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 a US Marshal and the smell of Gunsmoke.
Gunsmoke starring William Conrad, the transcribed story of the violence that moved west with
young America, the story of a man who moved with it, Matt Dillon, United States Marshal.
I'd been up north for a few days.
On the way back, I camped on the Pawnee River about 30 miles from Dodge, planning to ride
on the next morning.
During the night, however, my horse twisted his knee somehow and it was going to be slower
traveling than I'd figured.
So I set it out before dawn.
It was just breaking day when I heard a rifle shot up ahead.
A half hour later, I spotted a fallen horse and the figure of a man crouched by its head.
As I came closer, however, the figure stood up and I saw it wasn't a man at all but a
small boy.
He held a rifle in his hand.
That's far enough, mister.
I'm a friend, son.
Put down your rifle.
Hey, you sound like...
Yeah, it's Marshal Dillon.
That's right.
Who are you?
Oh, gee, I'm glad to see you, Marshal.
You look familiar.
We must have met somewhere.
I'm Yorkie Kelly.
Oh, sure.
I remember now that camp on the Arkansas.
That's right.
Oh, what happened to your horse, Yorkie?
Losted his leg.
I shot him just a little while ago.
I've been crying, Marshal.
That's why I couldn't see you good.
I don't know.
Every man loses his horse once in a while, Yorkie.
It ain't the horse so much, Marshal.
It's my pa.
Your pa?
Oh, where's he?
They rode off with him, Marshal.
Right that way.
You gotta go after him.
Please, Marshal, please.
Something will happen if you don't.
Now wait a minute, Yorkie.
Take it easy.
Just tell me what happened.
Who rode off with your pa?
I don't know, Marshal.
It was dark.
I couldn't tell.
Well, let's sit down here.
Come on.
Okay.
Now take your time and tell me the whole story, huh?
I was out hunting last night, Marshal.
I sneaked off to shoot some coyotes.
Yeah?
And I heard a lot of horses coming.
So I hid and watched them.
Those were our horses, Marshal.
And two men were driving them.
They stole them.
I know they did.
Well, what about your pa?
He was with him.
They stole him, too.
Well, how do you know?
It was dark, but I could tell.
The way he was riding, he had his feet tied under his horse's belly.
That's why.
Go on.
Well, I followed him till my horse went down.
He busted his leg in a prairie dog hole.
So I unsaddled him and then I shot him.
Where do you live, Yorkie?
Over there, about five miles.
All right.
My horse is lame, but I'll get you home on him and go get your saddle.
Well, what about my pa?
Aren't you going to go after him?
I'll find him.
Better got to have a fresh horse.
All right.
Hand me your saddle.
Now get up behind me.
Pass it.
You think there are any horses left at your ranch, Yorkie?
We only had six.
And they were driving five.
Pa was on the other one.
If we're in a spot, then my horse will never make dodge.
He's getting worse every step.
I got a little Indian pony out in the pasture.
Oh, but he's not big enough for you.
Then you'll have to do it, Yorkie.
When we get there, you'll catch your pony and you'll ride in the dodge.
What'll I do there, Marshal?
Go to the jail and tell Chester I sent you.
You can leave your pony there and ride back with him.
Tell him to bring some extra horses.
We'll need them.
We'll be just like a posse, won't we?
Sure.
And don't worry about your pa.
We'll find him.
We got to.
You tell Hattie where I've gone, will you, Marshal?
Hattie?
Hattie ain't my real ma.
My real ma, she's dead.
No, I'm sorry to hear that.
Hattie's awful pretty, but I don't like her much.
Well, I hope you don't tell her that, Yorkie.
She ain't as old as Pa, but she's awful old.
Oh?
She must be 30 anyway.
I see.
Well, how old's your Pa?
65, but he's tough.
You know, Marshal, I don't think Hattie's any good for a ranch.
Why is that?
Oh, I don't know.
I just don't think she is.
You'll see.
Yeah.
I'll ride real hard for Dodge, Marshal.
We'll be tracking my Pa before you know it.
Sure we will, Yorkie.
When we got to the pasture, I helped Yorkie catch his pony and got him started for Dodge.
