Betsy doesn’t want to talk to Curry about the million dollar deal with Binford because, as she says, when it comes down to it, it’s usually only $8.20. Curry offers her $10,000 if she will help keep Binford from chumping them. Betsy agrees to think about it.
The report from T.F. Ayers proves the diamonds to be top-grade but Binford still insists on seeing the field, accompanied by mining engineer Oliver Bristow. The boys lead blindfolded Binford, Bristow and Betsy to a grassy area they salted with more of Soapy’s uncut diamonds. Bristow is knowledgeable in most ores, but not in diamonds, so the field looks authentic to him. Betsy and Binford hunt for the shiny stones as children would for Easter eggs, finding them hidden in the grass or under rocks. Their excitement mounts as they discover more and more. Heyes and Curry stand by smirking, barely containing their amusement.
Back in his office and satisfied with the reality of the field, Binford gives the boys the agreed-upon advance of $50,000. Heyes signs over the claim and a map to the field. On the way out, Heyes wonders about their timing in going straight. They’re too good at cons like this.
Curry stops at Betsy’s room to find out where Binford got the money. Now that the banker has the diamonds, Betsy sneers at the piddling $10,000 Curry promised her. He threatens to tell Binford about her cowboy friend, so Betsy admits Binford embezzled the money from his own bank.
The tri-colored stock certificates are a source of pride to Binford until Heyes announces there is no genuine diamond field and that rough, unpolished diamonds cannot be accurately evaluated. Heyes offers him a way out from being taken in their confidence game — all he has to do is rescind his claim about the men who robbed his bank. Binford doesn’t understand. “I’m Hannibal Heyes and he’s Kid Curry,” explains Heyes. “We don’t rob banks any more,” Curry chimes in. “And when we were robbing banks, we didn’t kill people…We were trying our best to get an amnesty and you tore it all apart.” If Binford retracts his statement to the sheriff about the bank robbers, they’ll return the money. If not, they’ll disappear, money and all. Binford is left with no choice.
Sheriff Lom Trevors arrives in Kingsburg to investigate the theft and the boys assure him they will be cleared in tomorrow’s papers.
After reading the news story, Betsy confronts Curry about Binford’s retraction, the diamond field and the money, angry that she can’t ask Binford about it because he’s home with his wife. Curry explains about the salted field and it suddenly dawns on Betsy why they pulled the elaborate scam. Thinking they still have the $50,000 and wanting her promised share, she offers the information that Binford confessed the murder and bank robbery to her on the night it happened. Curry thanks her for the knowledge but says they turned the money over to Sheriff Trevors and therefore can’t pay her for the proof. She decides they can’t be Heyes and Curry because outlaws wouldn’t have turned money over to a sheriff. Heyes reveals they are really Hotchkiss and Rembacker, treasury agents who have been on the case from the beginning. Betsy leaves, smugly sure of nothing.
Returning Soapy’s diamonds, Heyes and Curry listen as he reads aloud Binford’s retraction in the Kingsburg Gazette. As they leave, Soapy begins to count the stones.
GUEST CAST
JOHN MCGIVER — AUGUST BINFORD
SAM JAFFE — SOAPY SAUNDERS
MICHELE CAREY — BETSY JAMISON
MIKE ROAD — SHERIFF LOM TREVORS
PAUL SORENSON — OLIVER BRISTOW
KEN SCOTT — BEN MORGAN
CLARKE GORDON — CHARLIE WELLS
LOU WAGNER — BUTLER
The character of Soapy Saunders is based on a man named Jefferson Randall Smith. The nickname “Soapy” came from a con Smith pulled. He would wrap hundreds of pieces of soap in full view of an unsuspecting audience while making a show of placing a $50 or $100 bill in about ten percent of the packages. He pocketed the large bill through sleight of hand before selling the nickel bars of soap for $1. Smith plied his trade in gambling halls and mining camps throughout the west. In the first draft of the story, Heyes remembers watching Soapy work, “hustling those bars of soap for five dollars apiece, swearing with a straight face that one of them was wrapped inside with a hundred dollar bill.” [22]
This time it’s not only the money that concerns Heyes and Curry but the murder of the bank manager. Though it’s a well-known fact that, in all their thieving days, Heyes and Curry never shot anyone, they don’t want Sheriff Lom Trevors or the governor thinking they’ve started to. Soapy is afraid bankers cannot be conned because they’re too cautious. Given their desperation, though, he shows them the salted diamond field con, one he’s learned about but has never used. At least it’s new, he tells them.
