Diagnosis Murder (1993–2001): Season 7, Episode 13 - Frontier Dad - full transcript

I TOLD YOU ONCE BEFORE, MILLER

YOU'RE LEAVING TOWN

ON YOUR HORSE, OR IN A HEARSE.

IT'S UP TO YOU.

CUT. PRINT.

GOOD ONE.

SO, GANG, YOU ALL
HAVING A GOOD TIME?

YES.

ARE YOU KIDDING?
THEY MAY NEVER LEAVE HERE.

JUST BEING HERE ON THE SET
AND SEEING DASH DONOVAN...

THIS IS SO COOL.



C.J., IS THAT
REALLY YOU?

HI, MR. McCLANE.

HI.

BOB, I'D LIKE YOU TO MEET DION.

CAN YOU STAY AWHILE

THIS TIME,
DASH, PLEASE?

Woman 2:
OH, NOW, KIDS

YOU KNOW DASH
IS A BUSY MAN.

THE NEXT SCENE UP
SHOULD BE EVEN BETTER.

BOB, I'VE GOT TO GET BACK
TO THE HOSPITAL.

I HAD NO IDEA IT TOOK
THIS LONG TO SHOOT.

OH, WHAT A SHAME.

IS THE SHOW'S
BIGGEST FAN.

SPEAKING OF BIG...



C.J., IS THAT
REALLY YOU?

WELL, HERE IT COMES...
DASH'S TRADEMARK MOUNT.

OH.

SO WE COULD WATCH
THE FILMING TODAY.

THANK YOU, MR. McCLANE.

MY PLEASURE.

YOU A BIG DASH DONOVAN FAN?

YEAH.

HE'S PRETTY COOL.

I GUESS.

YEAH, RIGHT.

WELL, STICK AROUND, GUYS.

THE NEXT SCENE UP
SHOULD BE EVEN BETTER.

YOU BET. SAY
HI TO STEVE.

I WILL.

SEE YOU ALL.

BYE.

HEY, ALEX

WOULD YOU GRAB SOME
SHOTS FOR ME?

OH, WHAT A SHAME.

JUST WHEN
DASH DONOVAN'S

BIG SCENE IS COMING UP.

THANKS SO MUCH
FOR HAVING THE KIDS.

IT MEANS A LOT TO THEM.

CUT! CUT.

Dash:
UNTIL THE NEXT TIME.

WELL, HERE IT COMES...
DASH'S TRADEMARK MOUNT.

NICE MOVE THERE, DASH.

ARE THOSE DASH'S
KIDS ON THE SHOW?

NO, NO, THAT'S
BUCK AND TESSIE.

DASH TOOK THEM IN
WHEN THEIR PARENTS

WERE KILLED BY INDIANS.

Man:
POSITIONS, EVERYONE.

Woman:
LET'S HAVE QUIET, PLEASE.

AND WE'RE ROLLING.

ACTION.

THAT WAS GREAT, DASH.

CAN YOU STAY AWHILE

WHY DON'T WE JUST TRY
ANOTHER ONE, SHALL WE?

RIGHT, RIGHT.

MAYBE WE SHOULD
TAKE A BREAK.

YOU KNOW DASH
IS A BUSY MAN.

HE'S GOT THINGS TO DO
AND PLACES TO GO.

DOESN'T MISS KATE

ALWAYS TAKE GOOD CARE
OF YOU WHILE I'M GONE?

Tessie:
YEAH.

Buck:
YEAH, I GUESS.

JUST TRY AND KEEP THEM

OUT OF THE SALOON
IF YOU CAN, KATE.

I'LL TAKE CARE
OF THIS TROUBLE
OUT AT YELLOWFORK

AND BE BACK
BEFORE YOU KNOW IT.

MAYBE WE SHOULD
TAKE A BREAK.

SOMEBODY OUGHT TO PUT
THAT POOR GUY OUT OF HIS MISERY.

Tessie:
OH, MAN, I HAVE

TO DO THIS AGAIN?

DUDE, WHEN IS THIS GUY
GOING TO START

USING A STUNTMAN?

I'M FINE, EVERYBODY, REALLY.

I'M FINE.

I JUST TWEAKED MY WRIST
A LITTLE BIT.

TRAMPOLINE BROKE ON ME.

WHY DON'T WE JUST TRY
ANOTHER ONE, SHALL WE?

THEN WE'RE ALL GOING
TO BE...

WHO'S THE
COORDINATOR HERE?
YOU OR ME?

YOU ARE.

JUST GO HELP SET
UP THE AIR BAG

AND JUST CUSHION HIS FALL.

BUT DOESN'T CARL
DO HIS OWN STUNTS?

YEP. WE JUST STAND
AROUND WASTING TIME

AND FILM UNTIL
HE GETS ONE RIGHT.

NOT NOW, JIMMY.

WHY? ONE OF THESE TIMES

HE'LL REALLY
BANG HIMSELF UP.

THAT OR SOMEBODY ELSE

I'M SORRY.I MAY BE THE PRODUCER,
BUT IT NOTHING.

IT'S THE NETWORK.
IT'S RATINGS.

RATINGS?!

YOU THINK

THAT KILLING ME OFF
IN THE SEASON OPENER

Woman:
WHAT?

APPARENTLY, IT'S NOT
UNUSUAL AT ALL.

YOU CAN'T DO THIS TO ME,
BRADLEY.

I HAVE A CONTRACT.

YOU TELL HIM, PHIL,
YOU'RE MY MANAGER.

SHE'S RIGHT, YOU KNOW.

JUST TRY AND WRITE HER OUT.

I'M SORRY.I MAY BE THE PRODUCER,
BUT IT NOTHING.

THESE FANS HERE KEEP
THE BAG INFLATED.

THEN WHEN A STUNTMAN
FALLS INTO IT

THESE BUNGEE VENTS POP OPEN,
RELEASING THE AIR GRADUALLY

AND JUST CUSHION HIS FALL.

PAUL.

HOW MANY TIMES
HAVE TOLD YOU

JUST GO HELP SET
UP THE AIR BAG

WILL YOU?

IF YOU'LL EXCUSE ME.
I GOT TO GO TO WORK.

I'LL SEE YOU LATER.

DO I DETECT A LITTLE NOTE
OF DISCORD IN SADDLEBROOK?

I'M SURE IT'S
NOTHING UNUSUAL

WITH THE CREW
HAVING DIFFERENCES

ON BIG SHOW LIKE
FRONTIER DAD.

Woman:
WHAT?

OW!

ALRIGHT, THAT'S IT, CARL.

I'M LETTING JIMMY
DO THE HIGH FALL.

I DON'T WANT ANY ARGUMENT.

CARL, WE CAN'T RISK HAVING
YOU GET HURT ANY FURTHER.

AFTER ALL, YOU ARE THE SHOW.

I DON'T WANT ANY ARGUMENT.

DON'T LOOK AT CHRIS.

THIS IS MY CALL.

CARL, WE CAN'T RISK HAVING
YOU GET HURT ANY FURTHER.

THAT KILLING ME OFF
IN THE SEASON OPENER

IS GOING TO RAISE
THE RATINGS?

DO YOU THINK
I'M STUPID?

WE KNOW WHO'S
BEHIND THIS, BRAD.

IF CARL THINKS
THAT HE CAN

GET RID OF JEANNIE
THAT EASILY

HE'S EVEN DUMBER
THAN I THOUGHT.

THIS IS WHAT I THINK
OF YOUR SEASON OPENER.

COME ON, LET'S GO
GET A BURRITO.

ALL RIGHT, EVERYBODY,
LET'S GET BACK TO WORK.

WE WASTED ENOUGH
TIME ALREADY.

I'M GAINING ON YOU.

WHY DON'T YOU JUST

GO POLISH YOUR PROP
GUN, YOU PIP-SQUEAK.

COME ON, LET'S GO
GET A BURRITO.

SHOULD I ASK HIM
FOR AN AUTOGRAPH?

WHY NOT? WHAT'S THE WORST
HE COULD DO? SHOOT YOU?

ALRIGHT.

EXCUSE, MR. SIMPSON.

HOW MANY TIMES
HAVE TOLD YOU

ABOUT KEEPING THE ACTION
ON THIS THING CLEAN?

I MEAN, IT FEELS LIKE
IT'S GOT GRAVEL IN IT.

TAKE CARE OF IT,
WOULD YOU, PLEASE?

TODAY?

WHATEVER YOU SAY, BOSS.

THANK YOU.

I GUESS
NOT ALL ACTORS

ARE LIKE THE CHARACTERS
THEY PORTRAY ON SCREEN.

WELL, IT MUST BE
THE PRESSURE.

HE IS THE STAR.

AND BOY, DOES HE KNOW IT.

WHO WANTS A PICTURE
WITH DASH DONOVAN, HUH?

EXCUSE ME.

YOU HEAR ME SAY, "GO."

I GOT THREE
CAMERAS ON YOU.

I DON'T WANT TO
MISS THIS, OKAY?

EXCUSE, MR. SIMPSON.

NOT NOW.

HEY, KIDS.

WHO WANTS A PICTURE
WITH DASH DONOVAN, HUH?

AFTER ALL, YOU ARE THE SHOW.

WELL...

IT MY GUN HAND.

WELL, GREAT.

