Episode Info
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Episode number: 1x14 Production Number: 167514 Airdate: Tuesday April 13th, 1982 |
Guest Stars
Co-Guest Stars
Main Cast
Recap
Brother Samuel Workman greets Reverend Everest Sinclair of the Clarity Movement as he arrives to see the site they have chosen for their city of Clarity. The land has been foreclosed, but Samuel explains that the people of nearby Sweetwater aren’t happy. Sinclair insists that nothing can stand in the way of their progress. As he examines the land, Cy draws a bead on Sinclair. Bret rides up and tells his foreman that shooting Sinclair won’t solve anything. Cy blames himself for how everyone came to him for advice and he advised them to mortgage their property to the bank. However, he agrees not to shoot Sinclair. As they ride into town, Bret advises Cy to try and run a con on Sinclair, and the foreman reluctantly agrees to help...Read the full recap
Episode Notes
Darleen Carr (Mary Lou) and Jameson Parker (Whitney) married in real-life in 1992. This is the first time they worked together, although Carr would go on to appear in several episodes of Parker's series Simon & Simon.
Episode Quotes
Cy: I gotta do somethin'!
Bret: All right, wherever this guy Sinclair is from, he's got a lotta money and a lotta clout. Now you're not gonna win by comin' at him head-on. No, if you wanna turn it around, you … you gotta expand your thinking, come at it from a different perspective.
Cy: Now what in the name a dead roots does that all burn down to?
Bret: All right, wherever this guy Sinclair is from, he's got a lotta money and a lotta clout. Now you're not gonna win by comin' at him head-on. No, if you wanna turn it around, you … you gotta expand your thinking, come at it from a different perspective.
Cy: Now what in the name a dead roots does that all burn down to?
Cy: A con!?
Bret: Well, not just any con. Don't make it sound like it's made out of tin, either. I mean, a … good game can be a beautiful thing. Every situation calls for its own special breed.
Cy: What do I know about them kinda schemes and games?
Bret: About as much as I do on raisin' bulls, but I bought that ranch, didn't I? 'Cause that's what I really wanted. Now what do you really want, Cy?
Cy: That land was their future, a place to settle when the time came. So I'm askin' you, ashes to ashes, there really a con that could get that land back?
Bret: With enough money and the right operators and a plan tailor-made to the mark, yeah, there might be, yeah.
Cy: Then you just hand me a shovel, mister, and tell me where to start diggin'.
Bret: Well, not just any con. Don't make it sound like it's made out of tin, either. I mean, a … good game can be a beautiful thing. Every situation calls for its own special breed.
Cy: What do I know about them kinda schemes and games?
Bret: About as much as I do on raisin' bulls, but I bought that ranch, didn't I? 'Cause that's what I really wanted. Now what do you really want, Cy?
Cy: That land was their future, a place to settle when the time came. So I'm askin' you, ashes to ashes, there really a con that could get that land back?
Bret: With enough money and the right operators and a plan tailor-made to the mark, yeah, there might be, yeah.
Cy: Then you just hand me a shovel, mister, and tell me where to start diggin'.
Estelle Springer: No, I don't wanna go lie down.
Mary Lou: Drinking isn't going to make it any better.
Estelle Springer: How would you know? You haven't been drinking.
Rodney: Look, Mary Lou and I can finish all the work, and then maybe tomorrow if you…
Estelle Springer: Work? Rodney, let me tell you a story about work. It's a trick to keep you busy… while someone else gets all the gold.
Mary Lou: Drinking isn't going to make it any better.
Estelle Springer: How would you know? You haven't been drinking.
Rodney: Look, Mary Lou and I can finish all the work, and then maybe tomorrow if you…
Estelle Springer: Work? Rodney, let me tell you a story about work. It's a trick to keep you busy… while someone else gets all the gold.
Mary Lou: Well, it's tough to repossess a city like New York, but here…
Bret: They only got a handful of landowners to contend with, huh?
Mary Lou: The odds are better. And from the little digging I've done, they're not too worried how they go about it. They've got a very big omelet planned, Maverick. They're not afraid of breaking eggs.
Bret: They only got a handful of landowners to contend with, huh?
Mary Lou: The odds are better. And from the little digging I've done, they're not too worried how they go about it. They've got a very big omelet planned, Maverick. They're not afraid of breaking eggs.
Bret: You know, this particular classic was one of my very first stings. It still fits like a well-worn glove.
