Walker, Texas Ranger s03e13 Episode Script

"This was no ordinary night.
It hung like a shroud.
Dark, dank, deadly.
" What are you doing? Hey, you ever think about | down the road? - After the Rangers, I mean.
| - I like what I'm doing just fine.
So do I.
Yeah, but think about this.
The last couple of weeks, | we've been shot at, dynamited, nearly decapitated | by that semi-truck.
You know what kind of stress | that does on your biorhythms? No, but I'm sure | you're gonna tell me.
What we need is some soft duty.
What are you up to? All units in the vicinity, silent alarm at Arcadia Tool and Die, | Taylor and Park.
- This is Walker.
We're on it.
| - No! Walker.
| Look, man, I've been up all night.
Three days of stakeout.
| No, I want a shower and I want a warm bed.
- It's only two miles away.
| - Walker.
See? The gate's locked.
Quiet as a tomb.
| Just let the locals handle it.
Well, we're here now.
| Let's check it out.
We can get over this way.
- What are you doing? | - This is the best way over.
- You all right? | - Yeah.
What the hell was that? I don't know.
| They were dressed up like ninjas.
- Damn, those were Rangers.
| - Just go.
Go! Come on, go! We do special tooling | for cars and planes.
Nothing appears to be missing | that I can nail down.
- Where's your safe? | - Right in here.
We had the payroll in there, Walker, and I appreciate you | cutting the buzzards off at the pass.
Maybe we got here | before they got to the safe.
They jumped us from the second floor.
| What's up there? Just storage for clamps, railroad keys, | small custom units and such.
Just cookie-cutter type stuff.
I want a list of everything, | missing or not.
Okay, sure.
Take about a day, but I'll have Suzanne | get an inventory to you.
That one guy could sure bring it.
Yeah, he was a Shodokan stylist, | Japanese system.
If that means fast, I'm a witness.
Yeah, the guys I was fighting with were tae kwon do stylists, | Korean system.
- What style are you? | - Chun Kuk Do.
- What system is that? | - All of them.
- You could've scared me to death.
| - That is not what I had in mind.
I was worried sick about you when I heard | there were Rangers involved.
Well, a couple of them | stumbled into it.
- One was a pretty good fighter.
| - That'd be Cordell Walker.
Old man Parsons knew him | and said he was their top man.
You said there'd be no problems, | Cody.
Look, you just stay cool, okay? We'll be sunning in Mazatlán | by next week.
All I'm saying is that a guy has to keep | an open mind about the future so that when opport\unity knocks Look, don't include me | in any more of your crazy schemes.
I have never had anything but your | best interests in mind, you know that.
Oh, is that right? | What about the phony stock fund? - Slight error in judgment.
| - Yeah, and the oil investment? Yeah, see, we could still | come out on top in that.
- If the IRS changes their mind | - Well, how about the cattle deal? - Turned out there were no cattle.
| - Who knew there were no cattle? Look, just cross me off | your sucker list, okay? We've had our misfort\unes, but this | is an investment in time, not money.
- Oh, yeah.
| - Not one red cent Not one plug nickel's | gonna come out of your pocket.
I've been looking for you two.
| I got the news you've been waiting for.
What news? Well, Jimmy explained | how you were feeling, I mean, with the heavy caseload, | close to burnout.
So when he volunteered you, | I had it cleared through the captain.
Hold it.
Volunteered me for what? The movie.
What movie? - You didn't tell him? | - Not yet.
Tell me what? I'm late for court\, | so Jimmy can fill you in.
Yeah.
Thanks.
| No need to thank me yet, part\ner.
- What are we doing on this movie? | - Technical adviser.
Technical adviser? No way.
Walker, you gotta stop | and smell the coffee, all right? - You're gonna be great on this one.
| - Trivette.
No way.
But you're a man out of time.
Cut, cut, cut.
No, no, no.
That crane's supposed to be | all the way up to the height by now.
We're gonna have to reset | this whole shot again.
Okay, Brenda, somebody, give me | a cappuccino out of craft service.
Oh, is this great or what, huh? Did I tell you I used to ditch school | to go to Westerns? Caught every one in town.
What is this? | Hollywood in our back yard, Walker.
