Interview with William Conrad | Spotlight on a Star (12-15-69)

Summary

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Old Time Radio Westerns: Interview with William Conrad | Spotlight on a Star (12-15-69)

Overview

In this episode of Old Time Radio Westerns, host Andrew Rhynes presents a classic 1969 interview between radio historian Chris and legendary actor William Conrad. Conducted at Bell Recording Studios, the conversation spotlights Conrad's remarkable contributions to the golden age of radio, most memorably as Marshal Matt Dillon in Gunsmoke, but also through his prolific work across dramatic radio. Conrad offers rich insights into his career, the artistry behind radio storytelling, and vivid anecdotes about the people and productions that shaped the era.

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Main Themes & Purpose

• Celebration of Radio’s Golden Age: Revisiting the artistry, camaraderie, and craftsmanship that made radio drama an iconic American medium, with Conrad as a central figure.
• Conrad’s Life in Radio: Exploring William Conrad's journey from radio novice to leading man, and his deep impact across genres and shows, especially Gunsmoke and Escape.
• Personal Anecdotes & Historical Detail: Conrad’s candid memories of colleagues, behind-the-scenes stories, and his philosophy of performance and authenticity.

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Key Discussion Points & Insights

William Conrad’s Radio Origins

• Early Fascination & Entry into Radio

  • Conrad recounts his early fascination with radio, shaped by personal loss and a friend’s encouragement, leading to small gigs at KMPC.

    “I had a dear friend who was an announcer…he'd let me do a commercial every now and then. And that fascinated me.”
    (William Conrad, 06:13)

• First Network Break: ‘The Whistler’ (1945)

  • Conrad’s big network break came while in the Army, auditioning for CBS’s The Whistler. He landed the lead unexpectedly:

    “I was doing the lead in it. It scared the hell out of me, but I did it.”
    (William Conrad, 07:10)

Dramatic Radio & Early Career

• Rise to Network Stardom

  • Conrad describes the breadth of his work at CBS: 10–15 shows a week across genres—never comedy, always “the dramatic shows.”

    “It was unbelievable…averaging maybe 10 to 15 shows a week…all of the dramatic shows.”
    (11:33)

• Establishing ‘Escape’ and ‘Gunsmoke’

  • Escape: Conrad was first voice and recurring actor for this acclaimed suspense/adventure series.
    • Demonstrates his signature booming opening:

      “Tired of the everyday routine? Ever dream of a life of romantic adventures?...We offer you escape.”
      (09:50)

‘Gunsmoke’ & The Art of Realism

• Audition and Legacy as Matt Dillon

  • Conrad recalls the extensive auditioning for Gunsmoke and landing the lead after others passed:

    “I think I was the last man to audition for it. And fortunately, I managed to get it.”
    (12:39)

  • Gunsmoke’s unmatched impact—radio, then TV, and worldwide broadcasts for U.S. troops.

    “I guess it's probably the most remarkable series that's ever been on the air.”
    (13:29)

• Detail & Authenticity in Production

  • Writers and producers, notably John Meston and Norman Macdonnell, were “meticulous” about realism.

    “They took complete and deliberate time in setting up the sound effects. Which was probably one of the secrets of the show's success. We tried to make everything as honest as we possibly could.”
    (14:23)

• Memorable Characters & Cast

  • Doc Adams: Howard McNear “was a zany, wonderful, wild, crazy, beautiful human being… He was a great shock to all of us when he passed away.” Conrad recounts Parley Baer’s moving, funny funeral eulogy.
    (16:25-18:48)
  • Chester: Baer’s Chester was conceived as “always a middle aged man who was not too bright but was always getting into jams.”
    (19:15)
  • Kitty: Georgia Ellis is praised for her “sultry voice” and skill in the role.
    (24:37)

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Favorite Moments & Notable Quotes

• The Realism That Set ‘Gunsmoke’ Apart

  • Host Chris notes:

    “It was adult. And I understood it and I liked it. It was unlike any dramatic show that I had heard because it was real.”
    (13:39)

• Doc’s Name Origin Story

  • Conrad describes how “Doc Adams” got his last name from a joke about Howard McNear’s ghoulish delight at medical mishaps:

    “As a matter of fact, that's what you should be called is Doc Adams. And that's how he got his name.”
    (22:18)

• The Sweet Smell of Success

  • About the show's lasting impact:

    “We tried to make everything as honest as we possibly could. That's probably why it had that sweet smell of success to it.”
    (14:23)

• The ‘Gunsmoke’ Family

  • Reminiscing about the cast dynamic:

    “Gunsmoke was like one big family. And I will stress, a happy family. I have never known the joy that we had on that. On any other enterprise that I've been involved with.”
    (28:42)

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Range of Work: Beyond Gunsmoke

• Other Famous Series

  • CBS Radio Workshop, Suspense, The Whistler, Night Beat, Frontier Gentlemen, Richard Diamond: Conrad was a mainstay, acting or narrating in countless episodes, and often collaborating with major stars.
  • He recalls special productions:
    • Brave New World

      “...part 1 of 2 Half Hour Programs devoted to one of the world's most shocking and famous novels, Aldous Huxley's terrifying forecast of the future.”
      (31:34)

    • Ballad of the Iron Horse and No Place of Japan
    • Memorable readings, like the poetic “1489 Words” (38:28)

• Recollections of Colleagues

  • Warm words for frequent collaborators:
    • Parley Baer (“Chester”), John Dehner, Larry Dobkin, Harry Bartell, Georgia Ellis, and many more.
    • The camaraderie and joy of working together—even under immense weekly workload.

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Listener Interaction & Cultural Impact

• Fans & Legacy

  • Conrad shares a story of a fan quoting “It’s a chancy job and it makes a man a little lonely”—a line from the Gunsmoke opening that he had not uttered in 8 years, leading to a humorous misunderstanding:

    “He thought I was being a big shot...but I honestly didn't know what he was talking about.”
    (48:52-51:02)

• Listener-Submitted Stories

  • On taking stories from listeners:

    “At least once somebody wrote in something that was a story outline that they did use, but I'm not really positive of that.”
    (48:52)

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Timestamps for Key Segments

• Early Life & Radio Beginnings: [06:10–07:04]
• First Network Role (‘The Whistler’): [07:04–08:19]
• ‘Escape’ and Adventure Radio: [09:34–12:11]
• ‘Gunsmoke’: Audition, Success, Realism: [12:11–16:25]
• Reminiscence on Howard McNear: [16:25–18:48]
• Chester’s Characterization: [19:15–20:22]
• Doc Adams’ Name: [22:18]
• Georgia Ellis as Kitty: [24:37]
• Radio Family & Behind-the-Scenes Stories: [28:42–29:32]
• CBS Radio Workshop & Special Dramas: [31:09–34:30]
• Listener Interaction Anecdote: [48:52–51:02]

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Notable Quotes

• On Howard McNear (Doc Adams):

  “He was a zany, wonderful, wild, crazy, beautiful human being. It was such a great shock to all of us when he passed away... The most magical thing happened [at his funeral]. He started telling about the wild zaniness of Howard... For the next 45 minutes, you won't believe this, everybody laughed and loved every minute of it.”
  (William Conrad, 16:25-18:48)

• On Matt Dillon’s Realism:

  “Matt Dillon represented a figment of the writer's imagination. But you'll get a lot of fights from a lot of people who will tell you that there was. It's pretty funny...”
  (14:23)

• On the Show’s Legacy:

  “I firmly believe that radio cuts it all over television in many areas. And it's a shame that a medium that is that beautiful has to disappear.”
  (71:19-72:01)

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Final Reflections

This episode is an engrossing portrait of William Conrad’s artistry and the enduring affection for old-time radio. Conrad’s warmth, humor, and humility shine through as he reflects on his storied career—his deep respect for colleagues, his pride in Gunsmoke’s authenticity, and his sense of the medium’s lost artistry. Fans of radio, westerns, and American pop culture will find this interview a rich, nostalgic, and heartfelt tribute to an era when storytelling came alive through sound alone.