MAYBE FOR ONCE WE CAN FINISH
A DAY'S WORK ON TIME.

KEEP PRACTICING, KID.

YOU'VE GOT A LONG WAY TO GO.

OH, YEAH.

HAVE YOU SEEN
THE FAN MAIL LATELY?

I'M GAINING ON YOU.

Amanda:
OKAY, SMILE.

ALL RIGHT.

OKAY.

WE WASTED ENOUGH
TIME ALREADY.

MAKE SURE JIMMY GETS
INTO THE WARDROBE

FOR THE HIGH FALL.

RIGHT.

SECOND TEAM OUT.
LET'S GO, PEOPLE.

WE'RE BURNING DAYLIGHT.

HEY, HERE
HE COMES.

SHOULD I ASK HIM
FOR AN AUTOGRAPH?

WHO?

OR ROY ROGERS.

WHO?

ALRIGHT. QUIET ALL
AROUND.

I DON'T WANT TO
MISS THIS, OKAY?

WE GOT IT.

LET'S GO.

THERE'LL BE A NEAR MISS
BULLET HIT.

JIMMY, THAT'S GOING
TO BE YOUR CUE

TO TAKE THE FALL,
BUT NOT BEFORE

YOU HEAR ME SAY, "GO."

Amanda:
OKAY, SMILE.

ALRIGHT. QUIET ALL
AROUND.

AND... LET'S GO.

LET'S GO.

IF I'M NOT MISTAKEN,
TO GET AWAY

DASH IS GOING TO
JUMP OFF THE ROOF.

EVERYONE IN POSITION

UP THERE?

READY WHEN YOU ARE, BOSS.

ALL RIGHT. JIMMY, ON "ACTION"

I WANT YOU
TO EDGE OUT TO THE ROOF.

JACK, YOU COME UP
BEHIND HIM AND FIRE.

THERE'LL BE A NEAR MISS
BULLET HIT.

YOU SEE, FRONTIER DAD IS
KIND OF LIKE A THROWBACK

LIKE A LONE RANGER.

WHO?

GET AN AMBULANCE!

TRANSPORTATION,
CALL AND GET

AN AMBULANCE HERE NOW.

DON'T MOVE HIM.

DON'T MOVE HIM.

ALL CAMERAS READY.

DASH IS GOING TO
JUMP OFF THE ROOF.

THAT'S PRETTY COOL, HUH?

PLEASE TELL ME YOU
REALIZE THAT EVEN ON TV

A JUMP LIKE THAT
WOULD KILL A MAN?

NO, JESSE. BOB SAID

THEY'LL GET ANOTHER
SHOT OF CARL

LANDING IN
THE HAY WAGON.

HE'S GOING TO BOUNCE
UP, GUN IN HAND

AND SHOOT THE BAD GUY

OFF THE ROOF.

KILLING HIM.

NO, IT'S THE QUALITY FAMILY
NETWORK, REMEMBER?

SEE, HE'LL FALL ON THE
HORSE TROUGH ONLY WOUNDED

'CAUSE DASH
NEVER KILLS ANYBODY

HE ONLY WINGS THEM.

THAT'S NICE OF HIM.

THAT'S KIND OF
CORNY, ISN'T IT?

MAYBE, BUT IT'S WHAT
PEOPLE WANT THESE DAYS.

YOU SEE, FRONTIER DAD IS
KIND OF LIKE A THROWBACK

OH! OH!

GET AN AMBULANCE!

IT LOOKED LIKE
IT WAS PLANNED.

WHAT ARE YOU TALKING ABOUT?

WELL, WE WENT AND TOOK A LOOK
AT THE JUNCTION BOX.

IT WAS FULL OF COFFEE.

SOMEONE POURED
A WHOLE CUP ON IT.

I'M SORRY, BOB.

WE DID EVERYTHING
WE COULD.

OH, NO.

KEEP HOLDING ON.

STAY WITH US, OKAY?

JUST STAY WITH US.

AND... ACTION!

CAMERA ONE.

ROLLING.

WHAT THE...?

CAMERA TWO.

ROLLING.

AND CAMERA THREE.

HOLD IT.

HOLD IT!

Man:
Go.

JIMMY, NO!

OH, NO.

JIMMY.

IT WAS AN ACCIDENT.

SHE'S RIGHT.

THERE'S NOTHING YOU
COULD'VE DONE.

WELL, SOMEONE SURE FORESAW IT.

AS MATTER OF FACT

IT LOOKED LIKE
IT WAS PLANNED.

DON'T MOVE HIM.

I'M COMING DOWN.

HOW IS HE?

IT'S OKAY, JUST HOLD ON,
OKAY, BUDDY?

YOU HOLD ON.

KEEP HOLDING ON.

OH, MY GOD.

I ALMOST DID THAT STUNT MYSELF.

I DON'T BELIEVE THIS.

I SAW THE BOX SHORT OUT.

I TRIED TO STOP HIM.

I TOLD HIM TO HOLD IT.

WHAT THE HELL
ARE YOU TALKING ABOUT?

YOU TOLD HIM TO GO.

ON THE RADIO... I HEARD YOU.

HELL, EVERYBODY DID.

NO, I DIDN'T.

WOULD YOU LIKE A SODA?

NO.

SINCE WHEN DON'T
YOU WANT A SODA?

Dion:
I'M NOT THIRSTY.

THERE'S NOTHING YOU
COULD'VE DONE.

NO, IT'S MY FAULT.

I SET IT UP.

HE DEPENDED ON ME.

Jesse:
YOU TOOK
EVERY PRECAUTION.

NO ONE COULD
HAVE FORESEEN
A SHORT CIRCUIT.

WELL, SOMEONE SURE FORESAW IT.

WELL, THERE YOU ARE.

WOULD YOU LIKE A SODA?

WELL, THERE YOU ARE.

SOMEONE POURED
A WHOLE CUP ON IT.

NOW IF YOU WANT AN AIR BAG
TO MALFUNCTION

THAT'S A HELL OF A GOOD WAY
TO DO IT.

IF THAT'S TRUE, IT WAS MURDER.

OH, MY GOD.

IT'S NO BIG DEAL.

SOMEONE MUST HAVE TAMPERED

WITH MY RADIO, SWITCHED
THE CHANNELS OR SOMETHING.

I DON'T KNOW.

Steve:
BOB, I HAVE
TO ASK.

DID YOU HAVE ANY
PERSONAL PROBLEMS
WITH JIMMY?

NO WAY.

I DON'T KNOW.

I CHECKED WITH THE
SOUND DEPARTMENT.

ALL THE RADIOS
ARE ACCOUNTED FOR

AND WERE SET ON
THE PROPER CHANNEL.

NO, I DIDN'T.

I SWEAR.

BOB, WE BETTER HAVE
A TALK WITH STEVE.

TO DO SINCE
YOU WERE A KID.

LOOK DAD. WE'VE ALREADY
DISCUSSED IT.

I'M SORRY, BUT...

NO, I'M NOT DOING IT
AND THAT'S FINAL.

NO WAY.

WELL, I MEAN,
WE HAD OUR DIFFERENCES.

HE WAS AMBITIOUS.

WAIT A MINUTE.

DO YOU THINK
THEY WERE AFTER CARL

AND GOT JIMMY BY MISTAKE?

I THINK WE HAVE TO CONSIDER
THAT POSSIBILITY.

Dion:
I'M NOT THIRSTY.

DION, I KNOW THAT YOU
SAW SOMETHING TERRIBLE

AND I AM SO SORRY THAT
YOU HAD TO SEE THAT.

YOU WANT TO TALK
ABOUT IT?

IT'S NO BIG DEAL.

AT TIMES.

INCLUDING STUNTMEN?

HE PUTS PEOPLE IN DANGER, STEVE.

I THINK WE HAVE TO CONSIDER
THAT POSSIBILITY.

CAN YOU THINK
OF ANYBODY

THAT HAD SOMETHING
AGAINST CARL?

AND WERE SET ON
THE PROPER CHANNEL.

WHEN YOU TALKED TO
THE GUYS ON THE ROOF

THE RADIO WAS WORKING?

YEAH, IT WAS FINE.

AND YOU HAD IT RIGHT UP
UNTIL THE STUNT?

YOU DIDN'T
LEAVE IT ANYWHERE?

I'M NOT SURE. I DON'T KNOW.

I MIGHT HAVE PUT IT DOWN FOR
A MINUTE.

WHEN I MADE THE FINAL SAFETY
CHECK ON THE AIR BAG.

Steve:
BOB, I HAVE
TO ASK.

WHAT THE HELL
YOU'RE DOING HERE?

THE PRODUCER LIKED THE WAY
I HANDLED THINGS ON THE SET

WHEN THE MEDIC FROZE.

FIRED HIM,
AND OFFERED ME A JOB

NO, I'M NOT DOING IT
AND THAT'S FINAL.

HE WAS AMBITIOUS.

HE MADE NO SECRET
ABOUT WANTING MY JOB

BUT I WOULDN'T KILL HIM OVER IT.

YOU SAID BEFORE

THAT CARL INSISTED
ON DOING HIS OWN STUNTS.

YEAH.

WAIT A MINUTE.

LOOK, DAD, YOU KNOW
I'LL DO EVERYTHING I CAN

BUT THIS PLAN OF YOURS...