Then I rode on into the ranch, put my horse in the corral, and walked up to the house.
Hattie came to the door.
She was young, all right, and pretty.
But she looked more like she belonged in a dance hall than on a ranch.
What do you want?
My name's Matt Dillon, ma'am.
I'm from Dodge, U.S. Marshal.
Marshal Dillon?
I heard about Mr. Kelly from Yorkie.
I ran into him out on the prairie.
Where is Yorkie?
Oh, he's gone to Dodge for some fresh horses, ma'am.
He will be back by evening, and then we'll get started.
Get started?
Now, don't you worry any.
We'll find him, all right.
What?
What did Yorkie tell you, Marshal?
Last night he saw the men who stole your horses and took Mr. Kelly.
Where'd he say him?
Right.
He was out hunting, he told me, and he saw him right by.
So that's where he was.
Darn little scoundrel.
He's always running off like that.
I don't understand, ma'am.
That boy's got the wildest imagination.
What do you mean?
There's no trouble, Marshal.
Kelly went along with those men just to show him the trail, that's all.
He sold him those horses.
Oh?
Why, sure.
Crazy Yorkie, always stirring things up.
I'm going to hide him good when he gets home.
Yeah.
And then you expect Mr. Kelly back soon, is that right?
Sure.
He'll be back.
When, did he say?
Today, I suppose.
Who were the men he rode off with?
Well, I don't know their names.
That's Kelly's business.
I don't interfere.
Come on inside, Marshal.
I've got a pot of coffee on the stove.
I expect you could use some.
We had coffee, and she insisted that I call her Hattie.
And we talked for quite a while.
It seemed she'd worked in a dance hall all right over in Abilene.
Then old Kelly came along a few months ago and offered her a home and respectability.
She jumped at it.
According to her, Yorkie was the biggest problem she had, aside from the fact that living
on the prairie wasn't exactly her idea of a good time.
Oh, I'm sick of it, Marshal.
But work, and wind, and dust, and that awful kid.
Are you planning to stick it out?
Oh, sure, I'll stick it out.
Sure I will.
You'll get used to it in time.
Tell me, Marshal, how's Dodge these days?
Pretty lively?
It was when I left.
I was planning to move to Dodge once before Kelly came along.
I kinda wish I had.
But now.
One town's pretty much like another, Hattie.
Yeah.
But the men are different.
Maybe.
I'd have got along real fine in Dodge.
Wouldn't I, Marshal?
Sure, why not?
More coffee?
No, no, no thanks.
It'll be night before anybody gets back here, Marshal.
Yeah, I suppose it will.
You sure you don't want any more coffee?
No, thank you.
I think I'll go see what I can do for my horse.
He's pretty lame.
I'll see you later.
I'll be here, Marshal.
I spent the day out by the Corral doctoring my horse and taking it easy.
It was after dark when Chester and Yorkie rode in, leaving three extra horses.
But I still didn't know whether we were gonna need them or not.
I told Chester how things stood while Yorkie was watering the animals and then we all walked
up to the house.
I explained to Yorkie that we'd have to wait for morning, in any case.
Hattie was waiting on the porch.
Well, Yorkie, you ought to be real proud of yourself this time.
We're going after Pa in the morning, Hattie.
Can't track him at night.
At least that's what the Marshal said.
That's right, Yorkie.
Don't tell me you're gonna make a fool of yourself, Marshal.
Well, I hope not.
Oh, excuse me.
This is Chester Proudfoot, Miss Kelly.
How you do, ma'am?
Yorkie, I could whip your horse.
Now, wait a minute, Miss Kelly.
He's done no harm.
Your husband isn't back yet, and if he doesn't come in tonight, maybe we better go look for
him.
How can he come home when they've got him all tied up?
Stole our horses, too.
That's a lie, Yorkie.
Those men bought our horses and your father just rode out to show them the trail.
Why are you saying that?
You know Pa wouldn't sell our horses.
Don't you talk back to me.
You shut up, that's all.
I won't shut up.
You ain't my ma and you can't...
Now, Yorkie, now, you take it easy.
We'll find your Pa.