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Transcript

[AM PM Advertiser]

What do you think makes the perfect snack?

[AM PM Spokesperson]

Hmm. It's gotta be when I'm really craving it and it's convenient.

[AM PM Advertiser]

Could you be more specific?

[AM PM Spokesperson]

When it's cravinient.

[William Conrad]

Okay.

[AM PM Spokesperson]

Like a freshly baked cookie made with real butter, available right down the street at a.m. p.m. Or a savory breakfast sandwich I can grab in just a second at a.m. p.m.

[AM PM Advertiser]

I'm seeing a pattern here.

[AM PM Spokesperson]

Well, yeah, we're talking about what I.

[AM PM Advertiser]

Crave, which is anything from AM pm.

[AM PM Spokesperson]

What more could you want? Stop by AM PM where the snacks and drinks are perfectly craveable and convenient. That's cravenience ampm. Too much Good stuff.

[William Conrad]

Limu Emu.

[AM PM Spokesperson]

And Doug, here we have the limu.

[William Conrad]

Emu in its natural habitat helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug. Uh, Limu is that guy with the binoculars watching us? Cut the camera. They see us. Only pay for what you [e-mail] Liberty. Liberty. Liberty. Liberty Savings vary underwritten by Liberty Mutual Insurance Company and affiliates. Excludes Massachusetts. Massachusetts. Welcome to the Old Time Radio Westerns. I'm your host, Andrew Rines, and I'm excited to bring you another episode. This is one of over 80 episodes released monthly for your enjoyment. You can find more western shows at our website by going to otrwesterns.com now let's get into this episode.

[Interviewer (Chris)]

Spotlight on a Star.

[William Conrad]

The magic that was radio returns to.

[Interviewer (Chris)]

You once again through a series of informative and interesting interviews with the stars and personalities that made it all possible.

[AM PM Advertiser]

What do you think makes the perfect snack?

[AM PM Spokesperson]

Hmm, it's gotta be when I'm really craving it and it's convenient.

[AM PM Advertiser]

Could you be more specific?

[AM PM Spokesperson]

When it's cravinient.

[William Conrad]

Okay.

[AM PM Spokesperson]

Like a freshly baked cookie made with real butter, available right down the street at a.m. p.m. Or a savory breakfast sandwich I can grab in just a second.

[AM PM Advertiser]

AM pm I'm seeing a pattern here.

[AM PM Spokesperson]

Well, yeah, we're talking about what I.

[AM PM Advertiser]

Crave, which is anything from AM pm.

[AM PM Spokesperson]

What more could you want? Stop by AM PM where the snacks and drinks are perfectly craveable and convenient. That's cravinience. AM PM Too much good stuff.

[William Conrad]

Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you escape. Escape designed to free you from the four walls of today For a half hour of high adventure. You are kneeling in the church of a cel village seeking the sanctuary it might offer while slowly walking down the aisle, carefully studying each bowed head is the brute of a man who has come to kill you. Listen now as escape brings you Les Crutchfield story violent. 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 U.S. marshal. And the smell of gun smoke. Gunsmoke, starring William Conrad. The 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 chance, eh, Job? And it makes a man watchful and a little lonely.

[Interviewer (Chris)]

Welcome once again to Spotlight on a Star. You just heard two famous openings to two of the most popular dramatic programs in late radio. It is my privilege to have with me today a man who was very much a part of those programs and many, many others in the golden days of radio. He needs no introduction because he is a favorite among all of us. And may I say, he is my all time favorite radio actor. The date is December 15, 1969 and I am at the Bell Recording Studios here in Hollywood, California. With me at the microphone is a gentleman who has kindly consented to a few minutes of his time in reminiscing with us those wonderful days of radio. Ladies and gentlemen, Mr. William Conrad.

[William Conrad]

Thank you very much, Chris. It's a pleasure to be here and it's certainly a pleasure to be on this tape that you're editing. I just heard the first part of it and I think it's fascinating.

[Interviewer (Chris)]

How to join a radio.

[William Conrad]

Oh, that's a good question. It's been so long I can hardly remember. I don't know. I was fascinated with radio when I was a kid. I had to go to work very early. My father died when I was, I think 15. And I had a dear friend who was an announcer on one of the local stations. And I used to hang around with him at night and he'd let me, this is long before, after or afra. He'd let me do a commercial every now and then. And that fascinated me. And I went to a radio station called KMPC and started working. I stayed there for a long, long time. I don't know, I was just the only thing I could figure to do at that point in my life. Okay.

[Interviewer (Chris)]

How did you get started in dramatic network radio?

[William Conrad]

In dramatic network radio? Well, I had never been on a network show and I was in the army and it was about 1945 and somebody said they will allow you for the next two or three months while you're waiting to get out to take a job occasionally, as long as it doesn't interfere with your work. And I was in the Armed Forces Radio Service. So I went up and auditioned for show called the Whistler on cbs. I hoped to get a small part in it, and much to my amazement, I got a call to come do it that Sunday. And I was doing the lead in it. It scared the hell out of me, but I did it. And I guess they liked it because they asked me back next week to do the lead. And I think that was the first. I know that was the first network show I ever did. You leave the house, walk slowly down to the cottage near the beach, pleased with the way you've handled Edith. You lied about the work you have to do, didn't you, John?

[Interviewer (Chris)]

That was just an excuse to get.

[William Conrad]

Away from the house without arousing the suspicion. Sometime later, a light tap at the cottage door tells you that your expected visitor has arrived. Hello, Frank. Come on in. Party going on up at your place? Some of Edith's friends. Any chance of them dropping in on us? No. And I still don't see why we couldn't have met at my place. Like too risky? If we're smart, Frank, we'll arrange to meet at a different place each time from now on. Yeah, maybe you're right. This a nice little spot you got here, Sheridan. Just a guest house. Easeless idea.

[Interviewer (Chris)]

What's this? Stop.

[William Conrad]

Your wife a sculptress? No. Well, that's some of my work. Just a hobby. Fooling around with clay modeling since I was a kid.

[Interviewer (Chris)]

Sit down, Frank.

[William Conrad]

Get you a drink? No, thanks. Don't have time. You have the money? Yep. There you are. You're cut for the library building job. 5,000. Now, how about that bridge contract? The final bids will be on Friday. I'll go over them all before the board meets. You can tip your contractor off. Who is it this time? Greenwood. Al Greenwood. Okay. The job's his. I'll get the usual cut as soon as the contract's signed. Good. That'll be in a couple of weeks.

[Interviewer (Chris)]

How did you become associated with escape?

[William Conrad]

I think I. I'm not sure whether I started doing the voice on it or not. Perhaps you know two men that were.

[Interviewer (Chris)]

Announcing the program at first. Paul Frase and Bob Lamond.

