Around Dodge City and in the territory on West, there's just one way to handle the killers
and the spoilers and that's with the US Marshal and the smell of gun smoke.
Gun smoke starring William Conrad, the story of the violence that moved West with young
America, the story of a man who moved with it, Matt Dillon, United States Marshal.
Mr. Dillon, I never saw a street like that.
What do you mean, Chester?
Dusty, sir.
Just plain dusty.
It's only spring and already the plaza's just vulgar with dust.
Streets in Texas are all grass, Chester.
No, sir, but they're better than this.
You'd think there'd be some way of fixing it.
Dodge is growing, Chester.
Maybe someday it won't look so bad to you.
I don't even believe that, Longsir.
I'm glad you got that much figured out anyway.
I surely have.
Oh now, wait, that's not what I meant either.
Don't let it worry you, Chester.
How'd you get those posters down to Mr. Hightower?
Yes, sir.
He said they'll be ready about noon tomorrow.
All right.
Pick them up then, will you?
Yes, sir.
Oh, my goodness, Mr. Dillon, I nearly forgot.
No?
Well, after...
After I left Mr. Hightower's, I thought I'd just take a glass of beer.
I had to get all that dust out of my throat.
You know how bad it is walking around knee-deep in that stuff and I was fucking...
Yeah, yeah, all right, Chester.
Well, what is it you forgot?
Well, sir, I dropped into the Texas trail and Miss Kitty was there and she said she
thinks there might be trouble over there before long and she said to tell you.
Huh?
What kind of trouble?
Oh, the usual things.
Some men fighting over girls.
Well, you don't seem to be very worried about it.
I'm tired of people fighting.
I wish they'd all just go away somewheres and kill each other off and have done with
it.
That'd be fine as long as they don't do it and dodge.
Well, come on, Chester, let's go over and see what it's all about.
To say there's a new girl, Matt, she's shy as a flower.
I don't know what she's doing here anyway.
How do you know the name of the man?
Dorgan, he says.
I tried to get her away from him, but I think she's too scared.
Maybe she likes him.
Did you ever think of that?
I hope not.
Anyway, he won't let anyone else dance with her.
There was two over at the bar near Chester there.
They've tried twice.
I know one of those men, the tall one.
His name's Horn.
Who is he?
Yeah, he's a gunman.
Pretty fast, too, so I've heard.
Well, I was over there with DeSada last time they came up and somehow from the way they
talked, I got the feeling they're more interested in Dorgan than her.
You mean they're trying to draw him into a fight?
That's my guess, Matt.
All right, Kitty, I'll see what I can do.
Mr. Sada?
Yes?
I'm Matt Dillon.
I'd be proud if you'd dance with me.
Well, I don't think I'd better.
Now, go ahead to say that it's all right.
You can dance with him.
Mr. Dorgan, you told those others that I could.
Hello, Marshall.
Hello, Horn.
This here is Watson.
Howdy, Marshall.
How are you?
What's on your mind, Horn?
I just wanted to let you know, Marshall, if there's any trouble here, we ain't responsible.
Leave me alone, there won't be any trouble.
All we want, Marshall, is our turn with the girl here, and Dorgan's had her hogged the
whole evening.
And that ain't fair, and that's all.
What's funny, Marshall?
You sound like a man of the church social.
I'm trying to be peaceable about it, that's all.
I've seen you when you didn't try, Horn.
What are you looking for, an excuse to work this man into a gunfight?
He sure is, Marshall.
And I ain't gonna take much more from him or Watson either.
What's the real trouble between you?
There's no trouble, Marshall.
We just want to dance with that girl.
That's all.
You want to tell me, Dorgan?
Nothing, Marshall, nothing.
All right.
Toseta, go over there and sit with Kitty, will you?
Now wait a minute, Marshall, Toseta's my girl, I've been buying her drinks.
She's staying right here.
Go ahead, Toseta, go on over with Kitty.
I don't know which one...
You just go, Toseta, nobody will stop you.
Well, all right then.
Thank you for the drinks, Mr. Dorgan.
Go on, Peter.
Chester.
You've got a great way of handling things, is all I can say.
What is it, Mr. Dillon?
Take their guns, Chester.
Oh, no, you don't.
Shut up, Watson.
Are you gonna let him do that?
We ain't looking for trouble.
You're smarter than I figured, Horn.
Am I, Marshall?
Get him, Chester.
Yes, sir.
Your guns will be at the jail.
You can pick them up in the morning when you leave town.
Leave town?
All three of you.
Good night, gentlemen.
Taking his gun from a man like Horn was the fastest way in the world to get him out of
the saloons and off the streets and behind covers somewhere.
There were too many men who might show up out of his past and suddenly make their claim
on him.
And Horn was the one that really mattered.