It's Hollywood, all right.
| Those guys can't even ride a horse.
I thought they were pretty good.
How would you know? | You're from Baltimore.
Right.
Mean Streets to Six Guns.
What's that? Poor kid from the hood claws his way up to become | a two-fisted Texas Ranger.
So that's what you've been doing | on that computer.
Hey, Desley and Winslow | would love to get their hands Who? Denzel Washington | and Wesley Snipes, man.
I'm talking about the real deal here.
| A real-life action hero.
I've got more import\ant things to do | than hang around here all day.
Hey, I was thinking about Mel Gibson | to play you.
- Great.
| - Walker.
- What'd you think of that shot? | - Great.
Okay, people, here we go.
Help! Oh, help! Okay, boy, I got you.
Slow down.
- Are you okay? | - I'll be fine.
I'll die of embarrassment when you | find out I grew up around these part\s.
And I really do know how to ride.
- You must be Ranger Walker.
| - That's right.
- Ellie Preston.
| - You okay, Ellie? Yeah, I'm fine.
Ranger Walker, | this is my brother, Cody.
He's doing stunts on the show.
| This is Walker, our new tech.
Way you chased down that horse, | looked like you could do my job.
- You sure you're okay? | - Fine.
Well, it was nice | to make your acquaintance.
Nice meeting you.
Seems to me | she's cozy with that Ranger already.
Don't worry.
- She doesn't know anything.
| - Yeah? Well, if this is as good as we're told, | we're talking millions.
Your sister, Walker, | I don't care who it is, anybody gets in my way, I'll break | them down like a.
shotgun.
- Hey, Jake.
| - What's up, Jake? - How you doing, man? | - Hey, boys, how you doing? I just got back in | from scouting around.
Something about riding the rails | flat out seeps into your blood.
What's the score? We're gonna hit | a Federal Reserve shipment.
- You mean cash? | - I mean $ million cash.
New currency from | the Bureau of Engraving and Printing, headed for the banks in Dallas.
- When do we go? | - Three days.
Where do we stop the train? That's the beauty of it, see.
| We don't stop it.
Cody here tell me | you got the equipment I need, but you hit a little speed bump | along the way? Two Rangers dropped in | from out of nowhere.
- One's named Walker.
| - Cordell Walker? - You know him? | - Yeah, I know him, all right.
He's like a snake | that grows a new tail.
- You can't kill him and he won't die.
| - That's not all.
This morning, Walker and his part\ner | showed up on the set.
- What? | - Hey, relax.
I mean, they don't suspect anything.
| They're our technical advisers.
That's it.
Yeah, okay, you could be right.
| Yeah, makes sense.
Walker's got a rep.
Somebody probably thought he'd lend | some weight to the PR proceedings.
Hey, you boys know how long | I've been dreaming of this heist? Ever since I was a little kid listening | to that midnight-special whistle, heading for part\s unknown.
We're gonna go on schedule.
- What about Walker? | - Walker's a man.
No more, no less.
| If he gets in the way, we're just gonna have to prove | he's human.
Show him how to die.
Right.
Well, it's a fact, Sam Bass robbed more trains | and more stagecoaches than any other desperado | in the history of Texas.
Captain Jones | took a company of Rangers, went down to Round Rock, | wasted him.
Yep, sure did.
There wasn't a woman | riding with Sam Bass.
This is the Hollywood version, C.
D.
You mean it can be like | it didn't actually happen? Right.
No Ellie Preston, | no money for the movie.
She's hot.
Well, I can understand that.
| I sure can.
Yeah, she wanted to see Cordell.
Speak of the devil.
| Don't get sick on those peanuts.
- Is Trivette here, C.
D? | - He's over there.
He can't eat his chili.
They gave him a deadline | on the script.
This Hollywood business | is getting completely out of hand.
This is wonderful, isn't it? I'm gonna have to hire somebody | full-time to come down here.
I'm spending so much time | out on the set.
That's what they call it, the set.
- What are you talking about? | - Here, take a look at this.
"C.
D.
Parker, Texas Ranger.
" - What is this? | - That's my credits.
Yeah, in the movie biz, | they call it a resume.
- You mean "résumé.
" | - No, it's a resume.
See, you work a job, the job is over, then you resume working | on another job.