[William Conrad]

Tired of the everyday routine? Ever dream of a life of romantic adventures? Want to get away from it all? We offer you escape. Escape designed to free you from the Four walls of today for a half hour of high adventure. Tonight we escaped to the island of Pelota in the South Seas. And an exciting tale of the strangest bargain ever made as we bring you Letter from Jason, adapted from George F. Wort's famous story, Sunk.

[Interviewer (Chris)]

You appeared in a lot of small parts and then larger roles.

[William Conrad]

You have cigarettes for me? Hey, mate, what's the big idea? Annoying this lady? Annoyed? What do you mean? This little. Watch your language. Now, look here, I'm sitting here minding my own business. Now your mind and mine are. Scram. Well, I got as much. Right. Are you looking for trouble? Well, no, but it seems to me you weren't, you little church. Okay, boys, carry him out. Nice work, sister. Here's your hundred francs.

[Interviewer (Chris)]

Thank you, Captain. Steve, you want me to make change?

[William Conrad]

Not now, some other time. I got work to do now. Well, I was doing. I was doing a lot of work around cbs. And my God, in those days, it was unbelievable. We were doing, I guess, maybe 15, averaging maybe 10 to 15 shows a week. And a lot of it was at cbs. I never got involved in a comedy show, so I did all of the dramatic shows and I started doing the opening voice in it. Frankly, I don't remember how it started, but I did an awful lot of them.

[Interviewer (Chris)]

We all remember you as Marshal Matt Dillon of Dodge City and one of the greatest radio programs of all time, Gunsmoke. In case you're wondering, Mr. Conrad, Gunsmoke started out in 1949 as a CBS audition pilot. In fact, the very first, Matt Dillon with an actor named Howard Culver, who played the part in one episode. It was an audition program that was never aired and the character was called Mark Dylan.

[William Conrad]

Now that you mention it, I do remember that they had tried to do it, oh, five or six months before we started it again. And I do remember that they had auditioned everybody in town for it, practically. And I came in. I think I was the last man to audition for it. And fortunately I managed to get it.

[Interviewer (Chris)]

Well, did you become part of the Gunsmoke cast?

[William Conrad]

I haven't the slightest idea. I don't even remember. It's been so long. Perhaps you can tell me.

[Interviewer (Chris)]

I really don't know. It's sometime in the early 1950s. I just wanted to get a definite date. For historical purposes.

[William Conrad]

I have no idea. The only thing I can remember was that the show ran for roughly 10 solid years.

[Interviewer (Chris)]

Well, as the years went by, Gunsmoke became an extremely popular series.

[William Conrad]

Yes, it certainly did as well. It's still running on television. I guess it's probably the most remarkable series that's ever been on the air.

[Interviewer (Chris)]

In any form and still being heard overseas by our men in uniform over the Armed Forces Radio Service. The cast of Gunsmoke was a very special one to me because the actors played their roles perfectly. You know, Mr. Conrad, I discovered Gunsmore quite by accident when I was real little. I was turning the dial one night when I discovered a western type program that was unlike the western type programs that I had heard when I was a child. The juvenile type program. It was adult. And I understood it and I liked it. It was unlike any dramatic show that I had heard because it was real. And I would like to ask you just how much realism, detail and research went into Gunsmoke.

[William Conrad]

Well, I think quite a bit. Of course, there was no Matt Dillon represented figment of the writer's imagination. But you'll get a lot of fights from a lot of people who will tell you that they know that there was. It's pretty funny. I've had several arguments with people about it who say that they know for a fact that their grandfather was related to him or something of the sort. But the writer, John Meston, and The producer, Norman McDonald, were very meticulous. And seeing that everything was as authentic as they could possibly make it, they took complete and deliberate time in setting up the sound effects. Which was probably one of the secrets of the show's success. We tried to make everything as honest as we possibly could. That's probably why it had that sweet smell of success to it. Because everybody tried far beyond the call of their normal beauty.

[Interviewer (Chris)]

It's always been a idea of mine to have a reunion of the original Gunsmoke radio cast. But I find this quite impossible with the untimely passing of Howard McNear, who played Doc Adams on the show. I have in front of me a CBS press Release from around 1955 entitled Is There a Doctor on the Show? The answer is yes, if you're referring to CBS radio's top notch Gunsmoke series. And Doc is Veteran radioactor Howard McNear, who together with star William Conrad, Georgia Ellis and Polly Bear, makes up the quartet of regulars on the show. McNear plays his part so realistically that he is constantly receiving letters from listeners asking for his medical advice. Would you care to comment on Howard McNear, the man that you worked with?

[William Conrad]

I would be honored to comment on Howard. I. In all the years that I've been in the business, I don't think I have ever worked with a more talented man. Nor have I worked with a nicer human being. Everybody who met Howard, no matter under what condition, loved him. That's all you could do with Howard. He was a zany, wonderful, wild, crazy, beautiful human being. It was such a great shock to all of us when he passed away. Of course, it had been a long problem. He had had a stroke about two and a half years before that and it was most unhappy for him. For those two and a half years he tried to work a little bit and it was so unhappy to see a man who was so bright and sharp, not quite up to it. And. Well, it was most unhappy. I'd like to say one thing. Parley Bear, who played Chester, was asked by Mrs. McNear to give the eulogy at the funeral. And there was no man of the cloth there. Parley did it. The place was filled, it was very, very quiet and probably got up and started talking and there were a lot of tears for a moment. And then the most magical thing happened. He started telling about the wild zaniness of Howard, the beautiful times that we'd all had together. And for the next 45 minutes you won't believe this. Everybody laughed and loved every minute of it. And it was the strangest, most beautiful and I think probably the way that all funerals should be thanks to Parley who did a wonderful job.

[Interviewer (Chris)]

That's just wonderful. And talking about Parley Bear who played Chester, there was another wonderful actor. I've argued with friends about the character of Chester on radio against the one on TV. I've always had the impression by voice, Mr. Conrad, that Chester Proudfoot on the radio version of Gunsmoke was a middle aged or older man. What was the character of Chester on the radio series? Could you describe him?

[William Conrad]

Well, just about what you felt. We felt that he was always a middle aged man who was not too bright but was always getting into jams. Matt was always saving him from the problems he had involved himself in. We also felt because the name Proudfoot that he probably had a little Indian blood in him. It's strange on the TV how it worked out. I think they invented the limp that Chester had because of the word proud foot. Now isn't that strange?

[Interviewer (Chris)]

It is strange.

[William Conrad]

It is because there's never any indication. Mr. Dillon. What? Mr. Dillon? Yeah, Chester. I declare, I sure am glad I found you, Mr. Dillon. Oh, what's the trouble? Oh, well, sir, I just think you better get on back the office right away. You sound mighty excited. Somebody start an Indian uprising or something? Well, no, sir, it ain't nothing like that. A prisoner escape.

[Interviewer (Chris)]

No, it ain't that neither.

[William Conrad]

Well, you are going to tell me what it is.

[Interviewer (Chris)]

Yes, sir.

[William Conrad]

He's that lady. What lady? What?

[Interviewer (Chris)]

That lady sitting there waiting for you in the office.

[William Conrad]

Well, who is she?

[Interviewer (Chris)]

He wouldn't tell me, Mr. Dunck. He wouldn't tell me nothing.