Neither Dorgan or Watson looked like real gunmen.
So I thought I'd been pretty smart.
Till the next morning.
I was just crossing the plaza when I ran into Kitty and Chester.
Matt.
We've been trying to find you.
Oh, what's the matter, Kitty?
Mr. Sader, I don't know where she is.
What?
I looked in her room this morning and she'd gone.
Nobody's seen her anywhere.
Oh, maybe she went out to buy some clothes or something.
Oh, she was afraid to go out alone.
I always had to go with her.
I just know something's happened to her.
Oh, like what?
Dorgan.
He was real sweet on her, Matt, and I don't trust him at all.
Oh?
Dorgan come by the office real early, Mr. Dillon.
I gave him his gun and he vamoosed he was in a big hurry to go someplace.
Well, I told him to leave town this morning.
Well, you didn't tell him to take the Sader with him.
Ah, did they get back together last night?
I'm sure.
Just as soon as Horn and Watson left.
I couldn't stop it.
I see.
Ah, tell me, Kitty, can she ride?
Oh, no.
I asked her to go out with me once.
All right.
There was a stage west this morning.
Go see if they got on it, will you, Chester?
All right.
Kitty, if she did leave with Dorgan, maybe it's because she wanted to.
Oh, maybe.
She wouldn't say anything about him last night one way or the other.
I told you, I think she's afraid of him, Matt, but even if she did want to go, well, she
isn't his kind, that's all.
Well, that may be, Kitty, but it's not the law's job to chaperone every girl that hits
Dutch.
What if she didn't want to go, Matt?
What if he forced her to?
Well, that would be different.
A whole lot different.
You bet it would.
They were on it, Mr. Dillon.
The agent described them exactly.
Left an hour ago.
Right on time.
I knew it.
Will I get our horses, sir?
No, wait a minute, Chester.
Dorgan might put up a fight, and if he does, we can't shoot around that girl.
Well, then how can you stop him, Matt?
Well, somehow I don't figure Dorgan is a really brave man.
I think we can bluff him.
He might try to fight two of us, but if there were more, say, maybe a dozen men, well...
You mean we'll take a posse?
Yeah, well, this time it might just work, Chester.
But I'll pick him.
Man, I can trust not to do any hasty shooting.
Chester, you go round up Arnold Winters and John Kemp, Marty Walter, and Bob Gaston.
I'll get the rest of them.
I'll make sure.
And tell them we'll all meet at the jail in 20 minutes.
Everybody here, Mr. Dillon?
All right, I'm coming, Chester.
All right, man.
All right, listen to me now.
Now I've picked you men because I know that you're steady, every one of you.
Now there's a girl on that stage, and whatever happens, we can't return fire.
Is that clear?
Yeah.
All right.
I'll figure out how we're going to stop them when we get there.
Marshal!
Well, what are you doing here?
Oh, there.
Marshal, me and Watson heard you needed help.
I thought I told you to get out of town, Horn.
We just want to be sure you got Dorgan before we left, Marshal.
I don't need your help.
And don't you be here when I get back, either one of you.
How do you like that, Watson?
All right, men.
All right, let's go.
Here's a coming, Mr. Dillon.
All right, Chester.
Men, spread out in a half circle.
When the stage comes out of those cottonwoods, Chester and I will ride forward and stop her.
And then you close in around us.
All right, let's go.
What's the matter, Marshal?
It's all right, Jim.
I just want to talk to a couple of your passengers.
You, Dorgan, come on out.
If you try anything, Toseta will be right in front of me, Marshal.
I figured that, Dorgan.
Come on out anyway.
All right, Toseta, get out.
You stand right here, Toseta, and don't move.
What's on your mind, Marshal?
I want to know if Toseta's here because she wants to be.
That's all.
Tell him, Toseta.
All right, tell him.
Just tell me the truth, Toseta.
If you want to go with him, you may.
But if he's forcing you to go, then we're here to take you back to Dodge.
You wouldn't want her death on your conscience, would you, Marshal?
Well, please don't kill me.
I'll tell him.
I came because I wanted to.
There.
That's a good answer, Toseta.
And go on back to Dodge and leave us alone.
I guess you didn't hear the same thing I did, Dorgan.
I'm warning you, Marshal.
You haven't got a chance.
How long do you think you can use her for cover?
Now, I got 12 men here, Dorgan, and we'll follow you from here to California if necessary.
Isn't that right, men?
If she should get killed, I'll just let you imagine what we'll do to you.
Now, you drop your gun, though, right where you are and step forward.
And do it now.
All right, get his gun, Chester.
Yes, sir.
All right, one of you men, get rid of your guns and put Dorgan up behind you.
Mr. Dillon, what are we going to do with Toseta?