It says here you played | Stanley Kowalski in A Streetcar Named Desire.
I'm glad you asked about that one, | Cordell.
Yes, sirree.
Get a load of this.
Stella? Oh, Stella? You like that? Charlie, let me have | your hat.
How about this one? Never discuss family business | in front of strangers.
Listen to me, Santino.
We got booze, we got women.
We don't need narcotics.
No narcotics, Santino.
Yeah, that's good, C.
D.
That was Marlon Brando | in The Godfather.
Yeah, yeah, yeah.
I know.
What was the name of that restaurant | where I took on that hostage situation and saved those people? It was six people, Trivette, | and we saved them.
It's already been written.
I got a message you heard | from that tool-and-die plant.
Yeah, the inventory | only had two items missing: A railroad switch key and | a signal-maintainer switch-lock key.
A switch key and | a signal-maintainer switch-lock key? Yes.
Go figure.
- Don't give me grief about this, Ellie.
| - Cody.
Let go of my arm, Cody.
Decoupage.
You know, plastered things there.
| Stick them up on the wall there.
Something else.
You have a problem, Ellie? - This is family business, Ranger.
| - She said let go of her arm.
- Favor, Walker? | - Sure.
I could use a ride to my hotel.
Mama died when we were young.
My daddy was just a wildcatter.
He wasted his life chasing dry holes | and whiskey and women.
I decided to try acting | just to get out of Coalton, Oklahoma.
So I headed for California.
Got married when I was .
Searching for my identity, I guess.
Who was it said | "love is just a dance"? Well, he's just taillights to me now.
I'm not sure what to do, Walker.
Maybe I just need somebody | to talk to.
- About Cody? | - He's fighting his own demons.
He's been in trouble | since he was years old.
What kind of trouble? First, it was juvenile hall.
After that, it was market robbery | and then more of the same.
I got him into stunt work.
| I thought I had him straightened out.
And now? Well, I know it's not a job | for the Rangers, but Cody's always had these big ideas | about how to beat the system.
I just know | every time he's got those ideas, there's bound to be trouble.
Is that what you two | were arguing about? No.
The usual.
Money.
He spends it faster | than I can make it.
Well, he's not a kid anymore, | you know.
You mean, why do I put up with it? Well, when we were growing up, | we were in a bad situation.
We had abuse, neglect.
Cody protected me.
We have a bond.
I'll never walk away from him | if he needs me.
Well, that's what a family's all about.
You know, | you've got a hard shell, Walker, but I don't think you're so tough.
I'd say it's just a smoke screen | for a gentle soul.
Don't worry.
I won't tell anybody.
Now, what we got here, | this is early in the picture when the gang goes from | robbing banks to their first stagecoach.
Right, before they graduated | to the trains.
- You read the script.
| - Right.
I love the twist before the train heist and the way the love story | was layered Layers are for cakes.
| Action's what sells.
Now, what we've got here | is the guard on the stage, he's really a Texas Ranger, | but he's undercover.
Now, do you have any trouble | with that? No, that's fine.
Great.
Cody, Burkett, climb onboard.
Now, they have been riding | in front of the gang.
They leap from the horses | onto the stage.
Now, the Ranger, he spots them, wheels, opens with his shotgun, | misses.
What? Walker, what? Well, a Ranger wouldn't miss | from that distance with a double-barreled shotgun.
So you're saying a fistfight, | that would be better? - Well, I'd think so, huh? | - Yeah.
- What would you do? | - Yeah.
Why doesn't the famous Ranger | show us? Wait a minute.
I'm not an actor.
Come on.
| We're all actors in our own way.
Come on, Walker.
| It's all make-believe.
Holy buckets.
What do you guys have in mind? Well, I had something like this | in mind.
What's going on? I don't believe this.
Make-believe, huh? Those guys like | living on the edge, huh? Yeah, when you live on the edge, | you're never far from falling off.
Burkett's package is | a little more serious than Cody's.
Got a B and E and an armed robbery | in Frisco and L.
A.
All right, we're gonna hit the train | right here below Texarkana where there's a -mile stretch | of badlands.
Now, this is gonna require | split-second timing.
The money is gonna be | in a post-office boxcar shut tight and guarded | by treasury agents from the inside.