[William Conrad]

She's just sitting there fanning herself straight as a ramrod, claiming she wants to see the marshal. And where is he at? And why he tend to his office. All right, I'll see to it. How are we gonna handle it? I'll handle it, Chester. Well, yes, right. No, but how? Well, the first thing is, you're gonna go for the mail for the again. That's right. I already Got it, Mr. Dillon. I brung it earlier this morning. Don't you remember that? Well, you never know, Chester. They might have forgot to give you some of it. Two circles yesterday. Go on, Chester. No. Yes, sir. I'll be back directly.

[AM PM Spokesperson]

And Doug, here we have the Limu.

[William Conrad]

Emu in its natural habitat helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug Limu. Is that guy with the binoculars watching us? Cut the camera. They see us. Only pay for what you need@liberty mutual.com Savings Ferry Unwritten by Liberty Mutual Insurance Company and affiliates excludes Massachusetts.

[AM PM Advertiser]

Hey, this is Sarah. Look, I'm standing out front of AM PM right now and. Well, you're sweet and all, but I found something more fulfilling, even kind of cheesy. But I like it. Sure, you met some of my dietary needs, but they've just got it all. So farewell oatmeal. So long, you strange soggy.

[AM PM Spokesperson]

Break up with bland breakfast and taste AM PM's bacon, egg and cheese biscuit made with cage free eggs, smoked bacon and melty cheese on a buttery biscuit. AM PM Too much good stuff.

[William Conrad]

Incidentally, on Doc, there is an interesting reason for calling. Calling him, giving him the name. His name is Doc Adams. And this came about. His name was only Doc in the script. This came about one day when we all sitting around laughing at the ghoulish way that Howard played the part. And he was always so happy when somebody got shot down because then he had a little business. And I said, my God, Howard, you know, you're. You're like a Charles Adams character. As a matter of fact, that's what you should be called is Doc Adams. And that's how he got his ME. That's Dave Thorpe. Chester want me to have a look around, Mr. Dillon. Whoever did it ran down the alley into the street. He's just one of the crowd out there by now. Is Dave dead now? He's breathing. I saw Doc in the saloon there. What's he doing? He's coming. Well, go keep that crowd back, huh? Yes, Dave.

[Interviewer (Chris)]

All right.

[William Conrad]

Dave. Hey, Dave, can you talk? Let's see. Dave Thorpe, huh?

[Interviewer (Chris)]

Somebody shot him, Matt.

[William Conrad]

Yeah. Let me see. Let me see here. Oh, yes, he got shot, all right. Who did it, Matt? I don't know. If you can bring him to. Maybe we'll find out. No, no, not this man. He's bleeding to death, Matt. There's nothing I can do to stop him. Can you tell how it happened, Doc? I mean, where the bullet went in? Oh, you don't need a doctor for that mattress. His gun's still in his holster. Maybe somebody outdrew him. I didn't think about that. Couldn't have been much of a fight, Matt. He was shot in the back. The bullet came out right here, bleeding. Can you get him to talk, Doc? He's too far gone. Well, there's nothing anybody can do for him now. That makes a man feel pretty helpless to stand here and watch somebody bleed to death. Yeah. Probably doesn't even know who shot him. Maybe not, but he'd know who might want to. Every time there's a new moon, somebody.

[Interviewer (Chris)]

Gets murdered around here. While completing the cast of regulars was Georgia Ellis as Kitty. Could you comment on her?

[William Conrad]

While Georgia was a lovely girl who was very, very good in the part, she had a sultry voice and great sex symbol in Dodge City. I haven't seen Georgia in a long, long time. I don't know what she's doing, frankly, But I see parley occasionally. But we all get involved on our own devices and caught up in them, seldom have time to do the things that you should do or want to do. You want some more coffee, Kitty?

[Interviewer (Chris)]

Yeah, thanks.

[William Conrad]

Well, go on. What did she say then? Nothing.

[Interviewer (Chris)]

She just swept out.

[William Conrad]

Powdered you? Please.

[Interviewer (Chris)]

As though she'd been in the governor's mansion instead of a saloon. I tell you, Matt, she had me kind of flabbergasted.

[William Conrad]

Yeah, well, you've got a lot of company, Matt.

[Interviewer (Chris)]

I'm not sure, Chris, but I think.

[William Conrad]

I did see her grandson. Oh? When was this?

[Interviewer (Chris)]

About a week ago.

[William Conrad]

What, did he tell you his name? No. No, he didn't, Matt.

[Interviewer (Chris)]

And that's why I didn't say anything to the woman about it.

[William Conrad]

Anyway, I don't know where the boy is now, what makes you think it was young Chamberlain?

[Interviewer (Chris)]

You remember me telling you about Lousteau.

[William Conrad]

Calling me over to a poker game.

[Interviewer (Chris)]

To tell him whether a watch fob.

[William Conrad]

Was pure gold or not? Yeah. You told him you thought it was.

[Interviewer (Chris)]

Well, since I saw Mrs. Chamberlain, I.

[William Conrad]

Haven'T been able to get that watch.

[Interviewer (Chris)]

Fob out of my mind.

[William Conrad]

Why is that?

[Interviewer (Chris)]

It had a design on it, Matt. Family crest or something like that. And Mrs. Chamberlain was wearing a pin.

[William Conrad]

With the same design on it.

[Interviewer (Chris)]

I could swear to it.

[William Conrad]

I'm glad you didn't. What? Ms. Chamberlain would probably have had the cavalry out looking for the boy by now. Oh, Matt, the boy means a great.

[Interviewer (Chris)]

Deal to his grandmother. I don't think you should joke about it.

[William Conrad]

I'm not joking, Kitty. I don't see anything funny about the whole thing.

[Interviewer (Chris)]

For real fans of Gunsmoke, who were real attentive listeners, and I was one of them. You had a lot of other regulars in the show that appeared off and on. Now, I might spring a few names on you and you might care to comment. They were put into the show every now and then, and they became important part of the story. One was a character called Major Honeyman of Fort Dodge. You remember that character?

[William Conrad]

Vaguely.

[Interviewer (Chris)]

He helped you out quite a bit.

[William Conrad]

It probably was John Boehner who played it.

[Interviewer (Chris)]

We'll be gaining him in just a minute.

[William Conrad]

Well, thank you, Marshall. I'll be getting along. Major, you said you were sorry that the judge didn't convict him. Why have you changed your mind, Marshall? Now he won't even be tried. Not for some months, anyway. You mean that the seventh doesn't want him anymore? Oh, they want him, all right. My new orders are to send him right up to the Dakotas. Huh. Seems that the 7th Cavalry needs every man available. They're leaving Fort Lincoln squad soon on an expedition against the Sioux in the Northern Cheyenne. The Sioux, huh? I wonder if old Sitting Bull is still the chief medicine man with him. I'm sure he is. But at any rate, the seventh will be heading into Montana Territory. Yeah, well, if they're after Sitting Bull's tribe, they will. He's always had a large camp over on the Little Bighorn. Yes, I know. By the way, who's in Command of the 7th Cavalry now? An officer I served under a couple of years. I never did care for him much. A Colonel George Custer.

[Interviewer (Chris)]

Another one was Moss Grimmage, who ran Delivery.

[William Conrad]

Yeah, that probably would have been Jim.

[Interviewer (Chris)]

Nuts or James Nutser or Sam Edwards or somebody like that. Right. And of course, what did what did you. Doc and Kitty always eat?

[William Conrad]

The Dodge House, I guess.

