Story of Gunsmoke – Part 5 | Gunsmoke (04-25-1976)

Summary

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Old Time Radio Westerns – “Story of Gunsmoke” Part 5 | Gunsmoke (04-25-1976)

Podcast Host: Andrew Rhynes
Episode Date: December 28, 2025

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Episode Overview

This special episode of Old Time Radio Westerns dives deep into the enduring legacy of Gunsmoke, the creative minds behind it, and presents a brought-to-life classic radio drama segment. The main theme is the emotional and historical richness of Gunsmoke’s storytelling, particularly focusing on the artistry of its writers—especially Marion Clark—and the keen characterization and audio craftsmanship that defined the series.

Listeners are treated to a restored episode featuring the story “The Piano,” interwoven with authentic commentary by original cast and crew, offering both an immersive narrative and an inside look at what made Gunsmoke a touchstone of radio Westerns.

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Key Discussion Points & Episode Structure

1. Tribute to Marion Clark – Woman Writer of the West

(01:35 – 03:18)

• Norman McDonnell reflects on Marion Clark, a prolific female writer for Gunsmoke who penned 65 to 70 episodes. Despite being wheelchair-bound, she brought a unique, empathetic, often melancholic perspective to Western storytelling.

• Quote:
  “She had a marvelous insight into the woman’s side of the western idiom… the sort of sad, wistful tragedy of people moving west…”
  (Norman McDonnell, 02:35)

• The script “The Piano” (1958) demonstrates her signature focus on treasured belongings and wistful longing.

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2. “The Piano” – Gunsmoke Drama Segment

(04:00 – 18:00)

• Begins at a Dodge City cafe with Doc, Matt Dillon, Kitty, and Chester. Doc gets a belated twenty-dollar gold piece from a cowboy he treated years prior—a rare payoff in his line of work and a moment of old West camaraderie.

• Suddenly, news arrives of a stagecoach hold-up, critically injured men, and a $20,000 currency heist. Dillon and Chester pursue the outlaws through the night, discovering their camp and engaging in a gunfight.

• Tense Confrontation at the Homestead: They find refuge at a lonely shack, home of the proud, eccentric Mrs. Hanford—a Southern widow who fiercely guards her battered furniture and, especially, her cherry wood piano. The men seek shelter with their wounded prisoner.

• Evocative Details: Mrs. Hanford’s obsessive, touching care for her things, notably her piano, becomes a metaphor for holding on to the past amid western hardship.

• Memorable Moment:
  “I do not allow anything to mar the finish of my beautiful cherry wood piano.”
  (Mrs. Hanford, 13:04)

• The standoff escalates—her house becomes the scene of a shootout. Mrs. Hanford, tragically, is shot and dies on her veranda, her last wish being for someone to take care of her piano.

• Revelation: The piano, treasured above all, is revealed to be silent—its strings long rusted away. Its value lies in memory and appearance, not utility—a haunting emblem of lost dreams.

• Quote:
  “Crazy. I guess it didn’t have to play. Just had to look pretty. It was all she had.”
  (Chester, 21:02)

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3. Commentary: The Death of Radio Drama

(21:01 – 26:56)

• Norman McDonnell and John Dunkle discuss the gradual end of golden age network radio, with executives increasingly focused on business rather than creative innovation.

• Quote:
  “Radio was deserted by its own mother and father… left to lie on the doorstep and wither and die, consciously and willfully.”
  (John Dana, 25:50)

• The cancellation of Gunsmoke in 1961 is remembered, with the cast and crew expressing pride and loss.
  “I never felt about any other series that I did as keenly as I did about Gunsmoke. I loved it that much.”
  (Harley Bear, 26:20)

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4. Reflections on Gunsmoke’s Legacy

(27:57 – 31:59)

• Why Gunsmoke Succeeded:
  The team credits:
  • The unique, adult-oriented, emotionally complex stories.
  • Writers like Les Crutchfield, Walter Newman, and Jim Port.
  • Norman McDonnell’s direction, giving time to breathe and develop character.
  • Sound design that created “a visual feeling for the listener.”
• Quote:
  “Gunsmoke came along with stories that were not necessarily the typical Western. They were emotional stories… more adult, more sophisticated.”
  (John Dunkle, 29:30)
• The magic of “radio as theater of the mind” is described, with pride in their detailed, historically accurate storytelling.

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5. The Weight of the Gun – Matt Dillon’s Resignation and Crisis

(43:01 – 66:17)

• Matt Dillon returns to Dodge with captured outlaw Jack Brand. Despite praise, Dillon is troubled by the violence and loss of life inherent in his job.

• Dillon is haunted by nightmares and self-doubt:

  • “It’s a lot of killing. An awful lot.” (Doc, 46:33)
  • Dillon voices his weariness and moral burden. He resigns as marshal after refusing to draw on provocateur Joe Stanger, realizing he no longer wants—or is able—to kill.

• Quote:
  “That’s my resignation, Chester. I’m quitting right now. … I’ve hated this job since the day I took it. I never did have a taste for killing. And now they can find somebody who has.”
  (Matt Dillon, 58:22)

• Matt finds peace fishing with Kitty, relishing being free from wearing a gun—until news arrives that Stanger has murdered a woman in Dodge.

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6. The Inevitable Return to Duty

(63:38 – 66:17)

• Dillon resists calls to intervene, steadfast in his resignation, but Chester delivers a powerful, emotional plea:
  • “Men like Stanger and Brand, they gotta be stopped. … It’s kind of too bad for you that you are [the best], but that’s the way it is. And there’s nothing you can do about it. Not now. It’s too late.” (Chester, 65:29)
• Dillon dons the gun once again, resuming his burden as marshal out of necessity for the greater good.

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Notable Quotes & Memorable Moments

• “It was all she had.” (Chester on Mrs. Hanford and the silent piano, 21:02)
• “Radio was deserted by its own mother and father… left to lie on the doorstep and wither and die, consciously and willfully.” (John Dana, 25:50)
• “Gunsmoke came along with stories that were not necessarily the typical Western. They were emotional stories… more adult, more sophisticated.” (John Dunkle, 29:30)
• “I’ve hated this job since the day I took it. I never did have a taste for killing. And now they can find somebody who has.” (Matt Dillon, 58:22)
• “Men like Stanger and Brand, they gotta be stopped. … It’s too late. Give me your gun, Chester.” (Chester and Matt Dillon, 65:29-65:50)

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Significant Segments & Timestamps

• Marion Clark’s contribution and “The Piano” background: 01:35 – 03:18
• Opening scene, setting up the drama: 04:00 – 05:00
• Mrs. Hanford’s piano and tragic defense of her home: 10:48 – 21:02
• Exploration of radio’s decline and Gunsmoke cancellation: 21:01 – 26:56
• Creative strengths and reflections on success: 27:57 – 31:59
• Matt Dillon’s crisis, resignation, and eventual return: 43:01 – 66:17

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Tone and Atmosphere

• The episode blends nostalgia, melancholy, and admiration for the artistry of old time radio.
• Dialogue is rich in characterization, with bittersweet humor, tension, and somber realism. The cast’s rapport and humanity shine throughout.