IT'S A LITTLE
UNCONVENTIONAL,
I'LL ADMIT.

UNCONVENTIONAL. DAD, I'LL NEVER
GET CLEARANCE FOR IT.

HE'LL BE DOING
ALL YOUR STUNTS FROM NOW ON

UNDERSTAND?

THAT HAD SOMETHING
AGAINST CARL?

TO KNOW CARL IS TO HAVE
SOMETHING AGAINST HIM.

I CAN'T THINK OF MANY PEOPLE

WHO DON'T
WANT TO KILL HIM

AT TIMES.

CARL, THIS IS

STEVE RANDALL,
YOUR NEW DOUBLE.

UNTIL WE CLEAR UP JIMMY'S MURDER

HE'LL BE DOING
ALL YOUR STUNTS FROM NOW ON

HE PUTS PEOPLE IN DANGER, STEVE.

SOMETIMES HE MAKES

MY JOB ALMOST IMPOSSIBLE

BUT I WASN'T TRYING TO KILL HIM
AND I DIDN'T KILL JIMMY.

STEVE?

LOOK, DAD, YOU KNOW
I'LL DO EVERYTHING I CAN

YOU WANT TO TELL ME

WHAT THE HELL
YOU'RE DOING HERE?

UNCONVENTIONAL. DAD, I'LL NEVER
GET CLEARANCE FOR IT.

COME ON. THERE'S
SOMETHING YOU'VE ALWAYS WANTED

TO DO SINCE
YOU WERE A KID.

BESIDES, I USED
TO TRAIN WITH BOB.

I WANTED TO BE A STUNTMAN
WHEN I WAS YOUNGER.

I BELIEVE THE OPERATIVE WORD
THERE IS "YOUNGER."

I'LL BE FINE AS LONG
AS YOU DON'T BLOW MY COVER.

BESIDES, I KNOW MY WAY
AROUND A FILM SET.

I'M FAMILIAR
WITH THE BIZ.

THE BIZ?

I CAN SNOOP AROUND.

Director:
CUT.

ALL RIGHT, PRINT IT.

CARL, THIS IS

CAN I JUST PLEASE? IT'S HANGING.
IT'S SO BAD...

WILL YOU STOP?

YOU KNOW?

TO HAVE TO
MOVE LIKE ME

REACT LIKE I WOULD.

YOU SEE, I'M FAST,
BUT SMOOTH LIKE A CAT.

YOU OKAY, STEVE?

OH, YEAH.

THIS GUY'S PERFECT.

YOU DON'T MIND,
DO YOU, SPORT?

LISTEN, DO ME
A FAVOR, WILL YOU?

YOU DON'T MIND,
DO YOU, SPORT?

FIRED HIM,
AND OFFERED ME A JOB

UNTIL HE CAN
FIND A REPLACEMENT.

YOU'RE NOT SERIOUS.
YOU TOOK IT?

WHY NOT? I MEAN, IT'S JUST
UNTIL THE END OF THE EPISODE

AND I GOT A LITTLE TIME OFF,
AND THE PAY IS GOOD.

BESIDES, I KNOW MY WAY
AROUND A FILM SET.

I WOULD BE ON THE SET
ALL THE TIME

WATCHING OVER THINGS

KEEPING MY FINGER
ON THE PULSE OF THE SHOW

SO TO SPEAK.

DOC, IF YOU PRODUCED
THIS SHOW

YOU'D DO IT
FROM YOUR OFFICE.

I CAN SNOOP AROUND.

I KNOW WHAT I'M DOING.

HEY, I'VE BEEN
HIT ENOUGH TIMES

TO KNOW HOW
TO FALL DOWN.

BESIDES, I USED
TO TRAIN WITH BOB.

WELL, IF CARL WANTED
A HANDS-ON PRODUCER

I WOULDN'T BE BANNED
FROM THE SET.

BANNED?

I'LL BE FINE AS LONG
AS YOU DON'T BLOW MY COVER.

SO JUST DO ME A FAVOR, WILL YOU?

STAY AWAY FROM ME.

CAN I JUST PLEASE? IT'S HANGING.
IT'S SO BAD...

YOU SEE, I'M FAST,
BUT SMOOTH LIKE A CAT.

SO WATCH ME, STUDY ME.

SHADOW ME, IF YOU CAN.

SHOW BUSINESS
COULD BE SO BRUTAL.

YEAH, IT CAN BE MURDER.

YOU'D DO IT
FROM YOUR OFFICE.

OH, NO, THAT'S NOT CORRECT.

I'M A HANDS-ON KIND OF GUY.

I'D BE HERE ALL THE TIME.

LISTEN, DO ME
A FAVOR, WILL YOU?

AFTER LUNCH, I WANT YOU
TO STOP BY WARDROBE, OKAY?

THEY'LL FIX YOU UP
WITH SOME SPECIAL
BOOTS, OKAY?

I MEAN, YOU GOT
TO MEASURE UP, RIGHT?

OH, AND ANOTHER THING.

DOUBLING FOR ME
ISN'T JUST A MATTER

OF TAKING FALLS

YOU KNOW?

BUT AS LONG AS I HANG AROUND,
THEY HAVE TO PAY ME

AND I JUST LOVE
STICKING THAT TO THEM.

I DIDN'T REALIZE

SHOW BUSINESS
COULD BE SO BRUTAL.

IF I HAD ANY GUTS,
I'D TELL HIM TO SHOVE IT

BUT AS LONG AS I HANG AROUND,
THEY HAVE TO PAY ME

SHADOW ME, IF YOU CAN.

JUST TRY AND STAY
OUT OF MY WAY,
OKAY, SPORT?

WHATEVER YOU SAY, SPORT.

I'LL HAVE WHAT HE'S HAVING.

I JUST WANTED TO SAY
THANKS AGAIN, MR. PERKINS.

I CAN'T TELL YOU ENOUGH

HOW MUCH I ENJOY
BEING ON THE SET HERE.

LUCKY YOU.

I'LL TELL YOU,
IF I WERE A PRODUCER

I WOULD BE ON THE SET
ALL THE TIME

SAY, YOU KNOW, I BEEN
AROUND STUNTMEN ALL MY LIFE.

I USED TO BE ONE MYSELF.

HOW COME I'VE NEVER
SEEN YOU AROUND?

I'VE WORKED OVERSEAS A LOT.

ME WORKING ON A WESTERN.

THAT'S PRETTY FUNNY, HUH?

YEAH.

SAY, YOU KNOW, I BEEN
AROUND STUNTMEN ALL MY LIFE.

I'D BE HERE ALL THE TIME.

YEAH?

WELL, IF CARL WANTED
A HANDS-ON PRODUCER

I'VE WORKED OVERSEAS A LOT.

YOU KNOW, ITALY...
SPAGHETTI WESTERNS.

BEEN UP IN CANADA
THE LAST FEW YEARS.

BANNED?

YOU WERE BANNED?

YEAH. I CREATE

THE SHOW FOR CARL

GIVE HIM THE ROLE
OF A LIFETIME

AND THAT'S HOW HE REPAYS ME.

YOU'RE STILL
THE PRODUCER, AREN'T YOU?

THAT'S ONLY A TITLE.

IF I HAD ANY GUTS,
I'D TELL HIM TO SHOVE IT

EVEN COORDINATED
A COUPLE OF SHOWS

BEFORE I GOT THIS BUM LEG.

WHAT HAPPENED?

GO AHEAD.
TELL HIM, PAUL.

I'M SURPRISED
HE HASN'T ALREADY HEARD.

AW, IT'S ANCIENT
HISTORY, JACK.

YOU KNOW I DON'T
HOLD THAT AGAINST CARL.

WELL, THAT'S MIGHTY BIG
OF YOU, PAUL

BUT DON'T YOU THINK

WELL, BLESS YOU.

ALLERGIES?

THANKS, NO.

I GUESS IT'S JUST ALL
THE DUST AROUND HERE.

WITH ME, IT'S HORSES.

I CAN'T GET
ANYWHERE NEAR THEM.

I START SNEEZING,
MY EYES SWELL UP

AND I CAN'T HARDLY
BREATHE FOR HOURS.

ME WORKING ON A WESTERN.

PAUL HERE HAD
TO PAY THE PRICE.

CARL ENDED HIS CAREER.

MUST BE PRETTY BITTER.

SO YOU'RE OKAY
WITH HIM NOW?

WHY DO YOU ASK?

BECAUSE THE WORD IS

IT CAN HAPPEN.

BESIDES, I LIKE DOING PROPS

AND CARL'S ALWAYS
MADE SURE I HAD THE JOB.

SO YOU'RE OKAY
WITH HIM NOW?

BEEN UP IN CANADA
THE LAST FEW YEARS.

I DONE SOME WORK
UP THERE MYSELF

WHEN I WAS STARTING OUT.

EVEN COORDINATED
A COUPLE OF SHOWS

YEAH, LUCKY FOR YOU.

HOWDY, BOYS.

BUT I ALREADY SPOKE
WITH THE POLICE.

I WAS ON A SHOPPING RUN
WHEN THAT STUNT WENT BAD

AND I HAVE TIME-CODED
RECEIPTS TO PROVE IT.

YEAH.

RIGHT.

CATCH UP TO YOU GUYS LATER.