I promise you that.
Well, okay, Marshal, but you find him.
We will.
Well, Marshal, I figured you'd all be back here, so I fixed some supper.
Well, see, now, that's mighty kind of you, ma'am.
I'm awful hungry.
The Marshal also missed his dinner.
Come on inside and we'll eat.
Well, I'm going around back and watch, Marshal.
You don't have to if you don't want to, though.
Okay, Yorkie, we'll be along.
Uh, Chester.
Yes, sir?
I don't think old Kelly's coming back tonight.
We'll be riding after him in the morning.
Yes, sir.
It sure is a lot cooler now the sun's down.
I don't know when.
I worked so much in two days.
Dodge yesterday and clear out here today.
I must have covered a thousand miles.
Well, maybe you'll learn to ride if you keep this up, Yorkie.
Come on, now, Marshal, Dylan.
Now, wait a minute.
Huh?
What's the matter?
Now, here they are.
Their tracks go off this way.
They got a whole day's start on us.
We can't follow them at night.
We'll find them.
We got to.
Hey, look up ahead there.
Where?
Oh, it's a man.
And he's a foot.
Yeah, come on.
Ah!
It's Paul.
It's Paul.
Hey, Paul.
Paul.
Paul, Paul, you all right?
We found you.
Me and the Marshal and Chester.
We found you.
Oh, Yorkie.
Boy.
Get him some water, Chester.
He's about played out.
Yes, sir.
Sit down, Mr. Kelly.
Chester's getting you some water.
Here it is.
Thank you.
I needed that.
They didn't give me any water.
Where are they, Mr. Kelly?
They've gone.
Camped me here all day.
And then they left me.
So as I die out here, it looked like I got a good chance.
I'm going to have to get out of here.
I'm going to have to get out of here.
I'm going to have to get out of here.
I'm going to have to get out of here.
I'm going to have to get out of here.
It looked like I got lost and starved.
They had it all planned.
I knew it, Pa.
I saw you with them and the horses.
I knew it.
Have you eaten anything?
No, Marshal, they didn't feed me either.
Wanted me weak so as I couldn't walk far when they left me.
Chester, dig out the jerky.
I'm old.
Wouldn't have lasted very long.
It was a good trick to blast them.
You mean they were going to leave you out here to starve just so they could run off with
your horses?
No, it's more than that, Marshal.
I'll have another drop of this water.
One of them, a fellow called Webb Cutter, he's going to run off with my wife, Hattie.
As soon as they sell the ranch he is, Hattie had owned the ranch with me dead.
I never did like her know how.
Here, Mr. Kelly, chew on some of this.
And I got some hard biscuits too if you want to soak them in the water.
I'll be all right once I get something in me.
Pa's old, but he's awful tough.
Ain't you, Pa?
Yeah, and an awful fool too, Yorkie.
Oh, that's all right, Pa.
We're better off alone, you and me, anyway.
Who was the other man, Mr. Kelly?
Uh, Rorke, he called himself, a friend of Cutter's.
He's going to get his share of the money off the sale of the ranch.
Did you know these men before?
No, Hattie knew them back in Abilene.
So they said.
They had it all figured out before we got married.
Oh, Marshal, there's nothing worse than an old fool.
Well, you aren't the first man to be fooled by a pretty woman, Mr. Kelly.
I was lonely, that's all.
And I thought Yorkie ought to have a mother.
Sure picked a good one.
Just you and me, Pa.
We don't need no woman around.
Well, there ain't going to be one long.
That's sure.
Look, Mr. Kelly, what did they do with your horses?
They going to drive them back to the ranch?
That's what they said.
Only thing that bothered them was Yorkie here.
They weren't sure he was asleep.
Hattie said she'd take care of him.
I sure fooled them, didn't I, Marshal?
Yeah, you sure did, Yorkie.
But if they're headed back to the ranch,
Hattie will tell them we're on their trail and they'll all run off.
I got to stop them.
They got a couple of hours to start on it, Mr. Dillon.
Yeah, I know.
But those horses they're driving will slow them a little.
Chester, you stay here.
You can ride in tomorrow when Mr. Kelly gets his strength back.