[Interviewer (Chris)]

Wasn't it Del Monaco?

[William Conrad]

Del Monaco's.

[Interviewer (Chris)]

That's right.

[William Conrad]

And you must forgive me. It's been a long, long time since I've been involved in this.

[Interviewer (Chris)]

John Dana is another favorite actor of mine. And when you two got together on any show, whether it be Escape or Gunsmoke, you were a natural pair. You worked very good together and I enjoyed you both very much. Would you care to comment on John as an actor?

[William Conrad]

We have worked together for so many years and. And it really. Gunsmoke was like one big family. And I will stress, a happy family. I have never known the joy that we had on that. On any other enterprise that I've been involved with. Everybody. All of the regulars and all of the people who, although they didn't have regular parts, were regularly on the show. John Dana, Larry Dobkin, Harry Bartel. Well, you could go on and on and on. Vic Perrin. We really looked forward to working. It was like all the people who loved each other had an opportunity to see each other once a week or once.

[Interviewer (Chris)]

Everybody reminisce quickly on a humorous incident with the gusto. Okay.

[William Conrad]

Oh, there were so many. I really can't pick any one out that would be outstanding. It was just a ball. Every time we got together, that's all.

[Interviewer (Chris)]

Taking a wild step. I'll bet Lawrence Dan played the bad man in more gun smokes than the other actor. Probably he was the one that always just gave you a bad time.

[William Conrad]

What's the matter with you? Start out real friendly and then you freeze up. Come on, get in that train. Like I say, let me go have a little drip. What do you want? Let the lady go. You're asking for trouble, ain't you? Now, he.

[Interviewer (Chris)]

He tried to force me onto the train and he wanted me to drink with him.

[William Conrad]

Now, don't you worry, miss. He won't bother you anymore. She wasn't mine and there's none until you busted in. Ab Laster, huh? How do you know my name? But I heard you tell the lady. You're real snoopy, ain't you? Sometimes, yeah. Do you know what you're getting into, mister? Now you tell me. I'll show you that. You're carrying a gun. But I don't always use it. You hit him. I'll kill you. I swear I'll kill you. You tricked me, you know that? Get aboard while you can still walk. Mister, when we get to Dodge, you're going to wish you never had seen me. I'm wishing not already. Now move.

[Interviewer (Chris)]

You were active in the late 1950s on another program called the CBS Radio Workshop, which was experimental acting and original drama which I enjoyed very, very much. And the program originally was done out of New York in the late 1930s with people like Orson Welles and Norman Corwin. It was revived on the west coast and you had the privilege of being on the very first one where you announced Brave New World.

[William Conrad]

Brave New World. Yes, that's right. CBS Radio, a division of the Columbia Broadcasting System, and its 217 affiliated stations present the premier broadcast of the CBS Radio Workshop Radio's distinguished series dedicated to man's imagination, the Theater of the Mind. Tonight, Part 1 of 2 Half Hour Programs devoted to one of the world's most shocking and famous novels, Aldous Huxley's terrifying forecast of the future. Brave New World. We are proud to have Mr. Huxley as narrator for these broadcasts. Original music is composed and conducted by Bernard Herman.

[Interviewer (Chris)]

Another performance that I. That I enjoyed, that you did very much, was an anthology called the Ballad of the Iron Horse. It was the story of a locomotive that served its life in the United States from the Civil War to the reign of the West. And then nobody wanted it until a few enterprising businessmen bought that locomotive and it was put out of travel town in Griffith Park, California.

[William Conrad]

I remember vaguely the show. I can't remember who wrote it, frankly. Was it Sam Pierce? Sam Pierce, was it?

[Interviewer (Chris)]

Yes.

[William Conrad]

I thought Bill Robeson probably produced it or directed it. Always puff and you can this old iron horse Black and smoke and cinder the mark on his horse down in the valley and up on the grave Driving on steam Help and history be made. CBS Radio presents the CBS Radio Workshop dedicated to man's imagination. The theater of the mind. From Hollywood, the workshop brings you William N. Robeson's production of an original folk tale, the Ballad of the Iron Horse. He was a locomotive of four four zero eight wheels and a diamond stack and a whistle to blow when he was young There was no mightier thing when west of the Mississippi he was the rail king he wasn't streamlined, didn't have much looks but he wrote his page in the history books. His father was iron his father was steel Forged in a smelter from his stack to his wheel brought to l in 187062 Time of the stripe Our grandpappy's new.

[Interviewer (Chris)]

No Place of Japan, which was with John Dana and yourself. You narrated very good story about the Japanese pilgrimage.

[William Conrad]

CBS Radio presents the CBS Radio Workshop dedicated to man's imagination. The Theater of the mind. Today the workshop offers an unusual departure in radio drama, a free adaptation of 14th century Japanese theater based on Arthur Whaley's translations of the classic no Plays of Japan, adapted by Harvey Marlowe. Music composed and conducted by the noted Japanese composer Takshindo. There is a rock which stands at the gate of the shrine on the highest peak of Mount Katsuragi. On this rock is written, whosoever of all mortal men, whether he be king or slave, if he turn his heart to me, I will send a light to lead him and guide him on his way.

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[Interviewer (Chris)]

Okay.

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[Interviewer (Chris)]

I recorded two programs in Europe that I don't know from what series they're from. Maybe you can help me. One was called the Waxworks where you played all the parts. Was that from a workshop or from a suspense?

[William Conrad]

Do you happen to recall, I think that was suspense. While the uniformed attendants of Mariner's Waxworks were ushering the last stragglers through the great glass paneled double doors, the manager sat in his office interviewing Raymond Hewson. The manager was speaking. There's nothing new in your request, sir. In fact, we refuse to take different people. Mostly young bloods who've tried to make bets about three times a week. I should say we have nothing to gain. Something to lose by letting people spend the night in our murderers den. If I allowed it and some young idiot lost his senses, what would be my position, eh? But your being a journalist somewhat alters the case. Hewson smiled. I suppose you mean that journalists have no senses to lose. No, no, no, of course not. But one imagines them to be responsible people. Besides, we have something to gain here. Publicity and advertisement and another one.

[Interviewer (Chris)]

And the only clue I had to go by the music was done by Jerry Goldsmith and it was a thing called 1489 words.

[William Conrad]

