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In 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 U.S. Marshal and the smell of Gun Smoke.
Gun Smoke, starring William Conrad, the transcribed story of the violence that moved West with
young America, and the story of a man who moved with it.
I'm that man, Matt Dillon, United States Marshal, the first man they look for and the last they
want to meet.
It's a chancey job, and it makes a man watchful and a little lonely.
Good evening, Matt.
Hello, Doc.
I've been waiting for you.
I'm all set up.
Ah, well, might as well put away that cribbage board.
They won't be playing tonight.
Oh, why not?
You found an easier mark?
No, but you're going to high-tail it up the street once you hear the news.
Yeah?
Matt, Belle's back.
Belle?
Belle who?
Belle who?
Belle Ainsley, that's who.
You've got a mighty short memory for a man who used to eat dinner out of her place two
and three times a week.
Well, she was a good cook, that's all.
Besides, it was three years ago.
Oh, Matt, you know, Doc, gone well, you were...
Why don't you forget it, Doc?
Um, is Jess Crider with her?
No, she's come back alone.
Well, that's too bad.
Too bad?
Why?
Jess Crider's no good.
That's just why.
He was wanted three years ago when he left here with her, and he's wanted even more now.
Here, take a look at this bulletin from Wichita.
Hold up of the Stockman State Bank, wounding two bank guards.
Santa Fe, three counts of highway robbery.
Lordsburg, hold up of the Butterfield stage, driver killed.
All right, so Jess Crider's a thieving killer.
Everybody knows that.
Well, that's why I'd like to see him come back.
Mr. Dillon?
Yeah, what is it, Chester?
Jess, who is back, Mr. Dillon?
I already know, Chester.
Yeah, but that ain't all.
Chester, if one more person comes in here and tells me about Belle Ainsley, so help me
up.
I don't...
You're what, Matt?
Belle?
She was right outside, I was gonna say.
Well, come on.
Come on, Chester.
I'll buy you a drink.
Well, I...
Gosh, well, I'll see you later, Mr. Dillon.
How are you, Matt?
I'm fine, Belle.
And you?
Oh, a little older.
Are you a visitor or are you planning on staying?
Well, I'm staying.
It's a town that let me.
What about Jess Crider?
Where is he, Belle?
I don't know.
And I don't care.
I left him in Durango.
I'm through with him, Matt.
I see.
I want to stay here with my father.
He's getting old and my kid sister, Phyllis.
Well, she's grown into a young woman since I went away.
And pretty bitter, I understand, when it comes to you.
She'll get over it.
Everybody will, if you'll help me, Matt.
Help you?
Three months after I left, I came back, if you remember.
And I found the good people of Dodge had already tried and condemned me.
What could I do but go back to Jess?
You chose to run off with him in the first place.
Chose?
Who knew whether I had?
Who bothered to ask?
You, anybody?
What are you saying?
Matt, I rode out of Dodge, thrown across the back of Jess Crider's saddle, with a gag in
my mouth and my hands tied.
Oh.
Why didn't you tell somebody that?
Who'd have believed it?
But he didn't keep your hands tied for three years, Belle.
Matt, a woman has to have somebody.
Somebody who wants her.
And nobody here did.
As bad as he was, Jess was my man.
What do you want me to do, Belle?
Just tell people, that's all.
If you believe me, just tell them how it happened.
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Hello, Matt.
Ah, evening Kitty.
Where'd you get all the crowd?
Trail herds in.
The bar double D from the panhandle.
Huh?
I, uh, I understand an old friend of yours came back last week.
You know, a man tips his hat twice to a woman around here and he's married.
Is that really all you did, Matt?
Tip your hat twice?
Yeah, just about.
Have you talked to Bill?
Well, in passing.
I heard his story.
You believe it, Matt?
That's possible.
It's the kind of a thing just cry there and do.
Yeah, I don't know for sure.
Well, if it did happen that way and she's left him for good, then I guess maybe she's
got some sympathy coming to her.
Yeah.
She sure didn't get much at home.
Now, what do you mean?
Well, she moved back in at the ranch.
Yeah, so I heard.
She was all right with her father, probably on account of her cooking.
You remember her cooking, Matt?
I remember old man Ainsley well enough.
He worked both those girls after death.
Well, anyway, I guess her sister really raised Kane.
And I figured that had happened.
She's hated Bell ever since the night she ran away with Crider or was taken away.
I didn't think she'd carry it so far.
Now, what do you mean?
Phyllis left the ranch yesterday and moved into town, Matt.
She's got a room over at the Dodge house.
What?
Uh-huh.
A 15 year old kid living here alone?
Yeah, I know.
I'll go see her and talk to her, kidding, but I don't think it'll do any good.
Well, good evening, Marshall.
Chester.
How are you, Dovey?
Some of my guests have been kicking up their heels, have they?
Uh, Dovey, I understand that the youngest Ainsley girl, Phyllis, took a room here yesterday.
Is that right?