BUT DON'T YOU THINK

YOU SHOULD TELL HIM
FOR HIS OWN PROTECTION?

SEE, THE FIRST YEAR
OF THE
FRONTIER DAD

CARL DECIDED THAT HE WAS GOING
TO DO HIS OWN STUNTS

BUT HE SCREWED UP.

PAUL HERE HAD
TO PAY THE PRICE.

THE ADVERTISERS,
THE NETWORK, THE AUDIENCE.

THEY'D ALL RATHER SEE A SHOW

ABOUT US.

THE OLD MAN

MUST BE PRETTY BITTER.

I KNOW I'D BE.

NAH. YOU KNOW STUNTS.

IT CAN HAPPEN.

YEAH. LET'S GO GET SOME DESSERT.

KIND OF A COLD ATTITUDE

THE OLD MAN

OVER THERE...

IS ALMOST 30.

YUCK!

I'M TELLING YOU,
BRADLEY

BECAUSE THE WORD IS

WHOEVER SABOTAGED THE HIGH FALL
MIGHT HAVE HAD IT IN FOR CARL.

I SEE WHAT YOU'RE GETTING AT

BUT I ALREADY SPOKE
WITH THE POLICE.

OF COURSE,
YOU'D NEED A WRITER-PRODUCER

TO CREATE
THE WHOLE THING.

EXACTLY.

AND WHO WOULD
YOU RATHER WORK FOR?

AND I HAVE TIME-CODED
RECEIPTS TO PROVE IT.

LUCKY FOR ME, HUH?

YEAH, LUCKY FOR YOU.

SURE. WHY NOT?

THE ADVENTURES
OF THE FRONTIER KID.

KIDS, RIGHT.

YOU'RE GOING
TO LEAP UP ON
THIS CHANDELIER.

YOU'RE GOING
TO SWING OVER.

YOU'RE GOING TO KICK THE BAD GUY
OVER THE BAR.

YOU GOT IT?

CATCH UP TO YOU GUYS LATER.

PLAY SOME HACKY SACK.

Jack:
I'LL TELL YOU
WHAT, THOUGH.

IF SOMETHING
DID HAPPEN TO CARL

I DON'T THINK
ANYONE AROUND HERE

WOULD REALLY
MISS HIM MUCH.

Tommy:
THIS IS EXACTLY WHAT
I'VE BEEN TALKING ABOUT.

IT'S ALL HERE.

I'M WHAT THEY WANT.

RIGHT. WE'RE WHAT THEY WANT...
TEENAGERS.

THE ADVERTISERS,
THE NETWORK, THE AUDIENCE.

AND WHO WOULD
YOU RATHER WORK FOR?

I MEAN, WITH?

Nadine:
WE'RE BACK!

THINK ABOUT IT.

COME ON, BABE.

COME ON.

ALRIGHT. THE BAD
GUY WILL BE HOLDING

I'M TELLING YOU,
BRADLEY

WE COULD DO A LOT BETTER
ON OUR OWN.

YOU MEAN SOME SORT OF SPIN-OFF?

SURE. WHY NOT?

NO, NO. IT'S
TIME TO WORK.

WE STILL GOT TO
RUN YOUR LINES.

YES, YOU CAN.

OH, I CAN'T.

COME ON.
UPSY-DAISY.

EVERYTHING OKAY?

KIDS, RIGHT.

FRONTIER KIDS.

TWO TEENAGERS

ALONE AGAINST THE SAVAGE WEST
OF THE 1880s.

Jesse:
THAT'S NOT
A BAD IDEA.

A COUPLE OF KIDS ROAMING AROUND

THE FRONTIER FACING DANGER.

TO AVENGE
THE BRUTAL MURDER

OF THEIR PARENTS...
THAT KIND OF THING.

YES, THAT'S IT.
DID I TELL YOU

HE'S OUR MAN?

SO WHAT DO YOU THINK?

OF COURSE,
YOU'D NEED A WRITER-PRODUCER

RIGHT.

MUCH BETTER.

QUIET, PLEASE...

AND ROLL CAMERAS.

YOU GOT IT?

SURE.

OK.

ALL RIGHT,
POSITIONS, EVERYONE.

REMEMBER WHAT
WE TALKED ABOUT?

AND ROLL CAMERAS.

READY, STEVE?

OH, YEAH.

ACTION.

KIND OF A COLD ATTITUDE

FOR A COUPLE
OF YOUNG KIDS, HUH?

CAN'T REALLY BLAME THEM.

CARL'S NEVER BEEN VERY GOOD
WITH THEM, EITHER.

BESIDES, THEY'RE
PROBABLY RIGHT

ABOUT THAT
YOUTH MARKET CRAP.

HELL, NEXT YEAR,
THEY'LL
PROBABLY BE TOO OLD.

COME ON. LET'S GO, HONEY.

HMM?

COME ON.

WHAT?

IS IT TIME
TO GO HOME?

NO, NO. IT'S
TIME TO WORK.

AND CATLIKE, HUH?

SHEE...

COME ON. SIT UP.

EVERYTHING OKAY?

OH, YEAH.

SHE'S JUST BEEN
WORKING A LITTLE
TOO HARD LATELY.

YOU KNOW
HOW IT IS.

COME ON, BABE.

SEE, HE'S HAD HIS
BELL RUNG TWICE TODAY

SO NO MORE STUNTS
UNTIL I GET HIM
TO THE HOSPITAL

AND HE GETS CHECKED OUT.

HMM...

ALRIGHT. THE BAD
GUY WILL BE HOLDING

THE BAR GIRL
AT GUNPOINT.

YOU'RE GOING

TO JUMP ON
THE CHAIR.

YOU'RE GOING
TO LEAP UP ON
THIS CHANDELIER.

BUT YOU GOT
ONE MORE IN YOU? HUH?

NO, NO, NO, NO, NO.

NOT A CHANCE.

SEE, HE'S HAD HIS
BELL RUNG TWICE TODAY

IS JUST OVERFLOWING
WITH MURDER SUSPECTS.

YEAH.

FOLLOW MY FINGER.

WE'RE GOING TO HAVE TO NARROW
DOWN THE FIELD A LITTLE BIT

REMEMBER WHAT
WE TALKED ABOUT?

LIKE A CAT, RIGHT?

RIGHT.

WE'RE GOING TO HAVE TO NARROW
DOWN THE FIELD A LITTLE BIT

IF WE'RE GOING
TO HELP BOB.

THE PROP MAN'S
THE ONLY ONE

WITH A SOLID
ALIBI SO FAR.

GOOD. I WANTED TO LOOK
AT THAT HIGH FALL.

SO, HOW ABOUT YOU?

DID YOU HAVE ANY LUCK?

OH, THE FOOD IS AWESOME.

CUT!

CUT!

I THINK WE
NEED ANOTHER
TAKE, ANYWAY.

I MEAN, THE WHOLE
JUMP TO THE CHAIR

AND THE LEAP
TO THE CHANDELIER

SHOULD BE MUCH MORE
GRACEFUL, AND...

AND CATLIKE, HUH?

STEVE DIDN'T
GO BYE-BYE.

NO. THAT WAS TODAY.

THIS IS THE FOOTAGE
FROM THE PAST FEW DAYS.

GOOD. I WANTED TO LOOK
AT THAT HIGH FALL.

THAT WAS A GREAT START, SPORT...

JUST BEAUTIFUL...

BUT YOU GOT
ONE MORE IN YOU? HUH?

THAT CARL IS TRYING
TO WRITE HER OUT OF THE SERIES

AND SHE'S READY
TO PUT UP A NASTY FIGHT.

YEAH.

WOW.

AND WE'RE JUST GETTING STARTED.

HAS STOLEN ALL CONTROL
OF THE SHOW AWAY FROM HIM

AND HE'S NOT TOO HAPPY ABOUT IT.

ANYONE ELSE?

HMM...

SEEMS THE LITTLE
TOWN OF SADDLEBROOK

IS JUST OVERFLOWING
WITH MURDER SUSPECTS.

ANYONE ELSE?

YEAH. THERE'S JEAN MALONE

WHO WAS UNDER THE IMPRESSION

THAT CARL IS TRYING
TO WRITE HER OUT OF THE SERIES

DON'T WORRY ABOUT IT. CAREFUL IS
MY MIDDLE NAME.

JUST KIDDING.

FOOLING.

WITH A SOLID
ALIBI SO FAR.

HEY, GUYS,
CHECK IT OUT.

BOB SENT OVER
THE DAILIES.

OH, GOOD.

DO WE GET TO SEE STEVE
GO BYE-BYE?

STEVE DIDN'T
GO BYE-BYE.

AND WE'RE JUST GETTING STARTED.

JESSE, YOU'RE THE
MEDIC ON THE SHOW.

CAN YOU GET INTO THE COMPANY'S
MEDICAL INSURANCE FILES

I CAN'T SLEEP.

I KEEP THINKING
ABOUT THAT MAN.

OH...

AW, MAN, WHAT A BABY.

I HAD LUNCH WITH THE TWO KIDS
FROM THE SHOW.

THEY'RE PRETTY AMBITIOUS,
AND THEY DON'T SEEM TO CARE MUCH

FOR CARL,
BUT I REALLY DON'T THINK

THAT THEY'RE
CAPABLE OF MURDER.