Apparently, Soapy had never heard that Philip Arnold and John Slack pulled the exact same con on San Francisco Bank of California president William Ralston in 1871. But Roy Huggins had and “A Fistful of Diamonds” duplicates that story right down to the president being blindfolded while being led to the salted field. Other similarities include having Tiffany’s evaluate the stones as having great value; including a mining engineer’s validation of the field; and enticing the investors (in the episode only Binford) to charter a corporation.
Soapy had learned the con from a friend in Holland who told him there was no one in the United States who could evaluate rough uncut stones because diamond cutters know nothing about the raw gems. If his friend is wrong, if T.F. Ayers’ evaluations came in low, the boys would be in big trouble.
Betsy starts off in the rough story line as a singer, the star attraction in the town’s saloon, a young and pretty kept woman. She comes across as a bit of ditz, greedy and not too particular about where money comes from. She cozies up to Binford even though he’s married because she expects to live like royalty as a banker’s wife. “She is the one who has made a crook out of Binford. He was a relatively honest guy until he met her. Now he’s trying to get rich quick so they can go to Europe. Betsy is the brains — she’s been pushing Binford.” [23] But on the side she has a lover, a lowly cowboy whom Curry easily outdraws. She’s suspicious of Heyes and Curry, but is willing to listen to their deal if it would net her substantial cash to be independently wealthy.
When Robert Hamner wrote the teleplay, his first draft contained a scene in which Heyes explains to Soapy that Lom helped arrange amnesty for them, but they don’t have it all yet. They have to show the governor they can stay out of trouble for one year and then he’ll sign the amnesty papers and make it official. Roy Huggins knew where he stood on the boys’ amnesty. In re-write notes for Hamner, Huggins told him they hadn’t got any kind of amnesty. If they behave themselves and stay out of trouble, in a year or so the governor will consider the possibility of giving them amnesty. They haven’t got partial amnesty, all they have is a promise. [24]
Stagecoach Seven
“The truth is you’re both better fellas than you think you are.”
Charlie Utley
STORY: JOHN THOMAS JAMES
TELEPLAY: DICK NELSON
DIRECTOR: RICHARD BENEDICT
SHOOTING DATES: FEBRUARY 8, 9, 10, 11, 12, 15, 16, 1971
ORIGINAL US AIR DATE: MARCH 11, 1971
ORIGINAL UK AIR DATE: MAY 24, 1971
Stagecoach #7 pulls into Benton Pass. Inside the station, the passengers — Dan and Ellen Loomis and their baby, Benjamin and Winifred Bowers, and Hannibal Heyes and Kid Curry — wait with varying degrees of patience while the coach is readied. Harry Downs crosses from the hotel and buys his ticket. As everyone prepares to board, the driver, Joe, points out there’s one passenger too many and someone will have to ride up on top with him. No one volunteers.
Downs decides that Dan Loomis, being the youngest man, will be the one to ride on top. Dan protests, saying he needs to be with his wife who adds that she needs Dan to help hold the baby. Downs snarls, “This is between your husband and me. Women ought to learn to keep their noses out of men’s business.”
This is too much for Curry. He steps forward, pointing out that a
s Downs bought the last ticket, he should ride up top. Downs turns his venom on Curry and orders him to get up on the seat or get out. Or he could draw. Curry draws. “Did I make the right choice, Mr. Downs?”
The stagecoach leaves town with Downs riding next to Joe. Heyes and Curry sit on either side of Winifred Bowers. Heyes asks if she wouldn’t rather have her husband beside her but she prefers to ride backwards and her husband will only sit facing forward. Mr. Bowers rudely cuts off her cheerful explanation and Winifred falls silent.
On the road, they’re stopped by a gang of robbers led by Clint Weaver who orders the passengers out of the coach. Joe insists they’re not carrying anything valuable, which is borne out by a quick search. The gang is disappointed and makes do with the passengers’ money and jewelry. Weaver focuses on Heyes and Curry. He’s seen them somewhere before.
The gang takes off with their loot. Curry and Heyes have recognized Clint Weaver in return and worry about whether he’s recognized them, but there’s nothing to do except climb back into the stagecoach and hope for the best.