Yeah, she certainly did.
Wanted to get away from that environment, I reckon.
I can't say I blame her, Marshall.
I know if my sister had been cavorting around for three years with a cutthroat like Jess
Crider, I...
Dovey, would you mind telling the girl that I'd like to talk to her?
Man, I can't very well do that, Marshall.
Oh, why not?
Well, because she left this evening.
What?
I've already let the room somebody else.
She said she was leaving the country and wasn't coming back.
Leaving the country?
Was she alone?
Well, now, she walked out alone, but I kind of had the impression there was some man waiting
for her outside.
And you let her go?
Well, there was nothing I could do about it.
Well, you could have told somebody, her family or me.
She's only fifteen, Dovey.
Well, that's grown up the way I look at it.
Anyway, I figured it's just another case like our sister Belle.
It sure ain't none of my responsibility.
Chester and I saddled up and rode out to the Ainsley Ranch, or a homestead it was, actually,
a broken back spread with a flinty range and short water.
When we got there, we sat and talked with Belle and her father, all polite and formal-like,
and nobody saying much of what they meant.
They kept looking at me funny because I didn't mention young fellas, but I'd decided against
that two minutes after we walked in.
And I still hadn't said anything when we left.
Belle came out of the yard with us.
It was nice of you to ride out, Matt and Chester.
Well, I'm...
Nobody else from town's even been near the place.
Now, there's slow people to change, Belle.
It takes them a while, I guess.
You gotta get over feeling kinda awkward around here, I guess.
Well, it's not only the outsiders who feel awkward around me.
Oh?
Well, I guess you wondered where Phyllis was.
She's moved out, Matt.
She took a room in town.
Well, she'll get over it.
A girl can be pretty flighty at that age.
I suppose so.
Well, thanks for coming out.
Sure.
You ready to ride, Chester?
Yes, sir.
We'll see you again, Belle.
I hope so.
Good night, Matt.
Good night, Chester.
Good night.
What you doing?
You didn't say one word about Phyllis.
Wait a minute, Chester.
We're gonna ride away from here now, but we're coming back later tonight.
What?
Didn't you notice how they acted?
Old man Ainsley was scared to death.
And Belle was jumpy as a young colt.
Well, I did notice that, but...
Belle didn't come back home alone, Chester.
Just criders around somewhere.
Why don't you live modern?
Live modern.
Live, live, live modern.
Change to L&M.
Yes, live modern.
Live modern.
Smoke L&M.
Enjoy a modern cigarette.
L&M gives you the full, exciting flavor of today's finest tobaccos.
No other cigarette, plain or filter, gives you the flavor you get through the modern miracle
of the L&M Miracle Tip.
Through the pure white Miracle Tip, L&M tastes richer, smokes cleaner, draws easier.
So light up, free up, let your taste come alive.
Live modern.
Smoke L&M.
Make today your big red letter day and start to live the modern way.
Live, live, live modern.
Get L&M today.
Live, live, live modern.
You figure Crider was right there in the house tonight when we was, Mr. Jones?
No, he couldn't have been, Chester.
There's no place for him to hide.
Probably holed up in the barn.
We'll look there first.
Yes, sir.
There's a lantern burning inside.
Now you wait here and keep me covered.
I'll edge up to the door and then go in fast.
Yes, we will.
Now you be careful.
Crider?
Jess?
Come on in, Chester.
He ain't here?
No, but he has been.
You see that blanket on that straw there?
It's made up for a bed.
Well, maybe he's up at the house now.
I don't think so.
The only horse in here is that old spavin' mare Ainsley uses on the buckboard.
That's Crider to have the best matic it lay his hands on.
Maybe the two of them got spooked up and made a run for it.
Well, maybe, but I don't think so.
Get your hands up, man.
Well, I...
You too, Chester.
Oh, well...
Jess?
Jess?
Forget it, Bo.
He's too far away by now to hear you.
What are you talking about?
Take a look around.
Didn't you have a couple of horses in here?
Well, sure we did.
Now, don't move.
Either one of you.
They're gone.
Jess!
Jess!
You might as well save your breath, Bill.
He took both the saddles and the packs.
You know where he went?
Well, I can guess.
Where?
When was the last time you saw him this evening?
Just before dark.
I brought him out some coffee and he said he was going to try to sleep.
Matt, where'd he go?
Tell me.
There's not much point in holding a gun on us.
Not now.
Stay back, Matt.
Let's have it.
Thanks.
Well, now, a man can breathe a mite easier without that thing staring him in the face.
What's happened to Jess?
Tell me.
What do you care?
You left him, haven't you?
You said you hadn't.
Oh, I only came and told you that so you wouldn't get suspicious.
Jess caught a bullet in that holdup at Elko.
It was bothering him so much we had to find a place to stay for a while.
So you brought him home to the family, huh?
In less than a week, your kid's sister ran away from home.
She didn't run away.
I sent her into town.
And why?
What's the difference why?
Because Jess was bothering her, is that it?