OH, AND YOU KNOW THE PRODUCER,
BRADLEY PERKINS?

WELL, IT TURNS OUT
THAT CARL

HAS STOLEN ALL CONTROL
OF THE SHOW AWAY FROM HIM

AND THAT GOES
FOR YOU, TOO, DION.

MIGHT HELP YOU FEEL BETTER.

I FEEL FINE.

TAXI..UH.

JUST LET HER STAY
IN HER DRESSING ROOM.

WE'LL SHOOT THE
SCENE WITHOUT HER.

SEE HOW SHE
LIKES THAT.

GOD...

AW, MAN, WHAT A BABY.

DION.

SON, IT IS PERFECTLY NORMAL

CAN YOU GET INTO THE COMPANY'S
MEDICAL INSURANCE FILES

SEE IF ANYONE ELSE HAS BEEN
SERIOUSLY INJURED OR DISABLED

BECAUSE OF CARL?

OF COURSE, I CAN.

OH, UH...

I GET A CLEAN
BILL OF HEALTH?

FOR THE TIME BEING,
BUT YOU BE CAREFUL.

NO MORE DANGEROUS STUNTS
FOR AT LEAST A COUPLE OF DAYS.

DON'T WORRY ABOUT IT. CAREFUL IS
MY MIDDLE NAME.

I'M AFRAID SO. SORRY.

WELL, I'LL
TELL YOU WHAT.

YOU GET A FEW
MEMBERS OF THE CREW

PUT THEM IN WARDROBE

SO WHAT DO YOU SAY?

WANT TO TALK?

YEAH.

AND THAT GOES
FOR YOU, TOO, DION.

Amanda:
GOOD NIGHT, SWEETHEART.

SEE YOU IN THE MORNING.

MOMMY?

YES?

CAN I SLEEP
WITH YOU TONIGHT?

C.J., WHAT IS IT?

I CAN'T SLEEP.

A FEW STUNTMEN
AND AN ACTOR

WERE INJURED ON THE
SET OF
FRONTIER DAD

BECAUSE OF CARL, BUT
NOTHING TOO SERIOUS.

THE STUNTMEN
REFUSED TO WORK
WITH CARL EVER AGAIN

CHECK IN WITH WARDROBE.

JEAN'S ACTING UP AGAIN.

WHAT?

SON, IT IS PERFECTLY NORMAL

FOR YOU TO FEEL
THE WAY THAT YOU DO.

I'VE BEEN THINKING
ABOUT THAT POOR MAN, TOO.

IT'S NOT EASY
SEEING SUCH A TERRIBLE TRAGEDY

BUT YOU KNOW WHAT?

HELPS ME TO TALK ABOUT IT.

SO WHAT DO YOU SAY?

GEE...

WHAT?

WHEN?

LOOK...

JUST LET HER STAY
IN HER DRESSING ROOM.

I FEEL FINE.

NADINE...

I SAID I NEEDED AT
LEAST A DOZEN EXTRAS

FOR THE BIG
EXPLOSION SCENE

AND NOW I HEAR

THAT THE
PRODUCTION MANAGER

IS ONLY ALLOWING
ME SIX PEOPLE.

I'M AFRAID SO. SORRY.

JESS, WHAT'S YOUR RUSH?

I'M GOING TO
BE IN THE SHOW.

WHAT ARE YOU PLAYING?

UH, COWPOKE NUMBER FOUR.

PUT THEM IN WARDROBE

AND WE'LL STICK THEM
IN THE BACKGROUND.

YOU'LL DO FINE, DOC.

CHECK IN WITH WARDROBE.

YEAH. I WAS IN
THE PRODUCTION OFFICE

AND I WAS ABLE
TO SNEAK A PEEK

AT THOSE INSURANCE RECORDS.

CUTE SECRETARY,
MELANIE... BLUE EYES

WAITING BY THE WINDOW.

CARL, YOU WALK
THROUGH THE FRONT DOOR

AND GO DIRECTLY
TO THE BACK EXIT.

Jack:
DON'T WASTE
ANY TIME.

WE'LL GIVE YOU
A FIVE-COUNT

BEFORE WE BLOW
THE CHARGES.UNDERSTOOD?

NO SWEAT.

STEVE...

GOD...

OKAY, WE'LL DO
IT JUST THE WAY
WE REHEARSED IT.

JUST TRY NOT TO
LAND ON YOUR HEAD.

LOVE THE PEARL HANDLES THERE,
HOPALONG.

NICE TOUCH.

YOU DON'T THINK
THEY'RE TOO MUCH?

UH, COWPOKE NUMBER FOUR.

THAT'S BETTER
THAN COWPOKE NUMBER FIVE.

DID YOU FIND ANYTHING OUT?

YEAH. I WAS IN
THE PRODUCTION OFFICE

YOU DON'T THINK
THEY'RE TOO MUCH?

WATCH IT.

THEY'RE JUST FINE.

ALL RIGHT,
WE'RE WASTING TIME.

EVERYBODY,
TAKE YOUR START POSITIONS.

CUTE SECRETARY,
MELANIE... BLUE EYES

BLONDE HAIR...

I GET THE PICTURE, AND...?

AND NOTHING MUCH,
I'M AFRAID.

A FEW STUNTMEN
AND AN ACTOR

ONE...

TWO...

THE STUNTMEN
REFUSED TO WORK
WITH CARL EVER AGAIN

AND THE ACTOR
GOT HIS OWN SERIES

SO HE DIDN'T REALLY
PRESS THE ISSUE.

THAT WAS ALL
IN THE MEDICAL RECORDS?

WELL, MELANIE SORT OF
FILLED IN THE BLANKS.

WHERE ARE YOU TAKING HER TO
DINNER?

I'M A-HOPING SHE
LIKES BARBECUE.

GOOD LUCK, PARTNER.

OKAY, WE'LL DO
IT JUST THE WAY
WE REHEARSED IT.

STEVE, YOU'LL BE INSIDE
ALL PADDED UP

WAITING BY THE WINDOW.

AND... ROLL CAMERA.

READY...

AND ACTION!

THIS MAN IS A HERO!

IT'S A STUDIO LOCK,
ALL RIGHT.

YOU SEE THE EMBLEM?

THESE ARE SPECIALLY
MADE FOR US.

WHO USUALLY LOCKS UP?

STEVE...

YOU'RE GOING TO COME
THROUGH THE WINDOW

JUST AHEAD
OF THE BLAST.

JUST TRY NOT TO
LAND ON YOUR HEAD.

ALL RADIOS OFF!

QUIET...

AND... ROLL CAMERA.

OH, SURE, I COULD'VE
GOTTEN OUT BY MYSELF

BROKEN THE DOOR DOWN

BUT THAT'S NOT
THE POINT.

THIS MAN IS A HERO!

BEFORE WE ROLLED.

I CHECKED.

WELL, IT WAS SURE THERE
WHEN I TRIED TO GET OUT

AND THIS MAN SAVED ME.

OH, SURE, I COULD'VE
GOTTEN OUT BY MYSELF

THIS IS ALL... PREMEDITATED.

YEAH, TWO ATTEMPTS IN TWO DAYS.

I THINK WE'D BETTER FIND THEM
BEFORE THEY TRY AGAIN.

TWO...

STEVE!

THREE...

STEVE!

FIVE...

SOMEONE MUST'VE FABRICATED ONE...
JUST MADE A COPY

AND BROUGHT IT
TO THE STUDIO WITH THEM.

WELL, THEN, SOMEONE'S BEEN
PLANNING THIS A WHILE.

THIS IS ALL... PREMEDITATED.

WHO ELSE IS ISSUED
THESE LOCKS?

HMM, MAKEUP, WARDROBE,
SOUND, PROPS...

BUT THEY LOOK
AFTER THEIR OWN.

Jack:
THAT WASN'T THERE
TWO MINUTES

BEFORE WE ROLLED.

I KEEP THE GUNS
AND THE BLANKS IN THERE.

I GOT TO BE
REAL CAREFUL.

WELL, THAT'S IT.

THAT'S THE LAST ONE.

EVERY LOCK IS
IN ITS PLACE.

HECK, YEAH. AS
LONG AS I GOT YOU

BY MY SIDE,
WATCHING MY BACK

I GOT NOTHING TO WORRY
ABOUT, RIGHT, SPORT?

IN THE TRAILER

AND THEY GOT LOOSE
AND TOOK OFF.

"GOT LOOSE"? HOW?

LOOKS LIKE
SOMEONE STOLE THE LOCK

WHO USUALLY LOCKS UP?

STUDIO GUARD.

HE UNLOCKED EVERYTHING
THIS MORNING.

WHO ELSE IS ISSUED
THESE LOCKS?

BESIDES... YOU'RE PRETTY
GOOD AT THIS, YOU KNOW?

BETTER THAN THOSE
DUMB COPS, ANYWAY.

WELL, THEY'RE NOT EXACTLY DUMB,
THEY'RE JUST...

HECK, YEAH. AS
LONG AS I GOT YOU

BUT THEY LOOK
AFTER THEIR OWN.

YOU CAN CHECK
FOR YOURSELF

BUT I ALREADY ASKED...

ALL OF THE SET LOCKS
WERE ACCOUNTED FOR.

WHAT'D I TELL YOU?

AMONG OTHER THINGS

I KEEP THE GUNS
AND THE BLANKS IN THERE.