Oh yes, I remember that very well. That was a wonderful success. My God, they had more fan mail on that than I think anything that they. One of their other shows put together. Yes, that was a Columbia workshop. With no prejudice against pictures that are worth 10,000 words. We will bring you in the next half hour 1489 words which are worth innumerable pictures. Exactly how many only you can tell for well, it's the magic of your imagination that will paint them. They say one picture is worth 10,000 words. Do you still believe it? Well, listen then to 398 words from the pen of the late great Thomas Wolf from his book of time in the river, a passage known as the Thunder of Imperial Names. The thunder of imperial names. The names of men and battles, the names of places and great rivers, the mighty names of the state, The names the of of the Wilderness and the names of Antietam, Chancellorsville, Shiloh, Bull Run, Fredericksburg, Cold harbor, the wheat field, Bald's Bluff and the Devil's Death. The names of Cowpens, Brandywine and Saratoga, of Death Valley, the Chickamauga and the Cumberland Gap. The names of the Nantahalas, the Badlands, the Painted Desert, the Yosemite and the Little Big Horn. The names of Yancy and Kabar counties and the terrible name of Hatteras. Then for the continental thunder of the state, the names of Montana, Texas, Arizona, Colorado, Michigan, Maryland, Virginia and the Tutacos. The names of Oregon and Indiana, of Kansas and the rich Ohio, the powerful name of Pennsylvania and the name of all Kentucky, the undulant of Alabama. The names of Florida and North Carolina. Sackett at the break of day long hunters lay for bear the rattle of arrows and Laura leaves the war cries around the painted buttes and the majestical names of the Indian nations the Pawnees, the Algonquin, the Iroquois, the Comanches, the Black Feats, the Seminoles, the Church Cherokees, the Sioux, the Hurons, the Mohawks, the Navajos, the Youth, the Omahas, the Onondagas, the Chippewas, the Crees, the Chickasaws, the Arapahos, the Catawba, the Dakotas, the Apaches, the Croatians and the Tuscaroras the names of Powhatan the and Sitting Bull and the name of the great Chief Rain in the. The rails go westward in the dark. Brother. Have you seen starlight on the rails? Have you heard the thunder of the fast expression? The names of the mighty rails that bind the nation. The wheeled thunder of the names that net the continent. The Pennsylvania, the Union Pacific, the Santa Fe, the Baltimore and Ohio, the Chicago and Northwestern, the Southern, the Louisiana and Northern the Seaboard Airlines, the Chicago, Milwaukee and St. Paul the Lackawanna, the New York, New Haven and Hartford the Florida east coast, the Rock island of a Denver in Rio Grande. Finally, the names of the great rivers that are flowing in the darkness. The names of the great mouths, the mighty moors, the vast wet, coiling, never glutted and unending snake that drink the cotton. Where and in what other land will you find others like them and where you can match the mighty music of their name? The Monongahela, the Colorado, the Rio Grande, the Columbia, the Tennessee, the Hudson, the Kennebec, Arapahannock, the Delaware, the Penobscot, the War Bash, the Chesapeake, the Sonoa, the Indian river, The Niagara, the St. Lawrence, the Susquehanna, the Tom Bigbe, the Nantahala, the French Broad, the Chattahoochee and the Potomac. These are a few of their princely names. These are a few of their great proud glittering names fit for this immense and loneliness land that they inhabit.

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[Interviewer (Chris)]

The writers and the producers of Gunsmoke ever get or accept stories written by the listeners?

[William Conrad]

I don't know. It seems to me that at least once somebody wrote in something that was a story outline that they did use, but I'm not really positive of that. I do remember one incident that happened about Gunsmoke that was rather interesting. We had a tremendous listening audience. I think they estimated we had something like 50 million listeners a week, which is pretty fair even in today's. What happened was that it was released twice a week. That's why we got such a large audience, because it was on Sunday night, which was one in one audience, and Saturday morning, which was an entirely different audience. But the show had been on something like, oh, seven or eight years. And I was walking down the street one day and a nice gentleman stopped me and said, I want to say something to you. And I said, yes. And he said, it's a chancy job and it makes a man a little lonely. And I looked at him like he was insane because I said, I beg your pardon? He said, that's, you know what that is. And I said, no. He said, oh, come on. He said, you're, you're being, you're being stuffy. And I said, said no, I'm not being stuffy. I don't know what that is. And he said, well, that's ridiculous. A fellow who plays the part and then isn't even nice enough to. To admit that he wants to talk about the show and I really am annoyed with you. And he turned and walked away. And I couldn't figure out what in God's name was going on. Because you see, that opening was recorded the first week we did the show, which was eight years before. And I had never said those words since then. And I had never listened to the show. So I had no idea, you know, he was very annoyed at me and rightfully he had A right to be. Because he thought I was being a big shot or something. But I honestly didn't know what he was talking about.

[Interviewer (Chris)]

You know, even though you entered radio like you said, said in sort of its latter years, you were on some of the most popular and well remembered programs in radio history. If I may run through them very quickly. Let's reminisce. Do you remember Jason and the golden fleece? With McDonald car?

[William Conrad]

Yeah, he and I co starred in that. You could not sleep? No, Louis. Thinking about our friends Alan and Donovan, huh? Do you find this interesting? In a moment morbid sort of way. At least the sea is giving us no trouble. I have the feeling that if those characters below wanted to, they could rustle up a storm. I imagine that the Gulf of Mexico is a little out of their jurisdiction. Well, maybe I'll still be glad when this cruise is over. They are paying us away, you know. Yeah, and we're earning every penny of it. Smell something? Only treasure. Which I will admit is somewhat of a novelty after the atmosphere of the French Quarter. I'm serious. Don't you smell it? No. Louis. Smoke, huh? You are right here. So look, coming out of the engine room.

[Interviewer (Chris)]

Night beat with Frank Lovejoy.

[William Conrad]

Yes, lovely. It happened in the Pelican's car. He was sitting alone, tall, gray haired, rugged. A face full of some 50 odd years, I guess. And full of some other things no one could guess. There were three drinks at the bar before I made out who he was. A man who was once big in a way that only cohit. Mind if I sit down? Who are you? Randy Stone, Chicago State star. Mr. McMasters. Well, you're the first one. What? First one who's recognized me. Ah, well, only from your pictures. It was a long time ago. Time. I know more about time than you or that old guy they always have around on New Year's with a beard and the hay cut in. I just thought there might be a story somewhere. Sure, sure. Sit down, sit down. I'll tell you a story. Once upon a time, there was a guy who had everything. Money, friends and future. Then a bunch of old women made a law called the Volstead Act. You remember it? Yeah, yeah, but I wasn't thirsty at the time. Well, a lot of people were. Everybody, in fact. You see, the law was always supposed to be for the other guy, not for them. If there were no other guys. So this fella I'm telling you about got on the bandwagon. He bottled millions of violations of the Volstead act, made a lot of money And a lot of trouble. Am I boring you? If you are, I ask for it. But you're not. Well, the trouble got him a lot of jail. 19 years of started in 1931, ended just two days ago. I see. Now this guy's out, and he's gonna stay clean. And he can pass a thousand stupid laws, and he's not gonna fall for any of them. He's gonna do everything the way it says in the books and live happily ever after. How's that for a story? There's a good moral, but no drama, no suspense. Good. I hope it's real bad, because I don't want you to print it. Stone, I'm flattered that you recognize me, but I paid back 10 days for every one I took. All I ask is that you just let me alone in the papers. Okay, McMaster. As far as I'm concerned, you made your Last copy in 1931. Stole. It's nice to come out of prison and have the first guy you meet not like you. Let me buy you a drink.

[Interviewer (Chris)]

Richard diamond, private detective.

[William Conrad]

That's with several different people. My God. Dick Powell. Gene Raymond did it. Oh, gee, Diamond, I'm sorry. Did I hurt you? Oh, no, no, no, Seymour. I feel great. Who needs seats? Come to think of it, though, I might be more comfy down here if you'd lift this desk off my chest. Oh, yeah, sure. There you go. Oh. Oh, wow. Thanks. Sorry. I didn't mean to knock you over.

[Interviewer (Chris)]

Sorry.