Bret: Oh, look, Sandeen, if this is a work-up to get me to buy a bag of your sacred canyon herbs…
Philo Sandeen: No, no, no, no. That was a bunch of skunk cabbage and saguaro juice. I'm talking… about something much bigger.
Bret: You mean more expensive, right?
Philo Sandeen: Brother, I can't lie about this. I can't lie about anything anymore. I heard the voice.
Bret: Oh, yeah, the whisper on the wind. Yeah, you handed me that one out in the, uh, badlands just before you left me stranded without a horse.
Philo Sandeen: No, I mean… I heard the voice.
Bret: The voice.
Philo Sandeen: Now you understand.
Bret: Yeah, yeah. Yeah, Sandeen, you gotta stop eatin' that cactus. It's startin' to take its toll.
Philo Sandeen: No, no, no, no. That was a bunch of skunk cabbage and saguaro juice. I'm talking… about something much bigger.
Bret: You mean more expensive, right?
Philo Sandeen: Brother, I can't lie about this. I can't lie about anything anymore. I heard the voice.
Bret: Oh, yeah, the whisper on the wind. Yeah, you handed me that one out in the, uh, badlands just before you left me stranded without a horse.
Philo Sandeen: No, I mean… I heard the voice.
Bret: The voice.
Philo Sandeen: Now you understand.
Bret: Yeah, yeah. Yeah, Sandeen, you gotta stop eatin' that cactus. It's startin' to take its toll.
Bret: Hey, don't worry. We'll get Sinclair comin' at us. All we have to do is a little variation on the burn-and-bucket.
Cy: The "burn-and-bucket"?
Bret: Yeah, well, that's just a cut across for how this game works. You see, what we do is we wave a water bucket in front of the mark and then we build a fire under him. Now if we get that fire hot enough, he'll reach out and try and take our bucket.
Mary Lou: Only there's no water in it.
Bret: Well, not the kind he thinks.
Cy: The "burn-and-bucket"?
Bret: Yeah, well, that's just a cut across for how this game works. You see, what we do is we wave a water bucket in front of the mark and then we build a fire under him. Now if we get that fire hot enough, he'll reach out and try and take our bucket.
Mary Lou: Only there's no water in it.
Bret: Well, not the kind he thinks.
Kate Hanrahan: Let's see now : you've tried money, sympathy, sweet talk and curiosity. Do you have any other approaches?
Bret: Well, if you don't crack soon, Kate, I'm gonna have to resort to my naked wit and charm.
Kate Hanrahan: Oh! My fatal weakness.
Bret: Well, if you don't crack soon, Kate, I'm gonna have to resort to my naked wit and charm.
Kate Hanrahan: Oh! My fatal weakness.
Everest Sinclair: Now surely you must be exaggerating about this Hanrahan woman?
Jasmine Du Bois: You don't know her. She has a heart colder than the pits of Hell.
Everest Sinclair: But if I take you in, we'll be swamped by all kinds of riffraff running away from their pathetic lives… Not to mention what the press would do to us. Now, surely you can understand that? Well, and besides, you have no… essential skills.
Jasmine Du Bois: I know. She's only bred me to be a creature of pleasure, something to titillate the senses, an effect to arouse the primitive hunger strong men feel. But surely there must be something I can do for you?
Jasmine Du Bois: You don't know her. She has a heart colder than the pits of Hell.
Everest Sinclair: But if I take you in, we'll be swamped by all kinds of riffraff running away from their pathetic lives… Not to mention what the press would do to us. Now, surely you can understand that? Well, and besides, you have no… essential skills.
Jasmine Du Bois: I know. She's only bred me to be a creature of pleasure, something to titillate the senses, an effect to arouse the primitive hunger strong men feel. But surely there must be something I can do for you?
Cy: Somebody wanna give me a hand with this bed?
Jack the Bartender: You know, that's where it happened.
Cy: What? Where what happened?
Jack the Bartender: Twenty-three years ago, my uncle brought me to this door and said "Go on in, son. When you come out you'll be a man." Her name was Brenda. She died about four years ago in San Francisco.
Cy: Somebody else wanna give me a hand with this bed?
Jack the Bartender: You know, that's where it happened.
Cy: What? Where what happened?
Jack the Bartender: Twenty-three years ago, my uncle brought me to this door and said "Go on in, son. When you come out you'll be a man." Her name was Brenda. She died about four years ago in San Francisco.