PRINTS OF HORSES, STUNT GUYS,
COWBOYS AND WRANGLERS?

I MEAN,
THEY ALL HAVE REASON

TO BE BACK HERE.

NOT HIM.

EVERY LOCK IS
IN ITS PLACE.

I GOT TO GET THESE SPURS
ON THE SET.

SO, IF NONE OF THE
LOCKS ARE MISSING,
THEN HOW IS...?

I DON'T KNOW.

SOMEONE MUST'VE FABRICATED ONE...
JUST MADE A COPY

LOOKS LIKE
SOMEONE STOLE THE LOCK

OFF THE TRAILER.

THE WRANGLERS SAID

THE HORSE TRAILER
WAS PARKED

AROUND HERE
WHO CAN MAKE PRINTS LIKE THAT

AND I SAY IT'S THE SAME GUY
WHO STOLE THE LOCK

OFF THE HORSE
TRAILER

I THINK WE'D BETTER FIND THEM
BEFORE THEY TRY AGAIN.

"TRY AGAIN."

YOU THINK THEY'D TRY AGAIN?

LISTEN, CARL,
I THINK YOU SHOULD CONSIDER

SHUTTING THE SHOW DOWN.

YOU REALLY SHOULDN'T RISK...

NO, NO WAY.

I'M NOT LETTING THEM SCARE ME.

I'VE GOT MY FANS

TO THINK ABOUT.

BESIDES... YOU'RE PRETTY
GOOD AT THIS, YOU KNOW?

WITH ONE PRINT DEEPER
THAN THE OTHER.

THERE'S ONLY ONE GUY

AROUND HERE
WHO CAN MAKE PRINTS LIKE THAT

SOMEONE THAT SHOULDN'T
HAVE BEEN HERE...

FOOTPRINTS.

PRINTS OF HORSES, STUNT GUYS,
COWBOYS AND WRANGLERS?

I GOT NOTHING TO WORRY
ABOUT, RIGHT, SPORT?

LOOK OUT!

I THOUGHT I WAS SUPPOSED
TO WATCH YOUR BACK.

Nadine:
ROUND THEM UP

AND BE QUICK ABOUT IT.

SORRY, CARL.

THE WRANGLERS THOUGHT
THE HORSES WERE LOCKED

IN THE TRAILER

YOU NEVER LEFT THE STUDIO
THAT DAY.

NO, NO.

YOU SABOTAGED
THE JUNCTION BOX...

BECAUSE CARL
WAS DOING THE HIGH FALL.

OFF THE HORSE
TRAILER

PUT IT ON THE SALOON DOOR
AND TRIED TO KILL ME.

THE HORSE TRAILER
WAS PARKED

RIGHT HERE ALL DAY.

WHAT ARE YOU
LOOKING FOR?

SIGNS.

SIGNS OF WHAT?

SOMEONE THAT SHOULDN'T
HAVE BEEN HERE...

BECAUSE CARL
WAS DOING THE HIGH FALL.

YOU GOT THIS ALL WRONG.

ALL THIS TIME...

YOU NEVER FORGAVE ME
FOR THE STUNT THAT INJURED YOU.

CARL... THERE'S SOMETHING
I SHOULD TELL YOU.

Paul:
I DIDN'T TAKE THE LOCK

AND I NEVER EVEN
HAD A KEY FOR IT.

THEN WHY WERE YOU
BY THE TRAILERS?

I WASN'T.

WHAT ARE YOU TALKING ABOUT?

EPISODE 87... "THE CAPTURE
OF CRIPPLE JACK CRAWFORD."

I WAS ABLE TO
TRACK HIM DOWN
BECAUSE HE LEFT

DISTINCT PRINTS.

SEE HERE?

SHORT STEP, LONG STEP.

SHORT STEP, LONG STEP...

WITH ONE PRINT DEEPER
THAN THE OTHER.

Amanda:
AND HERE'S
THE STUNT ACCIDENT.

LOOK, HERE'S
THE SHOOT-OUT...

MM-HMM.

AND HERE'S DASH

AND HERE'S
HIS HORSE

Amanda:
HEY, KIDS

GUESS WHAT I HAVE?

ALEX DEVELOPED THE FILM.

CARL... THERE'S SOMETHING
I SHOULD TELL YOU.

AND THEN ALL THAT STUFF HAPPENED

AND THAT GUY
GOT HURT.

I DROPPED IT
OR SOMETHING.

I DON'T KNOW
WHAT I DID WITH IT.

OKAY.

I WASN'T.

WE HAVE YOUR
FOOTPRINTS, PAUL.

YOU CAN'T.

I NEVER...

MAKING KEYS IS PART OF YOUR JOB.

SO IS
FABRICATING DOCUMENTS

LIKE TIME-CODED RECEIPTS.

YOU NEVER LEFT THE STUDIO
THAT DAY.

DION...

WERE YOU EVER IN TROUBLE
FOR LOSING SOMETHING?

YOU KNEW ABOUT THE CAMERA,
DIDN'T YOU?

KNEW WHAT?

YOU KNEW THAT I LOST THE CAMERA.

YOUR CAMERA? IS
THAT WHAT'S BEEN
BOTHERING YOU?

YOU NEVER FORGAVE ME
FOR THE STUNT THAT INJURED YOU.

Steve:
YOU SHOULDN'T

HAVE GOTTEN SO CLOSE
TO THOSE HORSES, PAUL.

THOSE ALLERGIES

CAN BE KILLERS.

NICE WORK... PARTNER.

DON'T MENTION IT... LIEUTENANT.

Amanda:
HEY, KIDS

IT'S JUST A DISPOSABLE CAMERA.

IT DOESN'T EVEN MATTER.

I'LL...

DION...

YEP.

WE PUT IT TOGETHER.

EVERYTHING FITS.

UH-HUH... MOTIVE,
MEANS, OPPORTUNITY

AND, UH, ALLERGIES.

AND HERE'S
HIS HORSE

AND HERE'S...

I'M SO SORRY.

EVERYTHING'S GOING
TO BE OKAY NOW

AND WE'RE GOING
TO FIND YOUR CAMERA.

Amanda:
AND HERE'S
THE STUNT ACCIDENT.

DION...

YOU KNEW ABOUT THE CAMERA,
DIDN'T YOU?

AND WE'RE GOING
TO FIND YOUR CAMERA.

YOUR CAMERA? IS
THAT WHAT'S BEEN
BOTHERING YOU?

I NEVER KNEW.

YOU GAVE ME THE CAMERA.

I NEVER HAD A CAMERA BEFORE.

I NEVER EVEN
TOOK A PICTURE BEFORE.

I WANTED

TO TAKE PICTURES FOR YOU

AND THEN ALL THAT STUFF HAPPENED

AND, UH, ALLERGIES.

IT MAY TAKE SOME
MORE QUESTIONING

BUT IT LOOKS
LIKE HE'LL CRACK.

ARE YOU CONVINCED
HE WAS AFTER CARL?

OKAY.

I'M SORRY.

IT'S OKAY.

- I'M SORRY.
- IT'S OKAY, HONEY.

SORRY.

IT'S JUST A DISPOSABLE CAMERA.

WHAT DID YOU EXPECT TO FIND IN
DAYLIS?

I WANTED TO EXAMINE THE SCENE
FROM THE HIGH FALL

BUT I ALSO WANTED
TO TAKE A LOOK

LOOK AT THIS.

YOU SEE THAT SUPPORT BRACKET
FOR THE TRAMPOLINE THERE?

NOW, THAT'S BEEN
TAMPERED WITH.

WELL, COULDN'T THAT
JUST HAVE COME LOOSE?

WERE YOU EVER IN TROUBLE
FOR LOSING SOMETHING?

MY LUNCH BOX.

AND WERE YOU
PUNISHED FOR IT?

THAT'S WHEN I...

HUH?

THAT'S WHEN I BROKE MY ARM.

OH, MY GOD.

I'M SO SORRY.

BUT I ALSO WANTED
TO TAKE A LOOK

AT THAT FOOTAGE WHERE CARL TRIES
TO VAULT ONTO THE HORSE

BUT NOTHING
UNUSUAL THERE.

YEAH, I KNOW, IT'S NOT
VERY CLEAR ON THERE.

SO, I HAD THESE STILLS MADE
AND HAD THEM BLOWN UP.

LOOK AT THIS.

PAUL PISHNEY WAS THE GUY
BEHIND ALL THIS?

I CAN'T BELIEVE IT.

YEP.

ARE YOU SURE YOU
WANT TO DO THIS?

IT HASN'T PANNED UP YET...
BUT THAT ISN'T

WHAT CAUGHT
MY ATTENTION.

DAD, I DON'T REALLY SEE
WHAT YOU'RE TALKING ABOUT.

YEAH, I KNOW, IT'S NOT
VERY CLEAR ON THERE.

ARE YOU CONVINCED
HE WAS AFTER CARL?

ABSOLUTELY.

WHY?

WELL, I'M AFRAID
ALL YOU'VE GOT HIM ON IS

ATTEMPTED MURDER.

Mark:
I HAVE A HUNCH
HIS ALIBI WILL HOLD UP

ESPECIALLY WHERE
JIMMY'S DEATH'S CONCERNED.