She can't ride anyway, especially in those clothes.
Well, the blood-soil place is a couple of miles from here.
Go over there and borrow their buckboard, Chester, and if you get trouble, we'll let
you drive her back to town.
Yes, sir.
My.
Well, you wait right here, Mr. Toseta, and I'll be back in no time at all.
Morning, Mr. Dillon.
Wow, Chester.
What time did you get back with Toseta last night, Chester?
Oh, now, a buckboard ain't like a horse.
You can't drive it a lope all the way.
That's all right, Chester.
Now, what have you got there?
Dorgan's breakfast.
Well, you'll probably have to wake him up.
He hasn't made a sound so far.
Oh, there are the keys on the desk.
Yes.
Mr. Dillon?
Yeah.
Come on, Chester, quick.
Open the cell, Chester, hurry.
He might still be alive.
I got a knife.
All right.
Cut him free.
I'll hold it.
He's been dead a long time.
Now, who'd have thought he'd go hang himself?
He didn't, Chester.
What?
There's no rope in his cell.
Somebody called him over here to the window, knocked him in the head, and slipped the rope
around his neck and tied him tight to the bars.
This isn't suicide.
It's murder.
Horn.
Horn and that fellow Watson, they did it.
Well, they're the only ones I know who've been wanting him dead.
Will we go arrest him?
Yeah, they just go free again.
I got no evidence the court would accept.
I'll bet those two don't think any more of strangling a man than shooting a wolf and
throwing his skin over a fan.
They're killers, Chester, but right now they got nobody to kill.
Except maybe me.
We will return for the second act of Gunsmoke in just a moment.
But first, make sure you're by your radio this Monday evening.
For CBS Radio's Monday evening dramatic shows, the Luxe Radio Theater and Suspense are putting
on two of their top shows of the season.
Suspense has a new writer, William Shakespeare by name, and they're staging his wonderful
tale of love, vengeance, and murder Othello with Richard Widmark as the star.
And our Luxe Radio Theater is bringing you the charming, nostalgic story, Wait Till the
Sun Shines Nelly, with David Wayne and Gene Peters in their original movie roles.
It's a date Monday night, Suspense and the Luxe Radio Theater on most of these same stations.
Now the second act of Gunsmoke.
When I found out that Horne and Watson were still in Dodge, I figured that they were probably
waiting for me to run them out.
That they'd be glad for the excuse if I did, leaving Dorgan's murder behind them.
Instead I did nothing and I said nothing.
One of them sanded their nerves some.
Maybe drive them to a bottle and some loose talk.
That night pretending there was nothing in the world on our minds, Chester and I walked
into the Texas train.
It sure is crowded tonight, Mr. Dillon.
Yeah.
Say, there's the satyr.
See her?
You're like a fall hog after ripe acorns, Chester.
Well, now my gracious, it wouldn't be polite for me not to say hello, would it?
I'll see you later.
That fellow who just left, is he coming back, Kitty?
He went broke.
Sit down, man.
You drinking?
No, not tonight.
Oh, expecting trouble, huh?
Yeah, maybe.
Look at Chester and the satyr there.
I sure wish this place were quieter.
I'd give anything to know what they're saying.
It may get noisier.
What?
Look over there.
Watson just came in.
Oh.
Say, he's drunk, man.
He's real drunk.
Yeah.
He's just going to start trouble again.
Look, he's spotted the satyr.
I don't see Horn.
Horn hasn't been in tonight.
I said I was going to dance with her.
You're a local drunk, Watson.
Get out of here and leave the lady alone.
What lady?
You take that back.
Matt.
Are you from Texas, Mr.
Yeah.
Yes, I am.
Well, now, if I'm not mistaken, you're from Texas, Mr. Dillon.
Yeah.
I'm from Texas, Mr. Dillon.
Yes, I am.
Well, now, if I was from Texas, I'd certainly keep it to myself.
You're wrong, Watson.
There's a lot of good decent people in Texas.
Maybe, since you left.
I'd say one of you can even get a woman like this.
Don't you be judging the people of Texas.
Matt.
All right.
Get out of the way.
Let me through.
Yes, sir.
Come on.
Let me through.
Wait a minute.
He drew on me, Mr. Dillon.
I was only going to fight him.
I didn't think he'd draw.
Everybody saw it, Chester.
He had his gun out first.
I shot him twice.
He didn't even fire.
How come he didn't kill me?
Now, take it easy, Chester.
Toseta, go get him a drink, will you?
I'll do it right away.
Watson.
Little Texas fella.
He shot me.
Watson.
Watson, listen to me.
Did you strangle Dorgan?
Dorgan.
We killed him.
Me and Horn right in jail.
There it comes.
If I take Horn alive, I'll call on some of you men as witnesses to Watson's confession
here.