[William Conrad]

Forget it, Forget it. I I enjoy having my chest crushed as much as the next guy. Okay. Now, the throw I'm going to show you now is called a Japanese shoulder toss. Look, Seymour, you've convinced me. Judo is a wonderful sport. I I didn't realize what I've been missing all these years. I I love this sport, judo. Now, what'll it be? Canasta or old maid, huh? How about hopscotch? Oh, come on, come on. Let me show you just one more throw. Not even if it was with a beanbag. And maybe some wrestling holes and I know a lot of wrestling stuff. Must be some trick you'd like me to try. No, no, no, Seymour, I, I, I I really don't believe I. Well, come to think of it, yes, I There is a wonderful little trick, huh? You get yourself a nice long rope, throw it high up into the air. Yeah? And then real quick, you climb way, way up to the top and just disappear. That's nuts. And then there were three or four people who did Johnny Dollar.

[Interviewer (Chris)]

Were you ever on Johnny Dollar?

[William Conrad]

Oh, yes.

[Interviewer (Chris)]

How about Frontier Gentlemen or have Gun Will Travel?

[William Conrad]

No. Although in later years I directed many of the Hab Gun Will Travels, the TV versions of it.

[Interviewer (Chris)]

Well, another show was Sam Spade. That was a. That was a ditty with Howard. There was one beautiful one that you were in where it was such a bizarre murder that it wasn't solved until the very end. And that was the part where you played the millionaire Albert Martini, who had himself murdered. Do you remember that particular episode? No.

[William Conrad]

You're exactly 1 minute and 42 seconds late. Hours are made of minutes, minutes are made of seconds. And killing this seemingly negligible interval of time, you have wounded an hour. Oh, I have? Well, I'm sorry. The traffic's pretty heavy out here this hour in the morning. You know, you should have started a minute and 22 seconds earlier. I'm sorry. There was a bore on the telephone. Kept talking about how valuable his time was. Well, don't apologize. Only waste more time. Here's your check. Hundred dollars. My car's just around the corner. I paid that chauffeur a large salary. We mustn't keep him waiting. In the meantime, you may as well start earning a fee. I've been earning it for the past 22 minutes and 22 seconds. Wait. I suspected as much. You drive a car?

[Interviewer (Chris)]

Yeah.

[William Conrad]

You mean one man drives all that? I see him. That rascally chauffeur of mine sleep in the back seat. All right, come out of there. You okay? Hey. What? I was behind him and a little to the right. The shock of the rapid fire. 30 caliber slugs lifted him off his feet and knocked him against me. I went down under his 300 pounds of dead weight. The time I rolled him off of me and got up, the gunman had jumped out of the limousine and into a gray sedan that was double parked alongside in the welder of traffic on the boulevard. I didn't dare risk throwing a shot after him. But I did get the first three numbers of the license plate before it buried itself in a heavy stream of AM commuters.

[Interviewer (Chris)]

Suspense. Many roles in suspense. And you had the good fortune to work with a wonderful lady. In fact, I call her the first lady of Radio, though many don't. And that's Kathy Lewis?

[William Conrad]

Yes. Kathy was very good.

[Interviewer (Chris)]

You were with her on two programs that I have in my collection. One is the Search for Isabel with Red Skelton. He played the part of a gangster named Tony DeSumoto. And Kathy Lewis was the voice of Isabel.

[William Conrad]

Well, that isn't smart, boy. I thought I Told you not to pound. Let me in. Smart boy's got a gun. I might get hurt. Let me in. What else? My hospitality's boundless. Come in and have a cocktail. Yeah, 13 half year old scotch cocktail, I suppose. Where's Isabel? Oh, come now. Where is she? I know she's here. Put the rod away before you get hurt. Smart boy. Hey, this morning. Oh, hello, Roy. Come on in. Close that door behind you. Now you two, put your hands up. What is this? I. Both of you get over. Back against that wall. Look, Brown, I don't know what you're trying to prove. If you're as smart as you think you are, you'll get out of here fast. Isabel. Isabel, come out. It's okay.

[Interviewer (Chris)]

Stand back where you are neither. You got hurt once, nosy.

[William Conrad]

Keep quiet, Isabelle. What are you waving the gun around for? Now stand back. You nervous? You let Isabelle go. Hey, you're shaking so bad you couldn't hit the wall. Please. Now you stay away from that mantle. I just want to pick up this automatic, that's all. Now stay away. You're too nervous. You're out of your league, smart boy. Put that gun down. Drop the rod. Drop it. Don't. That's it. Drop the gun.

[Interviewer (Chris)]

Well, the other one was Never Steal a Butcher's Wife. Where you worked with her.

[William Conrad]

Never steal a butcher's wife.

[Interviewer (Chris)]

Good job as a liquor clerk in the supermarket.

[William Conrad]

It's a fascinating title, but I don't remember it well.

[Interviewer (Chris)]

Kirk Douglas stood the wrong suspense about eight years earlier.

[William Conrad]

And now Never Steal a Butcher's wife. Co starring Mr. William Conrad and Ms. Grand. Kathy Lewis. A tale well calculated to keep you in suspense. It started the first day of the job. I was clerking the liquor department of this supermarket. I hadn't been in Los Angeles but about a week. My brother, when I left New York, had given me this letter to a friend of his, a guy who owned a string of these supermarkets. And this guy had this opening liquor clerk and comes following Monday. And I'm at work, one of those big places with hardly any clerks, you know. You pushed a little cart around and you helped yourself to get out. You passed the cash register and the girl loaded your stuff and rang up the price. Well, that's where the trouble was. This girl at the check stand. I hadn't noticed her until around noon. And when I happened to look up, there she was looking at me. Just looking at me. She must have been 50ft away at least, and with customers between us. But it was like we were all alone. The Two of us on a beach somewhere. An empty beach.

[Interviewer (Chris)]

Do you remember one called A Matter of Timing? Where you were hired killer. Paid to do a job that never got carried off.

[William Conrad]

Well, I suppose you know what you're supposed to do. Yeah. Kill somebody. Who? My partner. How'd you find somebody like me? It isn't hard to friend. Ask a friend and ask a friend what you know. Yeah, I know. What's the matter with your partner? Huh? I mean, why do you want him killed? Personal reasons. You want his wife? No. You've been dipping out of it too. And you got your fingers. What's so important about the reason? It's not only I get curious why people want to have other people killed. Does there have to be a reason? Oh, not as far as I'm concerned. I get paid to do a job that's also 11. That's my reason reason. Yours ought to be at least as good. It is for me. Good. Let's get on a business. I got a 18 hour alibi. That means I got to be out of here by night. You should be out by 9 o' clock this morning. I'll plan just about. Good. I don't like complication. There won't be. When do I get to rest my money? Just as soon as the job is done. I want it before. Don't you trust me? I'm sorry. My business. It has to be cash in advance. Nothing personal. It's just that I can't sue you. You're in me. You could come gunning for me. Well, I could, but I wouldn't. I only do my work for money, not pleasure. Here. In advance? Yes. Yes, in advance.

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[William Conrad]

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[Interviewer (Chris)]

Another one I recorded in Europe you narrated. It was a very good one called the man who Threw Acid.

[William Conrad]

He was a young man serving his second year in the city assembly and because he believed in honest government, he wanted to enact restraining legislation against the racketeers. At first the older men, the wheels of the political machine, laughed at him, patted him on the back, gave him a cigar. They liked him because he reminded them of their lost ideals, wasted energies. And then they began to listen to him. Wondering. The young assemblyman said in council, I wasn't elected to this office to see my wife and kids or any anybody else's wife and kids. Dictated to by the racketeers and the hoodlums in this city. That's what's happening. Dope, gambling, mugging. The protection racket started again. If the chief of police won't or can't do anything about it, I say we should make laws, put teeth in them. Get rid of the big boys who run the rackets and we'll have a clean city. It wasn't a brilliant speech, not in content or in delivery, but it made its point. And the young assemblyman kept on making his points. The older, wiser city fathers began to take notice. So did the press and so did the big boys, the racketeers. And the man who was considered the boss called a meeting. There was no red tape involved, no orders involved. Triplicate. A simple direct edict from the top. And the organization was such that by 7 o' clock that evening the hireling had been contacted. 10 or 15 shows a week and you multiply that by 52 weeks a year and multiply that by 15 years.