YEAH, BUT WHAT ABOUT
THE SECOND TIME?

THAT'S RIGHT.

THEY WERE NEVER
AFTER YOU, CARL.

JIMMY WAS THE INTENDED VICTIM
THE WHOLE TIME.

WHAT ABOUT PAUL PISHNEY?

Mark:
I HAVE A HUNCH
HIS ALIBI WILL HOLD UP

BUT NOTHING
UNUSUAL THERE.

EXCEPT I USUALLY MAKE IT.

NOW, THIS NEXT SHOT IS

FROM THE CAMERA MOUNTED
ON THE GROUND.

YEAH, THE LOW ANGLE
MAKES THE HORSE

AND CARL'S VAULT
LOOK HIGHER.

DON'T RUB IT IN.

THE FIRST PART OF
THE SHOT'S UNUSABLE

'CAUSE THE TRAMPOLINE'S
STILL IN THE FRAME...

IT HASN'T PANNED UP YET...
BUT THAT ISN'T

YEAH, MAYBE HE WAS TRYING
TO TAKE ADVANTAGE
OF THE SITUATION.

YEAH, THAT MAKES SENSE.

HE'D PROBABLY FIGURE

WE'D BLAME WHOEVER KILLED JIMMY,
WHICH I'M AFRAID PUTS US

Jack:
STEVE?

OKAY, GUYS,
THIS IS THE BIG ONE.

ALL RIGHT, TOMMY,
YOU AND MISSY

WELL, COULDN'T THAT
JUST HAVE COME LOOSE?

NO, I CHECKED THAT
BEFORE THE STUNT.

SO, IT WAS SABOTAGED.

BUT WHY?

THE FALL WOULD
HARDLY KILL ME.

NO... BUT IT MIGHT INJURE YOU
JUST ENOUGH

THAT YOU COULDN'T DO
THE HIGH FALL.

AND JIMMY WOULD HAVE TO.

THAT'S RIGHT.

I'M ACTUALLY GOING
TO MISS ALL THIS.

IT KIND OF GROWS ON YOU
AFTER AWHILE.

I TOLD YOU IT'D BE FUN.

ALL RIGHT, I ADMIT,
I GOT A KICK OUT
OF BEING DASH.

ARE YOU SURE YOU
WANT TO DO THIS?

THE EPISODE'S
ALMOST FINISHED.

STILL A KILLER
ROAMING AROUND.

IF WE'RE GOING TO
HELP BOB, I GOT TO
SEE THIS THING THROUGH.

YEAH, BUT WHAT ABOUT
THE SECOND TIME?

HE W TRYING
TO BLOW ME UP

IN THE SALOON,
WASN'T HE?

YEAH, MAYBE HE WAS TRYING
TO TAKE ADVANTAGE
OF THE SITUATION.

I MISSED OUT ON MY BIG SCENE
WHEN THE SALOON BLEW UP

SO THE DIRECTOR SAID
I CAN BE IN THIS ONE.

YOU'RE GOING
TO STEAL IT ALL RIGHT.

WE'D BLAME WHOEVER KILLED JIMMY,
WHICH I'M AFRAID PUTS US

RIGHT BACK
WHERE WE STARTED.

YEAH... AND ME
THE NUMBER-ONE SUSPECT.

UPSIDE DOWN,
RIGHT, GUYS?

RIGHT.

WHATEVER IT TAKES,
AS LONG AS I GET LUNCH.

Amanda:
YOU BET.

LET ME GUESS...
JESSE JAMES?

I JUST DIDN'T
REALIZE HOW
TIRED I WAS.

YOU'RE LUCKY YOU'RE NOT
DEAD TIRED.

YOU'RE ADDICTED, AREN'T YOU?

WHAT?!

YOU KNOW THE ACTRESS
I TOLD YOU ABOUT,
JEAN MALONE?

SHE'S IN HER
DRESSING ROOM

AND THEY CAN'T WAKE HER.

IF WE'RE GOING TO
HELP BOB, I GOT TO
SEE THIS THING THROUGH.

WELL, JUST BE
CAREFUL, WILL YOU?

I WILL.

I'M ACTUALLY GOING
TO MISS ALL THIS.

LET ME GUESS...
JESSE JAMES?

OH, OH, I GET IT.

ALL RIGHT, I ADMIT,
I GOT A KICK OUT
OF BEING DASH.

THEY MAY NEVER
GET RID OF JESSE.

WHAT HAVE WE HERE?

HEY, MARK.

WHAT DO YOU THINK?

I GET IT.
YOSEMITE SAM, RIGHT?

I MISSED OUT ON MY BIG SCENE
WHEN THE SALOON BLEW UP

YOU KNOW, A LOT OF STUNTMEN GET
HOOKED ON THESE THINGS

FOR CHRONIC PAIN.

I TREATED BOB McCLANE FOR IT
YEARS AGO.

IS THAT IT, JEAN,
ONE OF THE STUNTMEN?

YOU'RE GOING
TO STEAL IT ALL RIGHT.

Amanda:
HI, GUYS.

SO THIS IS
MY SEARCH TEAM

AND ALEX
HAS GRACIOUSLY
VOLUNTEERED

TO HELP US FIND
DION'S CAMERA

AND WE INTEND ON
TURNING SADDLEBROOK

UPSIDE DOWN,
RIGHT, GUYS?

Jean:
I GUESS I WAS
REALLY OUT OF IT, HUH?

WELL, IT IS
IF I'M RIGHT ABOUT THESE.

LOOKS LIKE A VICODIN KNOCKOFF.

SAME COLOR, SAME SHAPE.

NO PHARMACEUTICAL MARKINGS...
QUITE ILLEGAL...

Mark:
I'D LIKE
TO HELP YOU OUT

BUT I PROMISED STEVE
I'D STAY AND WATCH
THE LAST SCENE.

YOU KNOW HOW THAT IS.

OH, YES, YES.

ALL RIGHT, WELL,
WE'LL SEE YOU LATER.

IS THAT IT, JEAN,
ONE OF THE STUNTMEN?

GENTLEMAN PLEASE, IF WORD GOT
OUT ABOUT THIS

YOU REALIZE HOW DAMAGING
THIS WOULD BE TO JEAN?

IT WOULDN'T EXACTLY BE
A BOOST TO HER CAREER, WOULD IT?

ALL RIGHT, TOMMY,
YOU AND MISSY

ARE ON THE
PORCH WATCHING

AND JEAN...

IS JEAN HERE?

SHE'S PASSED OUT
IN THE DRESSING ROOM.

YOU GOT TO BE KIDDING.

THEY TELL ME
THESE ARE WORTH...

Chris:
JESSE.

THE DIRECTOR NEEDS ME.

LISTEN, JEAN IS
IN HER DRESSING ROOM.

SHE'S PASSED OUT.

WILL YOU SEE WHAT
THE PROBLEM IS?

SURE.

HEY AH, MARK, YOU
MAY WANT TO COME WITH ME.

YOU KNOW THE ACTRESS
I TOLD YOU ABOUT,
JEAN MALONE?

LIEUTENANT STEVE SLOAN.

OH, NO, YOU'RE NOT
NAILING ME ON THIS THING.

BUT YOU DON'T DENY
GIVING JEAN THE DRUGS.

YOU WANT THAT
HANGING OVER YOU?

Steve:
WHAT'S IT GOING
TO BE, JEAN?

YOU WANT TO TALK ABOUT IT
HERE OR DOWNTOWN?

Jean:
I GUESS I WAS
REALLY OUT OF IT, HUH?

I'M SORRY.

I JUST DIDN'T
REALIZE HOW
TIRED I WAS.

HE PROBABLY PLANNED
ON USING THAT KNOWLEDGE

TO PRESSURE
JEAN INTO...

WHAT?

STUNT COORDINATOR'S
JOB, MAYBE?

THAT FOLLOWS.

WHAT?!

JESSE DESCRIBED YOUR SYMPTOMS
ON THE SET...

NERVOUS, EDGY,
THEN FALLING ASLEEP.

I HAVE A BAD BACK

AND I JUST NEED
A LITTLE SOMETHING

TO WORK, THAT'S ALL.

YOU DON'T NEED
TO TELL THEM
ANYTHING DARLING.

IT'S NO BUSINESS OF THEIRS.

WELL, IT IS
IF I'M RIGHT ABOUT THESE.

HE DIDN'T EXACTLY
KEEP IT A SECRET.

I FOUND THE PILLS
WHEN I WAS GOING
THROUGH HIS THINGS

AND I KNEW
SHE'D NEED THEM

JUST TO GET THROUGH
THE DAY.

NO PHARMACEUTICAL MARKINGS...
QUITE ILLEGAL...

AND NO DOCTOR WOULD EVER
PRESCRIBE THIS AMOUNT.

AND NO PHARMACIST
WOULD FILL IT.

NOT HERE, ANYWAY.

MEXICO?

DON'T ANSWER THAT.

JEAN, WHO'S YOUR SUPPLIER?

Steve:
IS IT SOMEONE

ON THE SET, JEAN?

I DOUBT YOU'VE

BEEN RUNNING BACK AND FORTH
ACROSS THE BORDER.

YOU KNOW, A LOT OF STUNTMEN GET
HOOKED ON THESE THINGS

SHE KILLS JIMMY AND SHE THINKS
ALL OF HER PROBLEMS ARE OVER.