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For New Listeners

This episode is both a gripping Western narrative and a love letter to radio drama. It profiles the emotional complexity that set Gunsmoke apart, honoring its unsung heroes and legacy. Long-time fans will appreciate the authentic voices and behind-the-scenes stories; newcomers will find it an evocative gateway to the golden age of radio.

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End of Summary

Transcript

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[Narrator/Various Characters (Gunsmoke Radio Drama)]

Foreign.

[Andrew Rines (Podcast Host)]

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.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Another frequent contributor to Gunsmoke was Marion Clark. Again, Norman McDonald. Marion Clark wrote some 65 to 70 gunsmokes and interestingly enough, one of two women that was terribly successful in the in the Western field. I met Marion Clark through Kathleen Height, who had taken Marion under her wing. In a way. Marion was confined to a wheelchair and not able to get around, but Kathleen had told me a great deal about her during the time that Kathy and I worked on other shows together, like Romance and Rogers of the Gazette and so on. She felt that it would be good therapy if Marion could do a script, and I thought this would be fine. And Marion not only did one script, she did some 69 or 70 more because she was had a marvelous insight into the woman's side of the western idiom. There were several things that were almost a trademark with Marian, and strangely enough, one of them was the sort of sad, wistful tragedy of people moving west and bringing their most treasured belongings with them. And one script in particular of Marion's I think exemplifies this. It was in July or August of 1958. It was called the Piano and it's a great example of Marion's work.

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Savings versus Comparable Verizon plans plus the cost of optional benefits. Plan features and taxes and fees vary. Savings with three plus lines include third line free via monthly bill credits. Credit stop if you cancel any lines. Qualifying credit required.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

You want some more pie, Kitty? You might as well since Doc's paying for it.

[Cast Member/Character (Gunsmoke Radio Drama)]

No thanks, Matt. I've had plenty.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yeah, what happened to make you such a big sp. Doc? Some forgotten relative leave you something in his will? Might as well.

[Cast Member/Character (Gunsmoke Radio Drama)]

What do you mean, Doc?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, you remember that cowboy got himself shot up in a long branch brawl. That was a year or two ago. Been more than one of them. I know that. But Kitty might remember this. She helped stop the bleeding until I got there.

[Cast Member/Character (Gunsmoke Radio Drama)]

Oh, I remember Doc. He didn't even have enough money to buy a beer.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

And we figured he never would have. Well, what happened to him? Well sir, I had a letter from him this morning. He's had some kind of a payoff in California. And he sent me a twenty dollar gold piece to pay me for what he called my medical services.

[Cast Member/Character (Gunsmoke Radio Drama)]

Well, that's fine, Doc. I'm glad he made out.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yes, men like him don't often do it. You don't often get paid. Well, you never know in my business.

[Cast Member/Character (Gunsmoke Radio Drama)]

Chester, Matt at the door and you two.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Doc, hurry up. He means that, Doc. Excuse us.

[Cast Member/Character (Gunsmoke Radio Drama)]

Sure.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

He's going back outside. Somebody must be hurt. I didn't hear you shooting. Now there are other ways to get hurt. Jack, over here for the stage.

[Cast Member/Character (Gunsmoke Radio Drama)]

Mr. John.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

That man has been hurt. Max, that's a shotgun messenger. Doc. Somebody must have held up the stage. Mike got shot, Mr. Jones. He's hurt pretty bad. Let me take a look. What happened, Chester? Well, I don't know for sure. I seen the stage come in just now and Mike was driving.

[Cast Member/Character (Gunsmoke Radio Drama)]

Rider?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yes, sir. So I knew something was wrong. Then I could see he is hurt too. He's trying to say something. Make it fast, man. I got to get him up in my office. Mike, it's Marshall. Dylan, what happened? Held up. Driver killed. Were there any passengers? No, no. Currency shipment 20,000. Why did happen? Mike? He's going out now. Mike. Mike, try. Please try. Tell me, why did happen? How many minutes, huh? North Hat Creek. Two men. Two? That's all? Man, he's uncomfortable. I'll find A couple of men to help you, Doc. Chester, go get our horses. Yes, sir. And hurry. They went along here. Right now, Mr. Jones, that cracked shoe shows up real plain. Yeah, they've been riding hard, too. But they must have slowed down or stopped for a while somewhere. I hope they didn't get no more sleep last night than we did. What's the matter, Chester? You getting old? No, sir, it ain't that. But my gracious, two hours sleep. It just don't seem worth bothering about, that's all. And I hope our friends bothered a little about sleep. If I was carrying $20,000 in bills, I wouldn't never stop. Yeah, you'd have to be riding a pretty unusual horse. Well, that's I guess you're riding. Wait a minute. Looks like they did stop after all. What? They built a fire over there. Yeah, it was m all right. Yeah, same tracks. I think we picked up a little time on them, Chester. Come on, let's pick up some more. I swear I'm gonna. Them riding like they stuck to the saddle. They're near dark again. They'll have to stop someplace along here pretty soon. The mountain? I don't know. Hold up. Those tracks are heading down to those bushes along the creek. Here. Let's go. Easy. Yes, sir. What you're doing? Yeah. Up yonder above the stream there, there's a shack. Yeah, I see it. You think you might maybe a hit out in it? Maybe. I'm not going to ride straight up to find out. We leave the horses here? Yes, sir. We'll circle around back. Just keep low. There's two horses tied up there, Mr. Dylan, there. The other. Yeah. All right, hold it. They're heading for the horses. You got him? Yeah, but the other one's getting away. He's out of range. Yes, sir. You go bring the horses up. I'll see about the man I shot. I mean, you going after the other one. He's got a pretty good head start, and it's near dark. I'm not going after him blind. Morning soon enough. Go on. You get my brother. You get wrecked. Not yet. You heard? Bad?

[Cast Member/Character (Gunsmoke Radio Drama)]

Yeah.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yeah, I sure am. Chester. Yes, sir? Tie up those horses and come here. We'll carry him into the shack.

