Once Upon a Texas Train 1988

The film opens with a tense train robbery in Texas that is unexpectedly blocked by a waiting force of Texas Rangers, setting up a dangerous game of old loyalties and fresh ambitions. Willie Nelson stars as John Henry Lee, the rain-soaked, seasoned head of the outlaw gang, who is finally paroled on good behavior after twenty years. On the very same day, he and his brother Dub Taylor as Charlie Lee pull off another heist, this time targeting a Del Rio bank and seizing a staggering amount of gold—twenty million dollars worth—before the dust has settled.

On the other side, Captain Oren Hayes, portrayed by Richard Widmark, is the Texas Ranger who arrested John Henry years earlier and who now stalks the same path with clear, recharged purpose. He knows that John Henry will likely attempt to replicate the bungled robbery of two decades past, this time with revenge as his driving motive. The pursuit inevitably drags Maggie into the orbit of these rival men. Maggie, Angie Dickinson—the woman who once drew both men—remains central to the drama, as it becomes evident that her affections shaped more than one man’s choices. Hayes had fallen in love with her, and that past adds a bitter edge to the hunt.

The outlaws themselves are aging relics who once thrived on quick draws and brawny bravado. John Henry rounds up his crew anew, including his brother Charlie Lee, the gambler Ken Curtis as Kelly Sutton, the gunfighter Gene Evans as Fargo Parker, and the demolitions expert Royal Dano as Nitro Jones. They are a far cry from the sharp-shooting killers of their youth; Kelly’s capacity to handle liquor is diminished, Nitro’s famous explosions fall short, Charlie’s wagons rumble and falter on the road, and Fargo’s rifle seems reluctant to cock with the old ease.

Hayes, meanwhile, rebuilds his own squad from the veterans of the Texas Rangers, not with pristine prowess but with a stubborn determination to keep the peace. Through telegrams carrying the code-word “Brazos,” the Rangers are summoned, including Chuck Connors as Nash Crawford, Jack Elam as Jason Fitch, and Stuart Whitman as the well-mannered but increasingly battle-weary George Asque, known here as the Gentleman. Jason Fitch, once possessing night-owl eyesight, is nearly blind at night now, a quiet reminder that age has crept into both sides of the conflict. The telegrams arrive by bicycle, and Jason’s ride becomes a small emblem of endurance and loyalty as the old guard answers the call.

Nash Crawford, living in retirement and still trying to recapture the glory days, finds his challenge not just in the gunfights ahead but in rekindling a sense of purpose, trying to teach an old man how to duel with grace rather than bravado. When an elderly resident of the retirement home wins a duel against time and fate, he hands Nash a telegram that mirrors the others and hints at the shared fate of these aging fighters. Even the once-gentle George Asque discovers that the telegrams have sharpened his own edge, and a moment of laughter turns to grit as the coded message hits home.

Meanwhile, a new generation of outlaws—led by Cotton—schemes to seize the gold for themselves. Cotton and his crew capture the old outlaws to prevent traceable links to the treasure, and their path converges with Bates Boley and Meg Boley, who offer a brief moment of respite—Meg is played by Clare Carey and Bates by Red West—before the inevitable clash with the flagging but stubborn older men. Cotton’s gang moves through a desert town, where they steal again and push the old men toward a final confrontation.

As the stand-off tightens, John Henry Lee convinces the reluctant Hayes to join in the confrontation. The next morning, the young outlaws return their captured firearms to a wagon and line up in the street, with the aged outlaws opposite them, each side clinging to pride and the knowledge of what the gold represents. The tension becomes a full-blown gunfight that stitches together two eras of outlawry: the old gunslingers and the restless younger crew. In the end, both factions are subdued, and the young and old are taken into custody together, their fates interwoven by the stubborn will of the people who pursued them.

The final stretch of the story returns to the familiar crossroads of loyalty and love. The group stops at the Boley ranch, where Maggie makes a quiet exit from a stagecoach and reunites with the familiar silhouette of John Henry Lee. She reaffirms, with a quiet firmness, that her heart has always been drawn along a winding path between desire and duty, and she reminds Hayes that his own stubbornness and his devotion to her are not the same path. Hayes, in a rare moment of concession, chooses to release the old outlaws, believing that John Henry would return the money and that peace among the living is the ultimate win. As the old gang rides free into the wind, a distant train whistle tears through the air, and the tale ends on the breathless note of an approaching locomotive—an omen that the old frontier’s ghosts will always ride again, even as the sun sets on their immediate showdown.