Cy: Somebody else wanna give me a hand with this bed?
Philo Sandeen: It's the saloon dragging you down, isn't it, Tom?
Tom: Tell me about it.
Philo Sandeen: You know there's a better way.
Tom: Better way to what?
Philo Sandeen: Everything. I'm free now, Tom.
Tom: You askin' for a job, Sandeen?
Philo Sandeen: I'm asking you to take my hand and let me lead you to a better place. A beautiful place where the darkness of a saloon cannot touch you.
Tom: Sandeen, when I do decide to retire to the mountains, I'll pick my own place, and it sure as hell won't be with you holdin' my hand.
Tom: Tell me about it.
Philo Sandeen: You know there's a better way.
Tom: Better way to what?
Philo Sandeen: Everything. I'm free now, Tom.
Tom: You askin' for a job, Sandeen?
Philo Sandeen: I'm asking you to take my hand and let me lead you to a better place. A beautiful place where the darkness of a saloon cannot touch you.
Tom: Sandeen, when I do decide to retire to the mountains, I'll pick my own place, and it sure as hell won't be with you holdin' my hand.
Everest Sinclair: Jasmine says you'll kill her if I turn her back over to you.
Kate Hanrahan: She's my property, bought and paid for, and what I do with her is my business.
Everest Sinclair: It's not good enough. You don't frighten me, Hanrahan, I've dealt with people like you before.
Kate Hanrahan: That's too bad, because the last gentleman who crossed me now sleeps all the time - very cold and very still.
Kate Hanrahan: She's my property, bought and paid for, and what I do with her is my business.
Everest Sinclair: It's not good enough. You don't frighten me, Hanrahan, I've dealt with people like you before.
Kate Hanrahan: That's too bad, because the last gentleman who crossed me now sleeps all the time - very cold and very still.
Philo Sandeen: You had a vision… and I understand such things now.
Everest Sinclair: Really, Mr., uh…
Philo Sandeen: Sandeen. Philo Sandeen. Philo is Greek for "love," and Sandeen, in Sanskrit, means "placing together." I'm "love of placing together". Don't you see how it all fits now?
Everest Sinclair: No.
Philo Sandeen: Well, you came to build a better world on the land which is as familiar to me as the hair in my nose. We could be of such help to each other. Let me ask you a question. When it came to you, was it all… light and color--or was it a high, reedy voice that woke you up in the middle of the night?
Everest Sinclair: Really, Mr., uh…
Philo Sandeen: Sandeen. Philo Sandeen. Philo is Greek for "love," and Sandeen, in Sanskrit, means "placing together." I'm "love of placing together". Don't you see how it all fits now?
Everest Sinclair: No.
Philo Sandeen: Well, you came to build a better world on the land which is as familiar to me as the hair in my nose. We could be of such help to each other. Let me ask you a question. When it came to you, was it all… light and color--or was it a high, reedy voice that woke you up in the middle of the night?
Other Episode Crew
| • Executive Producer | Meta Rosenberg |
| • Supervising Producer | Gordon Dawson |
| • Producer | Chas Floyd Johnson |
| • Associate Producer | Mark Horowitz |
| • Editor | Clay Bartels |
| • Casting | Dodie McLean |
| • Unit Production Manager | Sam C. Freedle |
| • First Assistant Director | David L. Beanes (1) |
| • Second Assistant Director | Don Wilkerson |
| • Music | Murray MacLeod | J. A. C. Redford |
| • Music Editor | Jay Alfred Smith |
| • Hairstylist | Charlotte Harvey |
| • Make-up | Charlene Roberson |
| • Set Decorator | Robert L. Zilliox |
| • Property Master | William Fannon |
| • Director of Photography | Frank Thackery |
| • Art Director | Scott T. Ritenour |
| • Sound Mixer | Charlie King (3) |
| • Special Effects | Larry L. Fuentes |
| • Costume Supervisor | Le Dawson |
| • Main Title Theme | Glenn Ray | Patsy Bruce | Ed Bruce |
| • Main Title Graphics | Ron Grover |
| • Executive Story Consultant | Lee David Zlotoff |
| • Sound Effects Editor | Joe Von Stroheim |
| • Assistant To The Star | Maryann Rea |
| • Main Title Theme Performed By | Ed Bruce |
| • Developed By | Gordon Dawson |
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