[Cast Member/Character (Gunsmoke Radio Drama)]

Be right there.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yeah. He smell his horse. What about him? Well, his legs broke. Must have stumbled in there trying to get away. You reckon? I better shoot him. All right, you can do it. As soon as we get this man out of the shack. Easy. Easy. All right. Open the door, Chester. I'll keep hold of him. My Date's locked. You suppose somebody lives in this forsaken place? I will find out. Go ahead and knock. Anybody in there? Open up. Anybody in there?

[Cast Member/Character (Gunsmoke Radio Drama)]

There's no need for any more noise at my door. Just finished telling you men you can't stay in my house.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

You don't need that shotgun, ma'.

[Cast Member/Character (Gunsmoke Radio Drama)]

Am.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

We don't mean any harm.

[Cast Member/Character (Gunsmoke Radio Drama)]

I intend to defend my home, sir. No rough men are going to tramp around amongst my fine things.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

You open the door a little wider, ma', am. And you'll see we're not the same men.

[Cast Member/Character (Gunsmoke Radio Drama)]

I don't open my home to any stranger.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I'm Marshal Dillon from Dodge City. And we got a badly injured man here.

[Cast Member/Character (Gunsmoke Radio Drama)]

A United States State Marshal.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

That's right, ma'.

[Cast Member/Character (Gunsmoke Radio Drama)]

Am. Well, then I guess I'll have to let you in. But I don't hold with your Yankee government. I want that clean.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

All right, ma'.

[Cast Member/Character (Gunsmoke Radio Drama)]

Am. Fine.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Come on, Chester. Now, you just show us where you want us to put it.

[Cast Member/Character (Gunsmoke Radio Drama)]

He hurt bad?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Not bad enough.

[Cast Member/Character (Gunsmoke Radio Drama)]

Well, I suppose even a rough man has a right to die in the bed. But mind you be careful of my things.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

All right, ma', am, we'll mind. I took care of Miller's horse. Mr. John brung the saddle. All right. Good. Hey, anything's a little strange in there. A little? All that talk about not hurting her. Fine things. Ain't nothing there that's worth carting with. Except maybe that old pine. Yeah, I know. Everything else all cracked and broke. Why, most ladies wouldn't give that stuff house.

[Cast Member/Character (Gunsmoke Radio Drama)]

You gentlemen would care to join me? I fixed this small supper.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, that's very nice of you, man. You say it's nice?

[Cast Member/Character (Gunsmoke Radio Drama)]

Mr. Hanford, he's my husband. Mr. Hanford always said I could spot a gentleman right away. I could see you two were gentlemen soon as we exchanged pleasantries there in the entryway.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, thank you, ma'. Am.

[Cast Member/Character (Gunsmoke Radio Drama)]

Mr. Proudforty, ma'.

[T-Mobile/SpinQuest Advertiser]

Am.

[Cast Member/Character (Gunsmoke Radio Drama)]

Please take your hat off my cherry wood piano.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

My lamb. Ma'. Am, it can't hurt nothing.

[Cast Member/Character (Gunsmoke Radio Drama)]

I do not allow anything to mar the finish of my beautiful cherry wood piano.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yes, ma'. Am.

[Cast Member/Character (Gunsmoke Radio Drama)]

Thank you. Is your plate. Please sit down.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Thank you.

[Cast Member/Character (Gunsmoke Radio Drama)]

I don't imagine your wounded friend will be able to partake.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

No, Ms. Hanford. He's not likely to come to for some time. That is, if he ever does.

[Cast Member/Character (Gunsmoke Radio Drama)]

I can't imagine how he got his wound. I'd seen him just a few minutes before. You gentlemen.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Ms. Hanford. Man. Didn't you hear the shooting right outside your door?

[Cast Member/Character (Gunsmoke Radio Drama)]

I Have trained myself not to see and hear the ugly things of life. I just live here alone among my friends.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

But you said that you have a husband.

[Cast Member/Character (Gunsmoke Radio Drama)]

My husband has been gone for two.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Three.

[Cast Member/Character (Gunsmoke Radio Drama)]

Four years now, Marcia.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Oh, I. I'm sorry to hear that, man.

[Cast Member/Character (Gunsmoke Radio Drama)]

Mr. Hanford will never be content to live a quiet life. He thought he could when first we came here directly after the war. I had in mind he'd build me a new plantation. Marshall, just between you and me, Mr. Hanford didn't appreciate my lovely thanks. And one day. Well, one day you just move down west.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Oh, that's too bad, ma'.

[Cast Member/Character (Gunsmoke Radio Drama)]

Am. I do not need your pity, sir. I'm content.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, sure, of course.

[Cast Member/Character (Gunsmoke Radio Drama)]

I'd be obliged if you gentlemen would sleep out there on the veranda.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Veranda? Oh, that's all right, Chester. We'll sleep on the veranda. I am going to have to keep an eye on Miller, though, man.

[Cast Member/Character (Gunsmoke Radio Drama)]

I will watch over him, Marshall.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, no, that's not your job, miss.

[Cast Member/Character (Gunsmoke Radio Drama)]

I'm mistress of this house, Marshal Dillon. I will watch over him. I will call you if there's any change. As a matter of fact, I'll look to him right now.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, all right, ma'. Am. Mr. Dillman. Yeah, Chester?

[Cast Member/Character (Gunsmoke Radio Drama)]

Mr. Dillman.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

That slanty old porch of Ranger. Well, it is to her. My, if she don't be off. Sam. Claire. Miss. Every time I dig a grave, the ground seemed harder than the last time. Our grave digging isn't supposed to be easy, Chester. It's too permanent. Funny how many men dies at daybreak, ain't it? I mean, when everything else is starting up and all. Well, I guess when you have to die, it's as good a time as any. Where do you reckon his brother is? Bernard Crack? I don't know. We're sure gonna have a long ride to catch up with him. I sure ain't one to hurry up a man about his dying. But I sure would have been glad to have been shut of this place for now. What's the matter, Chester? Don't you Enjoy Southern Hospitality? Mr. Dillon, I have to walk around in that old shack on my tiptoes. She's after me every minute about not hurting her thing. Gracious goodness, I couldn't hurt them old things if I tried. Well, we can be leaving soon now, Chester. We've done about all we can do in them bushes. Yeah, and my guns are in the house. Come on.

[Cast Member/Character (Gunsmoke Radio Drama)]

I believe it's customary.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

You get out of the way, please. I want my gun over there. What do you fool that Crazy fool's thinking of. I don't know, Chester, but he must have a good reason for sticking around his brother. No, I don't think he'd take on these odds when he was pretty sure his brother was done for. I think he's got another reason. Where's the saddle that came off Miller's horse? Over there in the corner.

[Cast Member/Character (Gunsmoke Radio Drama)]

Oh, be careful your heavy footsteps.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yeah, let's see now. Yeah, that's it. No artery stuck around. All that money sticks up into a right poor little package, don't it, sir?