So how do we get in? We're gonna drop in by chopper.
Then we're gonna disable the agents | with nitrous oxide.
But if the train stops | before it gets to Dallas, the Dallas Tower's gonna know and they're gonna wanna | communicate with the engine by radio.
So here's what we're gonna do.
We're gonna hit it right here just as it slows | to go through this whistle stop on its Dallas approach.
- Who the hell is that? | - Cody, you in there? Get rid of her.
- You said you'd call.
| - Now, wait.
I said, get rid of her now.
- What the hell are you doing here? | - Parsons, he's been asking questions.
He may be suspicious.
No loose ends.
Okay? Understand? - Let's try this now.
| - How's that? All right, here we go, everyone.
Set for rehearsal.
Come on, we got a meeting.
No way.
I'm in the middle of a shootout | at Joe Bob's Grill.
We didn't have a shootout | at Joe Bob's Grill.
- Poetic license.
| - Let's go.
Action.
No, no, no, | that's not working for me.
Brenda, somebody, | give me a cappuccino.
I don't believe this, guys.
We've come across something | you may be interested in, Jake.
Oh, is that right? | It's always good to see you, Walker.
- Jake Lassiter.
| - Jimmy Trivette.
You know, Walker and me, we took down some bad bandidos | together last year, sliding across the border, | trying to loot cargo.
They wore this cut-up rug | on their boots so they wouldn't leave tracks.
Walker, he's got that nose.
That Indian blood of his.
Well, on this one, | we don't know who they are.
It all start\ed with a break-in | at a tool-and-die plant near Denton.
Now, what would security | be interested in a break-in | at a tool-and-die plant for? They took a switch key and | a signal-maintainer switch-lock key.
Well, maybe somebody's got | a set of Lionels for Christmas, wanna play switchman.
Walker thinks there's more to it | than that.
In what way? Is there anything valuable being | transport\ed in the next few days? Something coming and going | all the time here, you know that.
Something big.
First, you gotta understand the volume of merchandise | that passes through here every week.
Millions of dollars wort\h.
| Tell you what I can do.
I'll check the manifest | for valuable paintings, jewelry, et cetera, et cetera.
| But it's all on a need-to-know.
Does that mean | we don't need to know? No, that means anything sizeable | that comes through here has already got extra security | attached to it, unless there's a crime committed.
Look, Walker, | I appreciate your interest, but all you have here is | a meaningless break-in and a hunch.
I'll tell you what.
I'll alert\ our people.
| We'll be on top of it from here.
Good seeing you again.
Nice to meet you, Tribette.
Tribette.
Better than Trivet.
Guy says you're the man | with the golden gut, and then he shines us on | with this need-to-know crap.
It only confirms | something going down.
- Think there's gonna be a hit? | - Yeah.
Then go back to your crystal ball, | find out what's going on, man.
Trivette.
Trivette, you and Walker have a call | from a Buck Parsons.
Arcadia Tool and Die? That's him.
Wants you to meet him | in Denton, Decker.
Says it's urgent.
She didn't show up for work | this morning.
I got concerned.
She'd been acting funny | ever since the break-in.
I got to thinking maybe she knew | something, she just wasn't telling.
- Did you move that knife, Buck? | - No, no.
- That's | - Cody Preston.
Look, some other time, okay, Ellie? A woman has been murdered, Cody.
| Suzanne Moore.
Did you know her? What have you gotten yourself into? My God, Cody, | we never lied to each other.
That was our bond.
I'm sorry, okay, Ellie? Yeah, Bubba.
Yeah, well, Bubba, | I sure do appreciate it.
No, I'll hold, | but I don't wanna be here all day.
- Any luck? | - On one front, it looks good, Jimmy.
But I jumped plumb naked | to get out here looking for Cody.
- Where is he? | - He finished the picture.
He's out of town like a scalded cat.
- Cody's gone.
| - So's Ellie.
Yeah, and she's awful upset too.
You didn't say anything to her | about the body? Well, I guess l | She was asking for Cordell, and I just let it slip | the murdered girl knew Cody.
Yeah? Yeah, okay.
Well, that | Yeah, that's good information.
Yeah, I think we can use that.
Yeah, well, it's good to talk to you, | Bubba.