I'm going to take the horse Yorkie was riding on a fresh one.
I'll go with you, Marshal.
I'll fight off.
No, no, Yorkie.
You've done your part.
You stay here with your Pa.
I'm the one that ought to go, Marshal.
But I just ain't up for that kind of ride.
That's all right, Mr. Kelly.
You take it easy and come on back when you can.
I'll see you at the ranch.
Mr. Dillon, you wouldn't have an extra horse, Chester,
and you'd need it.
Yes, sir, that's true.
Well, good luck.
Thanks.
We will return to the second act of Gunsmoke in just a moment.
But first, every Monday night, an affable man about murder,
Thomas Hyland, invites you to come along on a CBS radio
crime classic.
Dramatizing all the known facts about actual killings
of bygone days, crime connoisseur Hyland
recreates atmosphere as well as details in his crime classics.
Remember, Monday nights on most of these same stations,
CBS radio presents crime classics
for an unseasonal chill in the atmosphere.
Now the second act of Gunsmoke.
stench of blood.
One thing in my favor was that Cutter and Rourke
weren't riding as hard as I was.
They didn't know there was any special hurry.
I changed mounts every few miles and tomorrow toward the end,
one of the horses began to sull
Finally I had to leave him.
It was just before daybreak when I came to the ranch.
There were no lights on in the house, so I figured I'd beaten them after all.
There was a room for my horse in the hay shed and I put him in there and closed the door.
Then I walked up to the house, hid behind a rain barrel near the porch, and waited.
It was a half hour before they rode in.
They put their horses in the corral and then came up to the house.
Where?
Oh, a woman.
Take it easy, Cutter. She's awake. She's lighting a lamp back there.
What's she need a lamp for? There'll be daylight in a minute.
She's your woman. Why don't you ask her?
She's my woman, and you remember it, Rourke. I seen you looking at her the other night.
One woman's just like another to me. They're all the same. They're all poisoned.
For you, Hattie's poisoned, all right. I'm telling you, Rourke.
But she's pretty. That's more than I can say for most.
You forget she's pretty.
Okay. There's something else about her I like.
What is?
Well, I've been thinking when she sells this ranch, she gets a third, you get a third, I get a third.
That's right.
But whoever gets Hattie sort of gets two-thirds, don't it?
You try that, Rourke, and I'll kill you.
I'm just joshing you. You really gonna marry her, Cutter?
I told her I was, didn't I?
I didn't ask you what you told her.
Shut up. Here she comes.
Hello, Webb.
Rourke, what are you all locked up for? Oh, man, Kelly ain't gonna come sneaking home.
Come on inside. Hurry up. We haven't got much time.
What's the matter with you, Hattie? You're all upset.
You'll be all upset, too, when you hear what I've got to say.
You mean that Marshal Gilligan, Dodge?
That's just what I mean. He's got another man with him.
I trust there's something or other.
Well, I'll be... This fixes everything.
Why didn't you take care of that bratty kid like I told you?
He sneaked off to go hunting. He wasn't even here. So how could I help him?
And he ran smack into the Marshal.
Now we've really got our heads in a noose.
I suppose the old man's dead when they find him.
Well, if he's dead, he can't talk, can he?
Oh, it's worse if he's alive. Blast you, Hattie. Can't you do anything right?
You're blaming me? Who would I blame?
I didn't put that Marshal on our trail.
Hey, it don't matter now who did. What are we gonna do?
We're gonna have to get out of here fast.
I'm all ready to go just as soon as I get a riding skirt on.
Wait. You ain't going nowhere.
What? You heard me.
We can't be dragging a woman around. You'd wear out in no time.
Now you're making sense, Cutter. We'd never get away with her holding us back.
You're gonna leave me here, are you?
You're gonna let me face those people?
You know I'll go to jail, don't you?
Oh, they won't do nothing to you.
Tell them you got misled or something.
They always go easy on women.
You're gonna run out on me.
Oh, now, Hattie, you'd be better off here.
They'll let you go and you can get on back to Abilene.
And I'll come by as soon as they forget about all this.