Well, a couple of you, take him out back.
Chester, you all right?
You look peaking.
I got him a whiskey, sir, just like you said.
Drink it down, Chester.
Mr. Dillon?
Yeah.
Mr. Dillon, if he hadn't have been drunk, I couldn't have shot him.
That may be, Chester, but don't forget one thing, drunk as he was, he drew to kill you.
If you'd given him another second, he would have.
You had to shoot him.
It was self-defense, pure and simple.
Yes, sir.
That's sure true, but I...
Now, you stay here for a while.
I'll be out in the plaza.
Toseta, get me one more drink.
The word of the gunfight would spread fast in the dodge, and the word of the dying man's
confession even faster.
Wherever Horn was, I knew he'd hear about it.
And since he was a gunman of an entirely different breed from men like Watson and Dorgan, it
could be defended on that instead of running, he'd shoot it out with me.
It was a simple matter of vanity, and there was no way to stop him.
The only thing I could do was wait.
Expectantly, the plaza cleared.
But before Horn showed up, Chester came out of the Texas trail and walked over to me.
Mr. Dillon?
Are you all right now, Chester?
I'm fine.
I just heard that Horn's gone and got himself a shotgun.
Now, is that so?
You can't meet him like this.
I'll go get you one out of the office.
No!
But Mr. Dillon, a shotgun...
I know.
But if Horn's done that, he's lost his nerve.
It means he can't face me any other way.
Yeah, but you haven't got a chance against a shotgun.
We'll soon find out.
Here he comes.
He does have a shotgun, Mr. Dillon.
All right, get off the street, Chester.
I don't like to leave.
Go on.
Yes, sir.
Evening, Marshal.
You're awake.
Yeah, ain't I?
This is the first time, isn't it?
First time what?
You had to get behind a shotgun?
I ain't taking no chances, Marshal.
Sure.
But from what I've heard, that never bothered you before.
Meaning?
You're fast enough with a six-gun to have lived this long, Horn.
You must be pretty good.
But you're through now.
You've lost your nerve.
You're not a gunman anymore.
You're just ordinary dirt common.
That's nothing left.
I could find a dozen men like you on any saloon in town.
It was different before, Horn.
You kind of stood out a little.
Nobody's going to worry about you after this.
You think not?
You think I need this shotgun?
Of course you need it.
You can see that.
I ain't scared of you, Marshal.
I ain't scared of no man alive.
Talk's cheap.
I ain't talking.
There now.
Got no shotgun.
Now don't you tell me I'm scared.
You don't have to draw, Horn.
You can still take your chances in court.
You was right, Marshal.
I was scared.
I ain't no more.
Look, I'm giving you a chance.
Why don't you take it?
Never mind.
You all right, Mr. Dillon?
Yeah.
Yeah, Chester.
It's been a long day.
Let's go somewhere and try and forget it.
Gunsmoke, under the direction of Norman McDonnell, stars William Conrad as Matt Dillon, U.S.
Marshal.
Tonight's story was especially written for Gunsmoke by John Meston, with music composed
and conducted by Rex Corey.
Featured in the cast were Tom Tully, Lawrence Dobkin, Paul Dubov, and Lillian Byatt.
Harley Bear is Chester, and Georgia Ellis is Kitty.
Gunsmoke is heard by our troops overseas through the facilities of the Armed Forces Radio Service.
Join us again next week as Matt Dillon, U.S. Marshal, fights to bring law and order out
of the wild violence of the West in Gunsmoke.
You have to face facts when you talk about Korea, and the facts are that there are more
than 35,000 war orphans in Korea.
They not only have no parents, but they have no shelter, no warm clothing, no food.
They are not responsible for their condition, and some of them can remember no other.
Their government tries to help, but the best it can do is a cup or two of rice a day for
each.
Other Korean war refugees cannot shelter them.
Often they can hardly care for their own children.
Because these orphans have not had food and have been exposed to all kinds of weather,
many of them have tuberculosis.
They are all weak from hunger and an easy prey to disease.
Yet people over there, like the representatives of CARE, the Package Sending Relief Agency,
say many of these children can be saved if they get food and clothing now.
CARE has stock files over there.
An order or contribution will send them to those most in need.
Package delivery is guaranteed.
To save the kids of Korea, send the contribution to your local CARE office, or to CARE New
York or CARE Los Angeles.
Some people wake up like this.
And some people wake up like this.
Come on, you lazy bum.
Get out of that sack.
Nine million people prefer to wake up to music, to a breakfast symphony, a popular singer,
or news.
Because nine million people have clock radios that turn themselves on in the morning.
How do you like to wake up?
CARE now wakes up to nine million clock radios and listens most to the CBS Radio Network.
Or listen to only one program, vert gymnastic.