My regards to the wife and kid.
| You bet.
Thank you, Bubba.
I'll tell you, that old boy | is something else.
You know, he worked years | for the railroad over here in Mineola.
They put a white shirt\ | and a clip bow tie on him, made an executive out of him.
| But let me tell C.
D.
, what did he say? Well, it's confidential and it's strictly | on a need-to-know basis.
We need to know.
I'm coming to it, Cordell.
This may be a carload of currency | coming out of Washington for the Dallas banks.
How much? Well, in the neighborhood | of $ million.
That's a sweet neighborhood.
- When's it coming in? | - Gentlemen, it's coming as we speak.
Cody's involved somehow.
| Let's go check his motel.
Thanks, C.
D.
That's Ellie's car.
It's Ellie's.
Go ahead, C.
D.
Cordell's old friend Lassiter's | not in the office today.
- Lassiter.
| - Ask him about the train.
C.
D.
, what about the train? All right, stay on it.
According to Dallas Tower, | the train's on time.
- Should be crossing into Texas now.
| - Let's go.
Tiger One, | we're ready to rock 'n' roll.
That's a go, Tiger Two, that's a go.
Jamming all | central-control frequencies.
That's the four-by-four we saw | at the tool-and-die.
Let's see your hands.
Get out.
Get out.
Turn around.
| Hands behind your head.
- They got Takimura and Davis.
| - No witnesses.
Yeah, Jimmy? Tell Cordell | he was right about that train robbery.
- How? | - That car carrying that new currency C.
D.
, what about it? - It disappeared.
What do you mean, disappeared? The train arrived on schedule | at Union Station, but the car was missing.
We can't get a clear picture | of this damn thing.
Don't that beat all? Walker showed up again.
| He caught Takimura and Davis.
- We had to take them out.
| - Walker? He's still out there.
Hey, what? Get busy.
| What did I tell you, to stop? Come on.
Go help them.
Come on.
C.
D.
Says internal systems | at Central Traffic Control was jammed, so they couldn't tell | when the car was cut loose.
That sucker's somewhere, man.
But where and how? You've heard of a flying switch, | right? No, I've never heard | of a flying switch.
You said you grew up | watching Western movies.
Think about it.
It was switched off | to an old branch line? - Son of a gun.
| - That's why they took the switch key.
So the siding switch was thrown, | money car snatched, and the siding switched back when | the rest of the train continued on.
Son of a gun.
There's an old branch line | right down the road here.
Leads to a meat-packing plant | that hasn't been used in years.
Just like in the movies.
Yeah.
- Hey, Jake, listen | - No, no, no, you listen.
What'd I tell you about | mixing family with business, huh? You have to cut your losses | in the end.
Look, there is no reason to hurt\ her.
Hurt\ her? We're not gonna hurt\ her.
She's gonna be dead.
Come on.
Come on! - Walker! | - They got Ellie.
No! Cover me.
I've been looking forward to this, | Walker.
Hey.
Where do you think you're going, huh? | Come on.
Hope you enjoyed it.
Lassiter! Walker.
Cody.
I'm sorry.
You think you know someone, | and then you discover you don't, even as close as Cody and I were.
He was always looking for that pot | at the end of the rainbow.
Nothing that was gonna stop him, | no matter what I did.
He went down the wrong path, Ellie, but in the end, | he proved that he loved you.
Miss Ellie, I'm sure everything's | gonna get easier for you.
And I'm just delighted that the film's | gonna continue to shoot here.
Well, I'm a survivor, C.
D.
- Yes, ma'am.
| - I'll be fine.
Jimmy.
Hey, Jimmy, you look lower | than a snake's belly in a wagon rut.
Producers rejected my script.
Jimmy, all they did was take a pass.
That's what they call it in the biz, | a pass.
It was my life.
They flushed my life.
You're not gonna give up, are you? I mean, | maybe what you should do is punch it up a little bit.
| You know what I mean? Pump it up a little? - Take out the dull spots.
| - Right.
- Little more heart\.
| - You got it.
- Drama.
| - Yeah.
Pedal to the metal | with the action, man.
- Absolutely.
| - Yeah.
Now, Jimmy, you'll wanna change | your name to protect the innocent too.
Especially mine.