[Cast Member/Character (Gunsmoke Radio Drama)]

Gentlemen, I don't understand stand the sudden rudeness on your part.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I'm sorry, ma', am, but I'm not too polite when I'm being shot at. And you stay away from those wonders.

[Cast Member/Character (Gunsmoke Radio Drama)]

I thank you, not give me orders in my own house.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Just let's push the piano in front of that window over there, huh? We're like sitting ducks this way.

[Cast Member/Character (Gunsmoke Radio Drama)]

You will not touch my chair.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

All right. Come on, Chester. Of course.

[Cast Member/Character (Gunsmoke Radio Drama)]

Oh, don't harm it. Oh, don't harm it.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

All right. I'll watch the front. You take the side. Hu. I don't think you'll wait long.

[Cast Member/Character (Gunsmoke Radio Drama)]

Long, miss. And do this how long?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

As long as that outlaw is out there, Ms. Hed, he's not going to let us out of here alive.

[Cast Member/Character (Gunsmoke Radio Drama)]

Who going to stay here tramping around among my nice things until he goes away?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I'm afraid so. Then.

[Cast Member/Character (Gunsmoke Radio Drama)]

Well, I'll just order him off my land.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Miss. Ha. Come back here.

[Cast Member/Character (Gunsmoke Radio Drama)]

See here, sir. Ms. Hanford, your trespassion. I want you to ride.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

He shot her. Yeah. There he is running for the creek.

[Cast Member/Character (Gunsmoke Radio Drama)]

He's down.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

You got him? Yeah. You go make sure, will you, Justin?

[Cast Member/Character (Gunsmoke Radio Drama)]

Yes, sir.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I'll see to Ms. Hanford. Miss Hanford. Miss Hanford.

[Cast Member/Character (Gunsmoke Radio Drama)]

I sure did him. You were right.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I'm sorry, ma'. Am.

[Cast Member/Character (Gunsmoke Radio Drama)]

He was no gentleman, was he? Marshal? Trespass on the lady's property.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Oh, ma', am, he wasn't. He's dead, mister. Gentlemen. How's Ms. Hanford? Not good. Not good at all. Ms. Hanford, they're gonna take you into your house.

[Cast Member/Character (Gunsmoke Radio Drama)]

No, not just yet. Marshall. Don't move me. Let me die here on the veranda.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

But you'd be more comfortable, Marshall.

[Cast Member/Character (Gunsmoke Radio Drama)]

I won't delay you long.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, is there anything we can do? I mean, is there any way to make you feel better? You just see.

[Cast Member/Character (Gunsmoke Radio Drama)]

You just see that somebody takes care of her love. She would buy it.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

She gone? Yeah. Well, I can carry her inside now, Mr. Dillon. Yeah. She really believed Rack Miller Would listen to her and go away, didn't she? Yeah. That he was no gentleman. Well, it's just a shame, that's what it is. His pine sure must play pretty the way she loved it. Took care of it so good. What are you doing? I just thought I'd hit me a note or two.

[Cast Member/Character (Gunsmoke Radio Drama)]

She.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

She wouldn't care, would she? Well, I guess she wouldn't. Why?

[Cast Member/Character (Gunsmoke Radio Drama)]

Why?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Don't play at all. And look here under the top. All the strings are rusted away just hanging there that you're doing. This pine ain't made a sound. Crazy. I guess it didn't have to play. Just had to look pretty. It was all she had. We'll return to the story of Gunsmoke in just one moment. And now back to gun smoke. By 1960, practically all the lifeblood had been drained out of network radio and the handwriting seemed to be on the wall for what dramatic programs remained. CBS no longer canceled individual shows. They canceled entire program blocks. Change seemed to be the watchword. And the executives that were lowering the curtain on radio drama seemed to be of a different breed. Gone were the men with programming backgrounds. It was quite a change from the late 1940s, as Norman McDonnell recalls. It seems to me that in the old days of radio, and I'm going back again to the 40s and 50s, the executives, whether, whether men like Guy Della Chapa or Harry Ackerman or whomever, were men with a. An experience in and a feeling for the theatrical end of the business as opposed to the business end of radio. There was a wonderful meeting of the minds when you went in and said you wanted to do such and such a kind of show. They could. They could picture and understand and either agree or disagree with what you had in mind, but they knew what you were talking about. It was really extraordinarily easy to get a conference or a meeting with the then CBS brass. Usually it was one man or two men and that one man or those two men said yes or no to your idea. And you either went with it or didn't. There was no feeling of committee. And at some point somebody upstairs would say yes or no. I had an idea that there could be a. A sort of a female Gunsmoke, if you will, only modern. I went to Harry Ackerman and said that I thought if we could get Joan Fontaine to play the lead in a script I'd written, we could cut an audition record. That was in the days when we used 16 inch acetates and it would be a thing of beauty and Everybody would be crazy about the whole thing. And of course, it didn't work that way. Ms. Fontaine did do the audition record, but it wasn't very good. My point, however, is that in the space of about a six minute conversation in Harry Ackerman's office, I walked out with the knowledge that I could have a studio, an engineer, an orchestra, a recording session, a cast and Ms. Fontaine all agreed to in about five minutes. And it takes more than that to ride up in an elevator today to one of the executive's offices. Writer John Dunkle agrees. I think that the decisions are made now by people who really have no training or understanding in the creative fields. They are mostly businessmen. Their only concern is economic. And the young people who move into the so called creative spots, I don't know how they're supposed to have the understanding to do it because they have no training, they have no background at all in creative work. They don't understand writing, they don't understand directing, they don't understand anything about it. It's all economic. And this began back in those days. It began with the great importance placed upon the sales department. John Dana summed it up this way. Radio was deserted by its own mother and father. It was left to lie on the doorstep and wither and die consciously and willfully. Gunsmoke's final broadcast was in June 1961. Harley Bear and George Walsh recall the cancellation. I'm glad we didn't know when we were doing the last show. It would have been a terribly depressing thing to know that this was the last time. As it is, we went blithely on our way. We did the last show and I think I was working on a Petticoat Junction when I got word that it had been taken off the air. The last program had a line at the end that said, this concludes the current series of Gunsmoke on CBS Radio. And I think that was the extent there were personal feelings involved too. We had, I think, more. More of ourselves put into that show than almost any other series. I know that I never felt about any other series that I did as keenly as I did about Gunsmoker. I loved it as much. And the others were the same. The same way we loved doing what we did. We felt, and Norman allowed this feeling that we were all a contributing factor to it in whatever facet we had. Following the program's cancellation, practically everyone connected with the series went on to other lucrative areas of the entertainment industry. All have done quite well.