The thieves gallop off. Weaver is still wondering about those two familiar faces. Eventually it comes to him. “Boys, we just held up Kid Curry and Hannibal Heyes.”
Stagecoach #7 arrives at a way station, welcomed by Charlie Utley and his wife Hannah. Heyes and Curry linger outside looking for any sign of the Weaver gang before heading into the adobe cabin. Bowers, irritated at being robbed, fills out a claim form, insisting the stage line reimburse him for his total loss.
Charlie, switching out the horses, enters the barn and is shoved against a wall with a gun to his neck. He’s not impressed by Weaver’s assertion that this is his lucky day. Weaver offers Charlie $2,000 in exchange for his handing over a couple passengers. Charlie refuses, so Weaver informs him the two men are Heyes and Curry. Charlie, now more amenable to the plan, isn’t convinced that he’ll ever see the $2,000. To show his good faith, Weaver hands over the loot from the robbery and Charlie agrees to bring the boys out.
With the rifle from the stagecoach, Charlie enters the cabin, closes the door and cocks the weapon, focusing everyone’s attention on him. Heyes and Curry slowly turn around. “Begging your pardon, sir, but your rifle…it’s pointing at us,” Heyes says politely. Charlie agrees and tells Hannah to take their guns.
Outside, the Weaver gang is moving into position around the cabin.
Charlie orders Hannah to tie the boys up. She protests, wondering why. Charlie inquires, “Which one’s Heyes and which one’s Curry?” Then he opens the window and calls out he’s going to turn in Heyes and Curry himself. Weaver is angry. He’ll give him three minutes to bring out the outlaws or the gang will start shooting. Charlie is unconcerned. He has the passengers turn over the solid oak table and take refuge behind it. Harry Downs is unwilling to put himself in danger for two outlaws, but Charlie relieves Downs of his gun, so he isn’t tempted to try anything.
When three minutes are up, the gang starts shooting as promised. As the passengers duck behind the table, Joe tries to convince Charlie to give up Heyes and Curry in the interests of keeping the passengers safe. Charlie won’t hear of it. Heyes offers his own reason for staying with Charlie — while not admitting they’re Heyes and Curry, he thinks Charlie will turn them in alive, unlike the Weaver gang, who will undoubtedly kill them. Charlie is pleased with this reasoning and even Joe has to admit Heyes has a point.
Charlie and Joe return fire. When things quiet down, Charlie checks the passengers. Weaver once again demands the boys. When Charlie refuses, the gang starts another barrage of gunfire.
Downs watches for an opportunity. When it comes, he hits Joe over the head and takes his rifle. Downs gets the drop on Charlie, forces him to untie the boys, then makes a deal with Weaver. Dan Loomis jumps Downs, knocking the rifle from his grasp. Heyes makes a move for it, but Charlie commands him not to try it. Heyes and Curry thank Dan as Hannah ties them up again. Downs is also tied and left behind the table. Charlie offers Dan ten percent of the reward, but Dan refuses, saying he wouldn’t feel right taking it. Ellen looks at her husband with pride.
Charlie informs Weaver there’s been a change of plans. Bowers is angry. If it weren’t for Dan, they could all be on their way by now. Dan is chagrined and Mrs. Bowers stares at her husband.
The gang begins shooting again. During a lull, Ellen Loomis screams. Harry Downs has been killed. Charlie covers the body, observing, “Some fellas just don’t have no luck at all.” Weaver again demands Heyes and Curry, threatening to shoot until everyone is dead.
Bowers continues to complain, insisting he’s had all he’s going to take on account of two criminals. He callously suggests they send Heyes and Curry out to their deaths. “Now you push those two out that door and get those killers off our necks!” Bowers shouts at Charlie. “Or so help me, I’m going to sue your company for every nickel they’ve got.” This is the last straw for Mrs. Bowers. She unleashes a tirade — saying she’s stood by for fifteen long years through all his petty tantrums, but this time it’s not about money, but about the lives of two men, and she won’t stand by silently. She orders him to be still. Bowers is shocked and sits down quietly as everyone in the room gazes at the mousy Mrs. Bowers in awe.