[Interviewer (Chris)]

And you did appear on First Nighter Bull Venture.

[William Conrad]

Yes, as a matter of fact I was Mr. First Nighter for a while. I think I was the last Mr. First Nighter. There were many before me, but when it moved out here I was to the part.

[Interviewer (Chris)]

And you did a couple of favorite stories of Ronald Coleman.

[William Conrad]

A couple of favorite stories. My God, you did more. I did all of them. I think I Did the leads on probably 95% of them.

[Interviewer (Chris)]

Well, then, with all that, you might remember one in particular called the diamond lens.

[William Conrad]

Oh, I remember that very well.

[Interviewer (Chris)]

Oh, beautiful story.

[William Conrad]

Yes. You don't have a copy of that.

[Interviewer (Chris)]

Yes, I do.

[William Conrad]

You do? I'd love to hear that.

[Interviewer (Chris)]

All right, I'll make sure you.

[William Conrad]

We're gonna have to get together after we get off this interview. My lens set with such infinite precision within my microscope and then a muffled cry within my throat I raised one of the massive andirons before the fire. And with a strength beyond my own, I struck again. Again, again. And at last, there on the floor, there beneath my feet were but shattered remnants of the object of my hatred. My diamond lens. And that, young gentleman, is my answer to your question. Do creatures exist beyond the realm of human sight? They do. I, of all the world, have seen them.

[Interviewer (Chris)]

Did I leave any out?

[William Conrad]

Well, probably. But who cares at this point? You've certainly had enough of them.

[Interviewer (Chris)]

Yes, that's about it. Though you did appear in a few Johnny Dollars. Yes. Johnny Dollar was played by John Lunn, Edmund o', Brien, Mandel Kramer and Bob Bailey.

[William Conrad]

Bob Bailey, right.

[Interviewer (Chris)]

And which one were you with?

[William Conrad]

I think nearly all of them. There was a Johnny Dollar that you and. I can't remember his name. Who was?

[Interviewer (Chris)]

Charles Russell.

[William Conrad]

Charles Russell, right.

[Interviewer (Chris)]

I have one.

[William Conrad]

Have you really? He was the very first Johnny Dollar.

[Interviewer (Chris)]

Yes, he was. I had the very first Johnny Dollar program.

[William Conrad]

Yeah, right.

[Interviewer (Chris)]

Christopher London with Glenn Ford or Rocky Jordan with Jack Moyles?

[William Conrad]

Oh, Rocky Jordan. Yes, but never on the other one. I don't even remember the name.

[Interviewer (Chris)]

How about Drag Dance with Jack Webb?

[William Conrad]

No, I never did any drag dance.

[Interviewer (Chris)]

Good group of actors. Barney Phillips, Herb Ellis. But you did work with Jack. And quite a few escapes, yes.

[William Conrad]

All right, you guys, come on, the party's over. Hey, Miller, movie trips along. Come on. You guys don't look like no bunch of daisies, but we'll make you bloom. What we? Miller. He was a brute of a man, and he carried a.45 in a holster. He and the driver, Miller, herded us out of the truck like so many cattle. It was some sort of a road gang. Saw a sign blocking the road that read, under construction. Endler Construction Company. Well, I had no idea where we were. How far away from the border. The landscape was dry, dusty, barren. Well, Gonzalez, you with us again? Didn't we learn you not to get drunk, huh? Come on, you guys. Stop on it. All right, quit shoving. Come on.

[Interviewer (Chris)]

Come.

[William Conrad]

What are you doing here? Yeah, that's what I'd like to know, Mother, how many times I gotta tell you to be careful who you pick up? Now wait a minute, Jake. Don't get sore before I tell you. Don't you know we can get in plenty of trouble picking up the wrong guys? I didn't pick him up. O'. Toole. Throw him in. O'. Toole. Shut up, you what o' Toole wish him on us for little Hensler hears about. Well, o' Toole has already talked with Hensler. He says this fellow will not give us any trouble. He is sending Bessler. The police are looking for him. Yeah, crazy. He came across the border to sell some money he had stolen from a bank or something. He must be plenty hot. You are thrilling to drop 15,000 real dough for 4,000 cash.

[Interviewer (Chris)]

Real dough?

[William Conrad]

What are you talking about? That was counterfeit. I sold o'. Toole. Listen, buddy, I don't know what your racket is, but nobody fools o' Toole about money. But it can't be real money. It was counterfeit. I tell you, it had to be. Look, I want to see Hendler. You talk to me or you talk to nobody. But I gotta see Hensler. I gotta get back to Juarez, huh? You hear that, Miller? He's gotta get back to Juarez. All right, look, you can't push me around. I'm an American. Oh, he an American. Well, send this to your congressman. Okay, American, get on your feet. Get a pick and start working.

[Interviewer (Chris)]

Well, I am just about out of questions. Would you care to ask me any?

[William Conrad]

Well, yes. I'm fascinated with what you're doing here. You just showed me a couple of magazines about old radio and I didn't realize that there was anything this advanced in the way to. In the way of radio buffetry, if you would use that expression. I'm fascinated that there are a lot of people around who believe that radio was a great medium and could be a great medium today. Unfortunately, it does not exist today. But I firmly believe that radio cuts it all over television in many areas. And it's a shame that a medium that is that beautiful has to disappear.

[Interviewer (Chris)]

I bet there are many gun smokes that you did that were so well written and you enjoyed doing so much that you would like to do over again.

[William Conrad]

As a matter of fact, I did one of the shows I did. I made a movie out of later, I think, called the Ride Back. Anthony Quinn and I started it talking about movies.

[Interviewer (Chris)]

I saw the movie the Cowboy that you narrated along with John Dana Lawrence document Tex Ritter, good anthology about the American West.

[William Conrad]

Yes it was.

[Interviewer (Chris)]

And it had a touch of Gunsmoke in it.

[William Conrad]

Well, okay. Thank you very much. I certainly appreciate talking to you and good luck on your collection and whatever else you involve yourself in. Thank you.

[Interviewer (Chris)]

It's been a pleasure to have the opportunity to talk with you today about those wonderful days of le you. Thank you very much.

[William Conrad]

Join us again next week for another specially transcribed story on gun smoke. This has been a presentation of otrwesterns.com and we hope you enjoyed. Please take some time to like and rate this episode within your favorite podcast application. Follow us on Facebook by going to otrwesterns.com Facebook and subscribe to our YouTube channel channel by going to otrwesterns.Com YouTube become one of our ranch hands and unlock some exclusive content. We want to thank our most recent ranch hands Steve and Ron W. Who joined us recently. You too can join by going to otrwesterns.com donate send us an email podcast trwesterns.com and you can call and leave us a voicemail 707-986-8739. This episode is copyrighted under the Attribution Non Commercial Share Like Copyright for more information go to otrwesterns.com copyright have a great day and thanks for listening.

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