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[Narrator/Various Characters (Gunsmoke Radio Drama)]

The past 15 years has also given the Gunsmoke Company time to reflect on the ingredients that made the show a successful first. John Dunkle. The people involved were simply excellent. It was kind of a culmination that had been building all through the 40s there. We had some marvelous actors, many of them went on to stardom and we had good, good writers, the very best writers, Les Crutchfield and Walter Newman and Jim Port and all kinds of people. And we had Norman at the helm, who was a very talented man, and John kind of riding her and riding so many of them and it was just a great combination, that's all. From the very beginning, Norman McDonnell used to say very often, because we had a success story almost overnight, that the success of Gunsmoke was a three way effort. The script, the actors and the music. He was very generous in saying this because of course he was also a very able director and the direction should have been thrown in there as well. I think it was an instant success because it was different. Westerns up to that time had been all pretty much the Hopalong Cassidy type thing, the Lone Ranger, more or less simple stories that appeal to youngsters of all ages. I think even today's Westerns tend to be fairly simple storylines, as they say. They're about four basic plots and you change the names. Gunsmoke came along with stories that were not necessarily the typical Western. They were emotional stories. The stories were again more adult, more sophisticated, more far reaching, I suppose you might say in so many aspects that I think the show was different. It was something that hadn't been Presented to the American public before. I think that it gave. Gave the listener the benefit of a respect, possibly that Western producers hadn't up to that time.

[Cast Member/Character (Gunsmoke Radio Drama)]

I think time taken. Whereas most of the radio shows were done with a sense of hurry and time. There was time to pause, to think. There was time to establish in the minds of the people. Again, I can't do anything except say that radio, the magic of it is to give a visual feeling to the listener. There was time taken for that, to establish a character. The writing, the writers were brilliant in that. The sound men were the greatest. They had these guys on the console. The sound were imaginative and they were inspired. And Norman.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Was so good.

[Cast Member/Character (Gunsmoke Radio Drama)]

Norman had this beautiful sense of timing a show so that he was never too pressed and you never felt pressed as an actor. So that you had to keep your eye on one eye on the booth to gauge your dramatic reading. Usually if you had a sense of timing the scene played as it played a press rehearsal. All I can say is it was 10 years of having a ball every Saturday morning. Of not only enjoying the drama of it, but of laughing, of humor and of having your wits exercised a little bit.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

The success of any series has to do with the charisma that the leading character has. You can give it the best stories and the best production in the world and the best support in the world. And if the guy or the gal does not have. Isn't going to make it and it can get by with a minimum of all of those things. If whoever it is has the lead causes people to say, hey, come on, let's tune in on old so and so tonight, by God, I sure like to see how he's going to whip all those bad guys. You know, it's. It's charisma, that's all. And I can't define it. I don't know what it is, what causes it, what causes the lack of it. Some people have it, some people don't. That's all. Please don't think that I am an egomaniac. I stand back and look at this. I've been on the other side for so long that I can evaluate quite clearly without being involved emotionally or ego wise. There was great character development. God, we used to go in with 11 page scripts. Take all the time in the world to do it. And the production value of really paying attention to sound effects and playing them for what they are realistically. And John's contribution of taking an incident and making it a story instead of doing a full fledged, full blown opening closing with the middle and contrapuntal characterizations. It was the story of a man, basically. Or if it wasn't that man, then it was somebody else that that man was involved with very deeply. We all really felt very strongly that we had something and I think we all treated it very carefully. We were lucky people. Well, we really were. This became a labor of love with everybody on the show. Show. And I know I still have in my library a number of books dealing with that phase of United States history in and around Dodge City and western Kansas and eastern Colorado and around there. None of us could have written like John Neston did and some of the subsequent writers on there. But there was a detail that was inaccurate or a period of time or an era that was not painted. We would all give tongue and say, no, that is not right. And we went about bringing some of our reference books in there and said, look, I might. And that was, you know, that was kind of the amazing thing when Bill was. When it made the transition from radio to television as they described wider and Tillman and some of the Clay Allison and some of the lawmen of that day. And many of the lawmen of that day and era had been former gunmen and desperados themselves. And then robbing got to be too competitive or hijacking or road agenting became too competitive and they quit. And these guys were good. They could control the baser element. And so some of the world's greatest outlaws became well known for being raw men. But you see, men in those days, women too were not as big as they are now. A six foot man was a tremendously big man. And Bill was not as heavy then as he is now. But it was amazing how well he physically fit the descriptions of many of the old time lawmen in there. And you know, Bill I still think is one of America's great unsung heroes so far as acting is concerned. Bill had a built in mechanism, still does, that allows him to act with a greater reserve than he uses. I don't know if I'm making myself clear, but I know we were told in drama classes and whatnot, don't use everything you got in every scene. Well, Bill doesn't. You feel that no matter how angry he got, how strong he was, how sad he was, how happy, how joyful, he still had 60% of his potential left. And that's an amazing thing that he does that today on canon that you feel don't push him any farther because he still has more than he's got right now. And very few actors have that you strive all your life to acquire the ability to act with reserve. And by that I mean reserve of power. But Bill has it. And that came over so forcefully in radio that of course he has a voice like a pipe organ. It's a magnificent instrument. And Bill could command with his voice and had the ability to paint such pictures in his shadings and readings and whatnot. I don't think that today Bill has ever really come into his own. As great as he is in canon, as great as he's been in other shows that he's done, his firm, potent ability has never really been unleashed. Well, I don't know. In these days, I think they'd say the chemistry was right in those days. I guess radio had just about come to its golden age. The. The mistakes and all the hard knocks were pretty well behind it. And TV had not yet made any serious inroads. So I think that the timing was one thing to be considered. And of course, I wasn't privy to the information having to do with the selection of the four principals, Bill Conrad and Parley Bear and Georgie ellis and Howard McNear. But that was a masterful stroke. They certainly represented a quartet of a fine talent. And then when you put with them people like John Dana and Lawrence Dobkin and Vic Perrin and James Nusser and some of the others just couldn't miss. Now, this is not even getting into the area of John menston and Norman MacDonald. Well, I think first place, you have to go back, almost be imaginative, but it was fairly new. The style, the form, the approach to the Western and so on. And also, I think because it was goddamn well done. I mean, great actors. Norm did a hell of a job in sound. God, what he did was sound marvelous, and it was new. And I guess people, you never know what they're going to like. They enjoy the characters. You never know where it comes from. I ran into a guy who was waiting in a line somewhere recently and my name came up and some guy said, oh, you have the same name as a writer. I said, yeah. Did you ever hear of Messengers? I said, yeah. I said, what me? And he blew his. He just had a fit. He said, my God, he was so proud. The guy from Chicago. And the interesting thing is that in Chicago, he said, in the radio, they had a club that would meet every week or 10 days and discuss gun smoke and the scripts, the ideas. But you know, when you write something, send it in or do it, you kind of forget there's an audience out there. And then these People would sit around and discuss what had gone on. I don't know, the moral aspects or whatever. I suppose that's the one reason it was popular, I guess. But you never know how to approach it. You do what you want to do, and if you like it, somebody else likes it, you're in luck. Otherwise, they send you down the street. I would truly enjoy going back to the old days of being completely involved in radio. There was a marvelous feeling, which doesn't often exist anymore, marvelous feeling of going home after you finished your day's work and indeed finished your program and sitting down and saying, boy, I. I liked what happened today. I liked the show we did. I feel good about it. And being able to sit there sometimes if it was tape delay or something, and hear your own show was a great sense of satisfaction. No committees, no groups. You, as the director, handled the music and the sound and the announcer and the cast. And. And you were completely involved and. And so were usually completely satisfied. The beauty, of course, was that the next morning you got up and started on the script for the following day or two days later or five days later, and you were starting a whole new world all over again, which you wanted to deliver in three days and had to be confined to 29 minutes and 30 seconds. And this, I think, was the beauty of radio. Each member of the audience, however big or however small, had a chance to exercise his own imagination and to draw his own pictures and add it to what he heard. I'd had my own private Matt Dillon, my own sexy particular kitty, my own bumbling doc and my own nutty Chester. And they all did things and looked exactly, exactly the way I wanted them to look. Bill Robeson said that America may well have forgotten how to listen. And I think this might well be true. So many of us are apt to sit in front of the television set. Whether we really absorb anything or not, I don't know. We sit and we watch. In radio, which has been called the theater of the mind, your imagination worked and drew for you whatever pictures you wanted. The theater of the mind's been dark for nearly 15 years now, and I think perhaps it's time somebody turned the lights up. Oh, hello, Chester. Oh, come on in, Doc. Ah, where's Matt? He ain't here.