Come on, Cutter. We're wasting time. They could be here any minute now.
You coward. You dirty rotten coward.
Now, Hattie.
Who is your mother, mister?
That's enough, Hattie.
I hate you. Go on. Get out both of you.
I wouldn't have either one of you.
Either one of us?
You didn't think I cared, did you?
I'd have made one of you shoot the other before I was through.
Pies don't cut three ways, mister.
Now we all know, Cutter. What'd I tell you?
There. That'll hold you.
Come on, Rock. Let's go.
Dirty dog!
Forget it, Hattie. Maybe I'll get to Abilene sometime.
So long.
I'll fix you.
I should have known about you.
You gonna talk all day. Come on.
All right. Get your hands off both of you.
Get them up in the air.
And don't try anything.
Hello, Marshal.
You touch that gun and I'll kill you.
While you're killing him, what do you think I'll be doing, Marshal?
Don't try it.
Either of you.
Hanging's bad, Marshal.
I ain't going to hang.
You don't have to hang.
Kelly isn't dead. We found him in time.
I don't believe you, Marshal.
I think you've been here quite a long.
You ain't even seen Kelly.
Yeah. You just want to see his hang.
And I'm telling you the truth.
Oh, no. Lawmen don't tell the truth.
Not to fellas like us, anyway.
Do they, Rourke?
No. I don't believe they do.
Well, he can't kill us both, Rourke.
We'll draw at the same time.
I'm telling you, don't try it.
Why not, Marshal?
Let's kill him, Cutter.
No.
We killed him.
We killed him both.
Now, give me the gun, Hattie.
I said, give it to me.
Take it.
You shot Cutter, Hattie.
Why did you do it?
I don't know, Marshal.
You do it to help me,
or because he was running out on you?
He's dead.
What difference does it make?
It could be murder, Hattie.
You'll have to decide that, Marshal.
Yeah.
Cutter might have killed me.
He might have.
Well?
Go back in the house.
You can wait in there.
Now they're both dead.
Do you care?
No.
No, I don't care.
What's going to happen to me, Marshal?
I don't know.
I think I'll let Mr. Kelly decide that.
Where is he?
He'll be here tonight, probably.
He's with Yorkie and Chester.
Marshal,
will I go to jail?
I don't know, Hattie.
Depends on Kelly.
He's a nice old man.
He wouldn't hurt anybody.
He wouldn't hurt anybody.
I'm sorry I got into all this.
I wish I hadn't.
Marshal Dillon?
Yeah?
I just had a long talk with Hattie, Marshal.
Well?
She tried to kill me, you know.
She had a hand in it.
She'll go to jail for it if you prosecute her.
I know.
But, Marshal, I can't send anyone to jail.
Not a woman.
If she was a man, I'd shoot her, but...
What do you want to do, Mr. Kelly?
I'll get her things and drive her to town, Marshal.
I'll give her some money.
And then Yorkie and I will come back here.
Yorkie will just have to grow up without a mother.
And about me,
it don't matter none.
All right, Mr. Kelly.
I guess I wouldn't want to see her in jail either.
We need women out here,
good or bad.
We need them.
Music
Gun smoke transcribed under the direction of Norman McDonald
stars William Conrad as Matt Dillon, U.S. Marshal.
Tonight's story was specially written for Gun Smoke by John Messon
with music composed and conducted by Rex Corey.
Featured in the cast were Michael Ann Barrett, John McGovern,
Joseph Kearns, John Danaer, and Nestor Piva.
Harley Bear is Chester.
Gun smoke has been selected by the Armed Forces Radio Service
to be heard by our troops overseas.
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 gun smoke.
Music
This Monday night, Herbert Marshall has the leading role
in a story adapted from Daphne de Morier's collection called
Kiss Me Again Stranger.
It's the eerie story of the birds describing strange happenings
on an otherwise quiet English countryside.
Here at this Monday night on most of these same stations
when CBS Radio presents the Summer Theater.
Yes, this Monday night starring Herbert Marshall.
And remember, there's action as a policeman really finds it
in 21st Precinct, Tuesdays on the CBS Radio Network.
Music
Music
Music
Music