ONLY SHE DOESN'T KNOW
THAT I KNEW WHAT WAS GOING ON.

YES, AND SO DID THE KIDS.

EVERYONE BUT JEAN.

I NEVER EVEN HEARD ABOUT THIS.

I NEVER GOT ANY RADIO.

IT WOULDN'T EXACTLY BE
A BOOST TO HER CAREER, WOULD IT?

AND THAT MAY HAVE OCCURRED
TO YOUR SUPPLIER.

YOU WANT THAT
HANGING OVER YOU?

NOW, WAIT A MINUTE.

WHAT, ARE YOU BLIND?

DOESN'T IT
MAKE MORE SENSE

TO YOU THAT
SHE DID IT?

SHE KILLS JIMMY AND SHE THINKS
ALL OF HER PROBLEMS ARE OVER.

YOU WANT TO TALK ABOUT IT
HERE OR DOWNTOWN?

DOWNTOWN?

WHAT ARE YOU, A COP?

AS IT TURNS OUT.

LIEUTENANT STEVE SLOAN.

I NEVER GOT ANY RADIO.

WHAT DO YOU MEAN?

I WAS THERE WHEN YOUR MANAGER

CAME AND
PICKED IT UP.

Mark:
OF COURSE.

BUT YOU DON'T DENY
GIVING JEAN THE DRUGS.

LOOK, I ONLY GAVE
THEM TO HER

BECAUSE I
KNEW JIMMY WAS
SUPPLYING HER.

HE DIDN'T EXACTLY
KEEP IT A SECRET.

BUT AS I HEARD THAT EVERYONE
WANTED ONE, I GAVE MINE BACK.

YES, AND SO DID THE KIDS.

JUST TO GET THROUGH
THE DAY.

SO YOU KNEW JIMMY
HAD HER HOOKED?

EVERYONE KNEW SHE HAD
SOME KIND OF PROBLEM.

AND IF IT WAS DRUGS...

NO ONE CAN WORK FOR
THE QUALITY FAMILY NETWORK

THAT HAS A DRUG PROBLEM.

ALL THE NETWORKS

ARE VERY STRICT
ABOUT THAT POLICY.

JIMMY WAS AMBITIOUS,
WASN'T HE?

HE PROBABLY PLANNED
ON USING THAT KNOWLEDGE

HOW MANY OTHER CLIENTS
DO YOU HAVE, PHIL?

THAT'S WHAT I THOUGHT,
AND YOU ONLY HAD JEAN

BECAUSE YOU WERE

THAT FOLLOWS.

SHE'D DO ANYTHING TO
PROTECT HER CONNECTION.

AND BOB McCLANE WOULD
JUST HAVE TO GO, HUH?

CORRECT ME IF I'M WRONG.

YOU KILLED JIMMY SO YOU CAN
STEP INTO THE SAME DEAL.

NOW, WAIT A MINUTE.

YOU SET UP THE WHOLE THING THEN.

YOU FIXED
CARL'S SPRINGBOARD

SO THAT JIMMY WOULD HAVE
TO DO THE STUNT.

AND THEN YOU CHANGED
THE CHANNELS ON BOB'S RADIO

AND YOU GAVE
THE GO SIGNAL

ON THE RADIO
EVERYBODY HAD FORGOTTEN ABOUT.

EVEN MADE IT SEEM LIKE
SOMEONE WAS TRYING TO GET CARL.

ONLY SHE DOESN'T KNOW
THAT I KNEW WHAT WAS GOING ON.

THINK ABOUT IT.

Carl:
THERE'S ONE PROBLEM

WITH THE IDEA
THAT JEAN IS GUILTY.

YOU SEE, IT WAS A MAN'S VOICE
ON THE RADIO

THAT GAVE JIMMY THE GO SIGNAL.

EVERYBODY HEARD IT.

Jean:
YEAH.

AND I DON'T EVEN HAVE A RADIO.

WELL, NOW THAT'S
NOT EXACTLY TRUE.

Steve:
WHAT ARE YOU
TALKING ABOUT?

THE SOUND DEPARTMENT
NEVER SAID ANYTHING

ABOUT ACTORS HAVING RADIOS.

IT WAS A FAVORED
NATIONS KIND OF THING.

LAST SEASON, YOU KNOW

CARL ASKED
FOR ONE

AND SUDDENLY,
THEY ALL WANTED ONE.

I'D FORGOTTEN ALL ABOUT IT.

BUT AS I HEARD THAT EVERYONE
WANTED ONE, I GAVE MINE BACK.

OH, PHIL!

Phil:
BABY, NONE
OF THIS IS TRUE.

THIS IS CRAZY.

I MEAN, DON'T LISTEN TO THEM.

THEY CAN'T PROVE IT.

Mark:
BUT THERE'S
ONE THING

THEY TOOK PICTURES OF EVERYTHING
THAT DAY, INCLUDING THE STUNT.

CAN I HAVE
THE CAMERA NOW?

SURE.

I THINK WE HAVE
ALL THE EVIDENCE

WE NEED ON
YOU RIGHT HERE.

Mark:
BUT THERE'S
ONE THING

YOU DIDN'T COUNT ON.

AN OUTING OF KIDS
WITH DISPOSABLE CAMERAS.

THEY TOOK PICTURES OF EVERYTHING
THAT DAY, INCLUDING THE STUNT.

Mark:
OF COURSE.

YOU KNEW WHAT WOULD HAPPEN
IF JIMMY SPILLED THE BEANS.

JEAN WOULD BE

OUT OF A JOB,
OUT OF A CAREER

AND YOU WOULD BE OUT
OF A MEAL TICKET.

HOW MANY OTHER CLIENTS
DO YOU HAVE, PHIL?

DID I GET HIM?

BECAUSE YOU WERE

ROMANTICALLY INVOLVED.

YOU COULDN'T BEAR
TO SEE HER RUINED.

YOU SET UP THE WHOLE THING THEN.

TYPICAL.

SO THAT JIMMY WOULD HAVE
TO DO THE STUNT.

THEN YOU POURED THE COFFEE
IN THE JUNCTION BOX

AND THEN YOU CHANGED
THE CHANNELS ON BOB'S RADIO

EVEN MADE IT SEEM LIKE
SOMEONE WAS TRYING TO GET CARL.

VERY CLEVER.

LOOK, MARK,
WE FOUND IT.

OH, GREAT, AMANDA.

JUST GIVE ME A MINUTE.

Carl:
OH, MAN,
YOU EVEN HAD

A LITTLE HELP
FROM PAUL PISHNEY

WHO ONLY
CONFUSED THINGS

WHEN HE TRIED TO KILL ME.

OH, PHIL!

NO WAY.

FOR OLD CARL YET.

YOU KNOW, MARK,
WHAT DID YOU
REALLY FIND

WHEN YOU DEVELOPED
DION'S FILM?

OH, THERE WERE A COUPLE OF
BEAUTIFUL SHOTS OF YOU AND C.J.

WE NEED ON
YOU RIGHT HERE.

PLUS, THREE MORE CAMERAS

FULL OF EVIDENCE.

THAT'S RIGHT.

OH!

I'LL HANDLE THIS.

HI, GUYS.

HI, THERE.

IT'S SO GOOD SEEING BOB
BACK TO WORK, HUH?

YEP, AND I
FINALLY GOT

MY AUTOGRAPHED
PICTURE OF CARL.

Mark:
WELL, MAYBE
THERE'S HOPE

ACTION.

DID I GET HIM?

ALMOST.

SO WHERE ARE
YOU HEADED THIS
TIME, DASH?

BACK OUT
TO YELLOWFORK, KIDS.

TO FIND THAT OUT, HUH?

Nadine:
QUIET ON THE SET, PLEASE

AND ROLL CAMERA.

BUT WE STILL GOT PLENTY
OF STRAYS TO ROUND UP

SO DON'T THANK ME JUST YET.

DASH, HOW CAN
I EVER REPAY YOU?

NOW, PETE, I MAY HAVE
RUN OFF THOSE RUSTLERS

BUT WE STILL GOT PLENTY
OF STRAYS TO ROUND UP

DASH, HOW CAN
I EVER REPAY YOU?

OH, THERE WERE A COUPLE OF
BEAUTIFUL SHOTS OF YOU AND C.J.

AND THERE
WAS ABOUT 22

FUZZY PICTURES
OF HORSES' RUMPS.

IT'S A GOOD THING

PHIL DIDN'T
HANG AROUND

TO FIND THAT OUT, HUH?

LOOK AT HIM GO.

THAT'S MY BOY.

BACK OUT
TO YELLOWFORK, KIDS.

CAN'T LEAVE
A JOB HALF DONE.

PETE GRAYSON STILL
NEEDS ME

OUT AT HIS PLACE.

CAN WE HELP
YOU THIS TIME,
DASH? PLEASE.

NO, KIDS. YOU NEED TO STAY HERE
AND LOOK AFTER MISS KATE

UNTIL SHE'S FEELING
BETTER, RIGHT?

ALL RIGHT.

OKAY, DASH.

SAY, WHERE IS PETE, ANYWAY?

PETE?

SO UNTIL THE NEXT TIME.

LOOK AT HIM GO.

THAT'S MY BOY.

CUT, PRINT.

THAT'S A WRAP.