[Cast Member/Character (Gunsmoke Radio Drama)]

See?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Where have you two been the last couple of days? I haven't seen either one of you. Well, I just got back from Hay City. Mr. Dillon sent me there to fetch some government papers. And you know what? I took the Santa Fe both ways.

[Cast Member/Character (Gunsmoke Radio Drama)]

You did?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, that beats Writing. But where's Matt? You said he left the note, but he didn't say exactly where he was at. What do you mean he's out of town? That's what the note said. It seems somebody told him where he could find Jack Brand. Jack Brand? Well, what's he doing around here? I don't know. I guess Missouri got too rough for him. Why don't they handle their own outlaws and say they're chasing him into Kansas for Matt to catch? Mr. Jones says Brand's got three of his gang with him. You mean Matt's gone out alone after four men? Well, if I knew where he was, I'd go help him, Doc. Oh, well, there's nothing you can do about it, Chester. You worry me though. That last hold up the gang pulled, they say four men got shot down. Well, maybe they'd quit. Maybe that's why they came to Kansas. When? You ever hear of a bunch of outlaws quitting? No, guess not. I guess I was just talking to myself. That's what you don't like. Where is he? There he is, sitting on that wagon.

[Cast Member/Character (Gunsmoke Radio Drama)]

Oh.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, who's that with him? Some fella give him a ride, I guess. Hello, Mr. Dillon. Hello, Chester. Doc. Hey, you lose your horse, Matt? We left our horses out at Bowers Ranch and borrowed this wagon. One of his riders will bring him in tomorrow. Who's this with you, Mr. Dillon? You've seen his picture, Chester. Oh my goodness. He's Jack Brand. Let's get on Brand. You first for sure. How come you let him drive the wagon, Mr. Dillon? To keep his hands full, Justin. Here, take my shotgun and lock him up. Yes, sir. Where's the others? I thought he had three men with him. Well, tell him, Marshall. Tell him where they are. They're in the wagon, Chester, under that canvas. But are they all dead, man? All three of them? They're all dead, Doc. Bloodiest Marshall I ever saw. It's just a wagon load of meat to hear. That's enough, Brandon. It ain't hardly enough. I never seed such killing. What happened, Mr. Dunn? Doesn't matter. They put up a fight and I had to take him. Well, I'll tell him what happened. Your law man here hid himself in the grass and just waited for us to come out of that cabin and then he yelled. So naturally we headed for cover. Who wouldn't? He just laid there and he cut loose with a shotgun. Tore up two of the boys that way. Then he stood up and he cut down Hank Smith with a six shooter. How come you got out of it, Brand. I jumped back in the cabin. Then I give up. We weren't putting up a fight. Be spooked us yelling like that make any man jump. Oh, I suppose you're trying to say that you wouldn't have shot. We tried to shoot him. Who wouldn't? Any man's got a right to defend himself. Well, I never heard of resisting arrest called self defense. I never heard of no marshal shooting down everybody on the landscape. Lock him up, Chester. Get going, Brand. He actually think he was killing hogs, not men. Shut up and people see. How come you brought the bodies back, Matt? Why don't you just bury them out there? Yeah, I wanted more witnesses than me to identify him, Doc. Might save trouble when Bran goes to trial. You say you were mighty lucky taking four outlaws that way, man. Yeah, and you kill three. Out. Oh, say, wait till people around here hear about this. Bran's right, Doc. It's a lot of killing. An awful lot. Oh, no, you don't. Don't get to thinking about it too much now, man. It's your job. You did it.

[Cast Member/Character (Gunsmoke Radio Drama)]

So it's over.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

It's over. Well, tomorrow or the next day, there'll be somebody else. There's always another man to kill. Oh, no. That's not the way to look at it, man. I've never heard of you shooting anybody. You didn't have to. No, I never did. But sometimes that doesn't help much. You look tired, man. I haven't slept since I rode out of here two days ago. Well, now you get some rest and you'll feel better. Sure. Brand snug in jail? Mr. Dylan, he don't like it much, but I told him not to try kicking his way out. That I'd be sleeping in the office. We'll both be sleeping in the office. Just. Or I'm too tired to walk to my room. Take care of this wagon and what's in it with you. You and Doc can identify those men. We'll write it out on paper in the morning. All right. I'll be coming to bed about midnight. But I'll be reading real quiet. Nothing could wake me, Chester. Not tonight.

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[Narrator/Various Characters (Gunsmoke Radio Drama)]

Gosh, Doc, you sure I shouldn't wake him up and tell him it can wait until morning? Jester, Matt's too tired to do anything about it tonight. I guess you're right. Of course I am. Yeah. Okay. Good night, Jeff. Good night, Doc. Oh, don't go for your gun. Don't go for me. Don't do it. I tell you to leave the gun alone. No. Don't make me kill you. Don't make me kill another man.