What are you saying?
He's always been known for it, Bell.
Was that the reason?
All right, that was the reason.
She's my sister, Matt.
She's only 15.
And Jess is your man, huh?
Isn't that what you told me when you came to my office?
Sure, that's what I told you, but never mind that now.
I want to know what's happened to Jess.
The same thing had happened to Phyllis, I guess.
She checked out of the Dodge house this evening, Bell.
She said she was leaving the country for good.
What?
A man was waiting for her outside.
And Jess cried her left here with two horses.
Get him, Matt.
Go after him and get him.
You know where he might be.
Of course I know.
I know everything about him.
I've had three years to learn, haven't I?
All right, then where is he?
He'll only ride at night.
He'll stop at sunup.
There's an abandoned shack about a mile west of where little deer creek runs into the archandias.
Yeah, I know the place.
Well, that's where he'll be.
We've used it before.
We stopped there on our way in.
All right, Bell.
That business about your hands being tied, being thrown across the back of Crichter's
saddle.
That part was true, Matt.
All right, Bell.
Come on, Chester, let's ride.
He might not come out of that shack all day, Mr. Dillon.
He will, Chester.
They just got here.
Those horses are still sweating.
He won't leave them standing there saddled for long.
He wouldn't be too hard a chore to slip up through that plum thicket there at the back.
No.
If he fights, I don't want the girl in it.
We'll just wait till he comes out.
I'm doubt gone if I can understand women at all, Mr. Dillon.
I've had the same trouble myself a time or two, Chester.
But why would that nice young girl want to go running off with a murdering outlaw like
Jess Crichter?
Maybe it's more a matter of hitting back at her sister.
Please let her hate for Bell build up till it's driven her half crazy, I guess.
Somebody's coming out.
It's him.
Yeah.
Easy now.
We'll just let him get clear of the cabin.
You stay down, now.
All right, hold it, Crichter.
You're under arrest.
He's going for his gun.
Have it your way.
OK, Chester.
It looks like maybe he got out of hanging.
Yeah.
You killed him.
Marshal, you killed him.
Why?
Do you know what you've done?
I know, fellas.
Oh, no, no, you don't.
Yes, I do.
I've kept him in the cellar.
I've kept you from making an even bigger fool of yourself than you already have.
Oh, what are you saying?
I love him.
We were going to be married.
Well, we were.
Fellas, you better go home and talk to Bell about that.
Oh, Bell.
I'll never say a word to her again as long as I live.
Now, you listen to me, fellas.
You've got to get rid of that hate of yours.
If you don't, it's going to ruin your life for good.
Now, you go home and you talk to Bell and you tell her you love her.
Good, now you go home and you talk to Bell and you listen to what she's got to say before
you judge her.
No, I won't go back.
Yes, you will.
I can't.
Not now.
Nobody will ever know about this, fellas.
I promise you.
Jess Crider was alone when I found it.
Now, there's your horse and he's still saddled.
I can't.
I don't want to.
I know what you need, young lady.
You see that plumb bush over there?
Well, I'm going to cut me a switch off of that and if you're not out of here in one
minute you'll...
Oh, you wouldn't.
Oh, I wouldn't, huh?
Well, you just watch me.
Marshall.
Yeah?
I've been thinking, Marshall.
Maybe I'll go home after all.
In a moment our star, William Conrad.
Learn more now, earn more later.
That's a motto CBS radio wishes every college student would paste inside his or her wallet.
A lot of those collegiate wallets are a good deal fatter than usual these days thanks to
summertime jobs.
And as a result, quite a few young men and women are finding themselves tempted to forget
about school this fall and keep on with that job.
This isn't such a smart idea as it may seem.
It's a plain and simple fact that dropouts from college are less likely to find and keep
better paying jobs.
Quit school before you've finished and you're not only cutting down on your chances for
a really good job, you're also throwing away thousands of dollars of possible future income.
Finish college, get all the education possible and your lifetime income is many thousands
of dollars higher.
America needs well-educated young men and women and the rewards are sure.
So if you're wavering now that school's about to open, don't decide against your future.
Go back and remember learn more now, earn more later.
And now, William Conrad.
You know when men on the frontier were able to prove up some good land, they were usually
content.
But next week, after building a prosperous ranch, two lifelong friends nearly lose everything,
even their lives, because of some side meat and hominy grits.
And that was the West.
Gunsmoke, produced and directed by Norman McDonald, stars William Conrad as Matt Dillon,
U.S. Marshal.
The script was specially written for Gunsmoke by Les Crutchfield with editorial supervision
by John Meston.
The music was composed and conducted by Rex Corey.
Sound patterns by Ray Kemper and Bill James.
Directed in the cast were Virginia Christine, Ralph Moody, and Sammy Hill.
Harley Bear is Chester, Howard McNair is Doc, and Georgia Ellis is Kitty.
Join us again next week for another specially transcribed story on Gunsmoke.
B Mobile motivations and
you