Curry speaks up, pointing out that in one way Bowers was right. It isn’t safe in that room. The next bullet might hit the women or the baby. Heyes and Curry offer to leave. Charlie unties them but as Curry unbolts the door, he levels his rifle on them, demanding they stop. He just wanted to see if they truly meant to leave. He’ll return their guns if they help hold off the bandits and promise not to use them on anyone in the room. The boys agree. Dan Loomis also volunteers to help. They take places at the windows. Finally Bowers comes out of his sulk and also volunteers. Now there are seven people to hold off the seven gang members.
The final battle begins. A posse, looking for the overdue stagecoach, arrives and the gang retreats, the posse on their trail. Curry figures they’ve aced the Weaver gang out of the reward money, but Heyes wonders about Charlie. Will he still turn them in?
As the passengers climb on board the coach, Charlie pulls out the loot Clint had bribed him with and returns it to them. Bowers humbly thanks him. Curry and Heyes ask what Charlie plans to do. They don’t want to go to jail. Charlie urges them to relax, he won’t turn them in now that he’s gotten to know them. With handshakes and thanks, the boys board the stagecoach and leave with the others.
Joe pulls up a few miles later and tells Heyes and Curry that this is where they get off. A rancher nearby will sell them some horses. Heyes and Curry wish everyone luck and walk off in the direction of the friendly rancher.
GUEST CAST
KEENAN WYNN — CHARLIE UTLEY
STEVE IHNAT — HARRY DOWNS
L.Q. JONES — CLINT WEAVER
DANA ELCAR — BENJAMIN T. BOWERS
JOHN KELLOGG — JOE
MITZI HOAG — WINIFRED BOWERS
ANGELA CLARKE — HANNAH UTLEY
RANDOLPH MANTOOTH — DAN LOOMIS
SALLIE SHOCKLEY — ELLEN LOOMIS
GEOFFREY LEWIS — PATCH
NICK BENEDICT — PHIL
BERNARD GREENE — STATIONMASTER
What usually comes to mind when you think of a Western is action — gunfights, stampedes, posses in pursuit of the bad guys. While this episode has plenty of gunplay, the real action is far more subtle, confined to the changes of heart made by the characters. This is the first of three episodes to explore the conflicts between people confined together against their will. A routine stage hold-up is the catalyst for forcing this disparate group into a situation that tests both their courage and their beliefs. Everyone at the way station has changed by the time the ordeal is over.
Women are often incidental to a western story. Even in Alias Smith and Jones, there are episodes in which not a single woman appears, but in “Stagecoach Seven” the women are more important than it would first appear. The three women, Winifred Bowers, Ellen Loomis and Ha
nnah Utley, symbolize three stages in the quest for equality with men.
Winifred Bowers represents the traditional female. Quiet and submissive, she defers to her husband’s wishes in everything from conversation to stagecoach seating. Her husband is firmly in charge, not allowing her even to engage in polite chitchat without his express approval. One can see that she is beginning to think about challenging her husband as the journey begins. Inside the coach, Winifred is seated between Heyes and Curry. Heyes offers to switch places with her, but Mr. Bowers squelches her explanation and Winifred falls silent. But in the first draft script, this is where she takes her first small step of rebellion, finishing her comment to Heyes, “But it was very nice of you to offer, young man. Thank you.” This was deleted in subsequent drafts and was replaced by a flash of anger directed at Mr. Bowers before she lowers her eyes. After the robbery, she studiously avoids looking at her husband, keeping her gaze fixed firmly out the window. Her distancing herself from her husband continues when the Weaver gang begins shooting and the passengers take refuge behind the table. Winifred helps the Loomises protect their baby, rather than looking for her own protection from her husband. She is also the one to rush over to check on Joe after he’s been knocked out by Downs. Throughout the shooting, her husband looks only to his own safety. When Mr. Bowers insists Charlie give up Heyes and Curry or he’ll sue the company, Winifred lets loose with fifteen years of pent-up frustration and her husband is left in shock. However, her words change her husband, causing him to re-evaluate his actions. His newfound willingness to change is demonstrated when they resume their stagecoach journey. Mr. Bowers is sitting next to his wife, both of them facing backwards. Roy Huggins wanted to keep this change subtle, trusting the audience to notice for themselves. In a story conference on February 1, 1971, he noted: “Skip the business about Mrs. Bowers wanting [her husband] to sit with her. We should not try to tie that string — we should leave it dangling a little. In other words, he may be riding beside her this time. We say nothing about it. He’s riding backwards.” [25]
Alias Smith & Jones: The Story of Two Pretty Good Bad Men Page 11