[Andrew Rines (Podcast Host)]

No.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I'm spilling up blood. I don't want to kill you. No. Mr. Dylan? Ain't nobody here. What? You was asleep. You've been dreaming. Oh yeah, yeah. I like Joanne. No, no, no, no, it's all right. Just. My gracious. I. I come in and I heard you talking and I thought somebody was here. That moonlight ain't too bright. I couldn't see good at first. Sure. My. I had to yell at you a couple of times before you woke up. You was dreaming you was in a fight, I guess. Yeah. Yeah, that's. That's what I was dreaming. Nightmares like that, they're just terrible, ain't they? There's a bottle in the desk drawer over there, Chester. Get it for me, will you? Yes, I know. For you. I used to have nightmares sometimes when I was a boy. But I don't get em much no more. Thanks, Mr. John. Good stiff drink will be good. Ah, thanks, sir. What time is it? A little past midnight. Jack Brand awake? No. He'd be bellering if he was. But Mr. Dylan, now that you're awake, there's something I ought to tell you. Oh, what? Well, me and Doc was having a drink over at the Alpaganza and a fellow come in there and started talking real loud. Talking about what? Well, sir, mostly about how he's gonna tree Dodge and how he's gonna tell you too. How? He says he's a friend of Jack Brands and he's heard about how you caught him and all. What's his name? Stanger. Joe Stanger. Yeah, I know him. You think he'll cause trouble? Probably. But I'm not going to worry about him tonight. Yeah. No, see, that's what me and Doc figured. He won't try nothing tonight. All the same, keep your gun handy, Chester. Now, let's try to get some sleep.

[Cast Member/Character (Gunsmoke Radio Drama)]

Yes, sir. Yes, sir.

[T-Mobile/SpinQuest Advertiser]

Brand.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Hard Mountain.

[Cast Member/Character (Gunsmoke Radio Drama)]

Time for breakfast.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Oh, go shut him up, Chester. It's hardly dawn.

[Cast Member/Character (Gunsmoke Radio Drama)]

Swear.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I'd like to throw a bucket of water on him. Oh, shut up, Brand. I'm coming. Come on over here. Just unlock this cage. What? I'm holding a gun on you. Can't you see? Where'd you get that gun? Drop it, brand. What? Oh, You're not hurt. I hit the gun. I got the keys, Mr. D. I'll get his gun out of there. All right, go ahead. Stand back, Brian. You like to bust my hand. You're lucky. Lucky you didn't kill me, I suppose. Just like you kill everybody. Shut up. I got it, Mr. Dillon. No good anyway. Not now. Where'd you get that gun, Bren? I made it, Marshall. Don't be smart. Wait a minute. Joe Stanger brought it to you. He tossed it to you, Right through those bars on the window. I didn't know Stanger was in town. Didn't you? Chester, get some boards and nail them over the window so nothing can get through it. I'll fix it, Mr. Dillon. Oh, wait a minute, Marshall. That's the only window in here. You can't. Can't board it up. You'll get enough here. No, but it'll be dark. I don't like it dark. Don't you? When you get it fixed, we'll go to breakfast, Justin. It won't take long, Mr. Dylan. Well, it's been some time since I've been out on the plaza this early in the Morning. Good morning, Mr. Dillon. Oh, weren't you up gambling all night last Saturday, Chester? Oh, well, that's different. Oh? How? Well, I've been asleep all night this time. Things looks different when you had a good night's sleep. Yeah, they sure do. You didn't have no more nightmares last night, did you? No, but I didn't sleep well. You ought to take some time off. Go out buffalo hunting or something. Yeah, maybe I ought to take a lot of time off. Wait a minute.

[Cast Member/Character (Gunsmoke Radio Drama)]

What?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

That's Joe Stanger coming in. And by golly, it is. What's he doing up so early? Maybe he wants to find out why Jack Brand hasn't shot his way out of jail yet. He won't throw him no more guns. Not the way I got that place boarded up. Now get out of the way, Chester. Yes, sir. Morning, Marshall. You're up early. Stinger train leaves for Abilene in about an hour. Going to Abilene? I'll be back next week. Jack Brant will still be in jail. I heard you caught him. Good friend of yours, isn't he? Sure, but I ain't part of his gang. Never was. Yeah, I know. Of course there ain't much gang left now. No. You're a pretty rough man, Marshall. And I have to be. Don't it ever bother you? Killing people the way you do? Stanger? I shot a gun out of Jack Brand's hand this morning. You come by the office later and I'll give it back to you. Now what would I want of a smashed up six shooter? It's yours, isn't it? I'm wearing mine. I ought to throw you in jail too. What for? They got you out of sight if nothing else. I wouldn't go to jail, Marshall. Not without a fight I wouldn't. I ain't afraid of you. You want to try it? Go ahead. Go ahead, draw. No. What's the matter, Marsh? I thought you like killing men. What's holding you back? You're gonna have to fight me sooner or later. Get out of here, Stanger. Go get on your train. Wait till I tell everybody about Matt Dillon. How he's lost his nerve. Get out, I said. Well, I don't want to shoot down a man that won't draw. Not today anyway. But I'll be back Marshall, next week. Why didn't you shoot him, Mr. Jones? He's nothing but a big bluff. Just as you go on to breakfast, I'm going back to the office. What? Why? You told me you hurt me. Well, yes, sir. Okay, Mr. Dylan. I brought you a can full of coffee, Mr. Jones. Thanks, Chester. I'll put it right here. What you doing, writing a letter? It's a telegram. Here, Chester, take this down to the depot, will you? Sure. I want it to go out right away. U.S. war Department. What are you telegraphing Washington about? That's my resignation, Chester. What? I'm quitting right now. Why, you can't do that. I've done it. Oh, I don't believe it. You're funny. A man can quit a job. Chester. I've quit jobs before. I know, but this is different. What's different about it? The government doesn't own me. But think What'll happen if you ain't Marshall here? There are other men.

[Cast Member/Character (Gunsmoke Radio Drama)]

Can be.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Marshal Mitchell. Dillon. What? You ain't doing this because of. Well, what Joe Stanger said. And I've lost my nerve. No, he's wrong about that. And he's wrong about my liking to kill men, too. You never killed nobody unless you had to. And now I don't have to. I'm through, Chester. I knew I was through when I didn't draw on Stanger this morning. I've killed my last man. I just don't know what they say. Mister, I've hated this job since the day I took it. I never did have a taste for killing. And now they can find somebody who has. He'll make a better marshal than I ever was. That ain't true. Go send the telegram, Chester. I'll be at Delmonico's having breakfast. And with a good appetite for a change.

