pushed back on his head…from the front. But from the back, as when we watch the boys walk to the saloon owner’s office, he looks like a little kid playing cowboy.

• Another very well done scene when Heyes calls out the two rogues using “the spread”. The way he stops the man from adding his king to the hand by grabbing his arm, the way he speaks, the wink…all work so well. Again, a smart, confident, in-charge man. I also just love the way he takes the money for everyone at the table from the card sharp. He looks directly into the eyes of the cheater, stares him down with a smile and takes his money. Beautiful. ®

• Of course Kid is always there to back his friend up with his gun. A very powerful duo, these two. I love Kid’s “I’d call that the price of being delivered from sin”—why would anyone think this guy is dumb??

• I notice something that I find absolutely charming about Peter, and that is that he reveals a glimpse of his native North Eastern accent when he says the word down. It is just the tiniest shift in cadence but since I am always on the lookout for real Peter moments, it touches me. It is actually evident throughout the series. He always sounds like a Northern New Yorker when he says the words down, town or out. Just listen. It’s sweet.
• I am a little put off by Heyes finagling an extra ten dollars a month out of Mary Cunningham after she tells the boys she has recently become a widow with two children to support and is desperate. Heyes replies, with a big smile, “Desperate enough to make it $50 a month?” That is not the most appealing demonstration of your character, Mr. Heyes.

• Heyes calls the blackjack dealer out on the “agent” he spots. The way he smiles, while he reprimands the dealer, and then changes his facial expression to a man fully in charge of the situation is exceptional acting. Peter makes Heyes a man you would have to be a fool to mess with. He is very masculine and attractive in this scene. He never needs to be a tough guy; he doesn’t bully or berate. But he makes his point clear. A disarming smile and yet, total authority. Yum.

• There sits Heyes within inches of the target cans while Kid practices his shooting. The trust level there is immense and it is very telling of the feelings between these two men. They honor and trust each others’ personal skills—Kid with a gun and brawn, and Heyes with brains, a smile and words.

• There is such sweetness in the scene where Kid is practicing shooting while Heyes looks over Mary’s bills. The conversation is poignant, holding the promise of a time when there won’t be violence in their lives. The way Kid treats Mary’s son and refuses to teach him to fast draw is gentle and moving. And the look on Heyes’ face as Kid explains to the boy why he won’t teach him is very obviously a look of admiration and love toward Kid. These men love each other. I will say it about many, many interactions between these characters. It is the tether that holds the whole premise of the show together, and every scene where it is expressed (verbally or through non-verbal communication) is just perfectly played by the two actors.

• Kid is pretty hot while calling out the cheater who creased four cards with his thumbnail, too. He never ceases to impress me (and Heyes) with his prowess on the fast draw. My, my. You do know how to shut up a room, Mr. Jones! Ben’s blue-eyed gaze is quite impressive, also.
• I love how the crowd reacts to Kid’s quick draw in the saloon. A swell of awe as a few hoots and hollers resound, then silence. Everyone is aware they have seen something they will probably never witness again. That’s our boy! And Heyes shows his respect with a pat on the back and “forget I said anything this afternoon.”
• Heyes’ coaches the Kid to rise when Mary comes to their table as the boys are eating breakfast. It pleases me that he has manners and acts in the big brother role with Kid, helping him to learn social graces that he seems less natural with.
• I am not sure why, but I find the way Heyes touches his chest when he says good morning to Mary very, very appealing. I wonder if it is that I think that may be a Peterism more than a Hannibal Heyes gesture.
• Peter is so gorgeous in the hammering scenes, with his hair falling loose, his face less intense…he is just such a beautiful man to look at.

• I wonder if Ben considered himself a method actor. I can’t be sure, but it sure seems like he really hits his thumb with the hammer in the one moment I think he did a better acting job than Peter. I think I hear a small thud as the hammer hits flesh instead of the nail, and Ben’s reaction seems natural, while Peter seems to ham it a bit when his turn to smash his thumb with the hammer comes. Now, hold on, no boos and hollers…I said this is the one moment where I think Ben did a better job at acting. I think Ben would agree, since he has said many times he knew Peter was a better actor than he.
• I love how Heyes falls to his knees before he hits the ground after being cold-cocked by Al Gorman. It’s a very visually pleasing way to lose consciousness…it makes me laugh.
• The boys come into the bar after being beaten up…all dirty and pissed off. Heyes’ irritation as he slides a drink to Kid is point-on. And I love how he grabs Kid’s back as he walks out…and what a great butt shot when he does walk out! Somehow, those miserable brown synthetic fiber slacks look quite different when covered in a layer of dust, and leave us with a lovely view from behind as Heyes leaves the saloon. ®

• Wow! Kid is quite adept with a lasso. Who knew?
• I like that even though Heyes manhandles Mary, he can’t keep it up and shows gentleness toward her when she cries. He is defeated, and he knows it. He is obviously susceptible to feminine wiles. His stance changes, because he is aware he cannot be mean to this woman he cares about, even if she has knowledge of something he desperately needs to know. He leaves the room in a defeated and somewhat shamed posture. Another example of Peter’s profound skill at communication without words. ®

• Susan Strasberg obviously put her father’s teachings to play in her own acting. The woman can definitely cry—tears, scrunched up face, and snot bubbles included.
• I wish there had been some promise of romance between Heyes and Mary. I think they would have been a particularly engaging couple and could have been the stuff of fantasies for many.
• The scene where Heyes recognizes his old partner Plummer is very good. Heyes’ demeanor throughout the entire encounter is exceptional. His speaking is sharp, smart, masculine. His physical presence is intimidating and commanding. He is a man to be reckoned with.

• The Kid as the muscle, the man with the gun—equally intimidating and forceful as he makes his presence, and his power, known very clearly as he confiscates Plummer’s gun.
• There are several incidences of the things I love about Peter’s portrayal of Heyes in the scene in which he lays it on the line for Plummer. There is that disarming smile, followed by a show of strength. I love any scene where Heyes draws someone in, waits for their reply in his favor, and then drops the bomb. Whenever he does this, he changes his whole demeanor, and it is brilliant. “I want you to buy Mary Cunningham’s saloon.” “Ok, I can do that.” Heyes, no longer smiling: “For thirty thousand dollars.” Boom. Just perfect.