[Cast Member/Character (Gunsmoke Radio Drama)]

Sam.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

After breakfast, I went to my room and got some of the sleep I'd missed the night before. And I slept good. It was as though what was passed was past. And none of it bothered me now. I didn't have to face it happening over and over again. And when I woke up, I felt better than I had in years. I even felt a little cleaner somehow. There wasn't going to be any more blood on my hands. Washington, as usual, was pretty slow answering my telegram. Week later, I still hadn't had an answer. But I didn't care. I'd quit. And that was that. I even began to enjoy myself for a change. Like the day I finally took home Kitty fishing.

[Cast Member/Character (Gunsmoke Radio Drama)]

Matt. Hey, Matt, look. I got another one.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, throw him back, Kitty. We got more than we can carry now.

[Cast Member/Character (Gunsmoke Radio Drama)]

I will not throw him back. I'll kill you.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Come on over here in the shade. You've done enough fishing.

[Cast Member/Character (Gunsmoke Radio Drama)]

Okay. Hey, we're getting mad. Isn't he a beauty?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yes. He's bigger than any I caught. Why don't you throw him in the sack and then sit down here, huh?

[Cast Member/Character (Gunsmoke Radio Drama)]

Say, you're right. I didn't know we'd caught that many.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yeah. Maybe we'll have a fish fry tonight, huh?

[Cast Member/Character (Gunsmoke Radio Drama)]

We can feed half a Dodge with all those.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, I doubt it. You ever see Chester go through a mess full of fish?

[Cast Member/Character (Gunsmoke Radio Drama)]

Last time he starved himself a couple of days in advance. Maybe we can kind of sneak up on him tonight.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Ah, no. He knows knows we're out here.

[Cast Member/Character (Gunsmoke Radio Drama)]

Maybe you ought to go into the business, Matt.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Oh, what business? Fishing.

[Cast Member/Character (Gunsmoke Radio Drama)]

You could do it for a living.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

And I am Gonna have to find something to do for a living, I guess.

[Cast Member/Character (Gunsmoke Radio Drama)]

Well, it won't hurt you to loaf for a while now. Yeah.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I'm enjoying it.

[Cast Member/Character (Gunsmoke Radio Drama)]

You know something, Matt?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

What?

[Cast Member/Character (Gunsmoke Radio Drama)]

I think this is the first time I have ever seen you that you.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Weren'T wearing a gun. It is. And I'm enjoying that too.

[Cast Member/Character (Gunsmoke Radio Drama)]

Someday maybe nobody'll wear guns.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Yep. Maybe. You know something? I'm sleepy.

[Cast Member/Character (Gunsmoke Radio Drama)]

You're lazy. So lazy you're probably gonna starve to death before you find a new job.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

I don't care.

[Cast Member/Character (Gunsmoke Radio Drama)]

Matt, look. Somebody's coming on horseback.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

No. Hey, that's Chester.

[Cast Member/Character (Gunsmoke Radio Drama)]

Oh, he's as lazy as you are. Imagine taking a horse to come this far.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Oh, Chester hates walking. Besides, he looks like he's in a hurry.

[Cast Member/Character (Gunsmoke Radio Drama)]

Maybe he couldn't wait for that fish fry.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Mr. Dylan. Hello, Ms. Kitty.

[Cast Member/Character (Gunsmoke Radio Drama)]

Look in that sack, Chester. We got about 30 catfish already.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Well, that's fine, Miss Kitty, but, Mr. Dillon, Joe Stanger's in town. Oh, well, it doesn't matter to me, Joseph. But you don't understand. Understand what? What I come to tell you. Stanger's at the Alberganza a while ago. He had word with one of the girls there, and she slept, slapped him, and he pulled out his gun and he killed her.

[Cast Member/Character (Gunsmoke Radio Drama)]

What? Who was the girl, Chester?

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Kate Hawkins.

[Cast Member/Character (Gunsmoke Radio Drama)]

Oh, no.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

That's who it was, Miss Kitty. And then the bartender tried to stop him, and Stanger shot him too. And I hear he's gonna die. I grabbed a horse off the hitch rail and come right down to tell you. You gotta stop him, Mr. Noan. I'm not marshal anymore here, Chester. I quit. No, that don't matter. It does to me. You mean you're gonna let Joe Stanger walk around, dodge and shoot everybody that gets in his way, including women? I'm throw killing. I told you that. Who's gonna stop him then? You're the only man around here that'll go up again him, and you know it. That may be true, but I'm still not gonna do it. Wait, Mr. Dillon. Wait a minute. I. I've been thinking a lot about all this lately, and there's something you've been overlooking. Oh? Men like Stanger and Grand, they gotta be stopped. I'd do it if I could, but I can't. I ain't good enough. Most men ain't, but you are. It's kind of too bad for you that you are, but that's the way it is. And there's nothing you can do about it. Not now. It's too late. It's way too late. Give me your gun, Chester. Chester want my holster? I'll carry it in my belt. I'm kidding. Chester will help you carry the fish.

[Cast Member/Character (Gunsmoke Radio Drama)]

Sure, Matt. Sure.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

It.

[Cast Member/Character (Gunsmoke Radio Drama)]

Foreign.

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[Cast Member/Character (Gunsmoke Radio Drama)]

Sam.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Gun smoke produced and directed by john hickman and norman McDonald starred william conrad as matt dillon. U. S. Marshal harley bear is chester, howard mcnear is doc and georgia ellis is kitty. Music was composed and conducted by rex corey. Sound patterns by bill james, ray kemper and tom tom hamlin. This is george walsh speaking.

[Cast Member/Character (Gunsmoke Radio Drama)]

Sa.

[Andrew Rines (Podcast Host)]

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 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 podcasttrwesterns.com and you can call and leave us a voicemail. 707-98-68739. This episode is copyrighted under the Attribution non Commercial Share alike Copyright. For more information go to otrwesterns.com copyright have a great day and thanks for listening.

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[Narrator/Various Characters (Gunsmoke Radio Drama)]

This holiday season, reach for the one butter that never disappoints. Kerrygold.

[Cast Member/Character (Gunsmoke Radio Drama)]

Made with milk from grass fed cows on Irish family farms and it's rich.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

Creamy and perfect for baking.

[Cast Member/Character (Gunsmoke Radio Drama)]

Whether browning butter for cookies or crafting.

[Narrator/Various Characters (Gunsmoke Radio Drama)]

The flakiest pie crust, Kerrygold's high butterfat.

[Cast Member/Character (Gunsmoke Radio Drama)]

Content makes all the difference in flavor and texture. Holiday treats will taste extraordinary.