The Columbia Workshop and Gunsmoke

Summary

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The Relic Radio Show — January 6, 2026

Episode: The Columbia Workshop "In the Train" (1939) & Gunsmoke "Pussycats" (1953)

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Episode Overview

This episode of The Relic Radio Show, hosted by RelicRadio.com, journeys into radio’s golden age with two vibrant dramas:

• Columbia Workshop’s “In the Train” — a 1939 Irish radio play exploring tragedy, community, and suspicion during a late-night railway journey after a contentious murder trial.
• Gunsmoke’s “Pussycats” — a 1953 Western focusing on violence, retribution, and the chase of a fugitive couple across the plains.

The episode immerses listeners in Irish and American storytelling traditions, highlighting contrasting moods—one brooding on justice and scandal, the other taut with suspense and gunfire.

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Key Discussion Points & Insights

1. Columbia Workshop: “In the Train” (00:43–28:53)

Setting & Tone

• Dublin railway station at night; passengers gather for a journey shadowed by the recent murder trial of Helena Maguire.
• Dialogues are thick with Irish wit, gossip, and underlying suspicion.

Character Dynamics

• Julietta: Anxious, critical of her provincial life and community’s lack of culture.
• Sergeant Jonathan: Good-natured, balancing duty and sympathy; tries to ease Julietta’s nerves.
• Michael O’Leary: Melancholic, mourns leaving his best friend; comic relief.
• Helena Maguire: The scandalized woman acquitted of murdering her husband; present but mostly spoken about by others, a focus of fascination and judgment.

Themes

• Small-town Scandal: The murder trial has deeply affected community relationships and perceptions.
• Law & Justice: The verdict (“not guilty”) is controversial, with debates about truth, morality, and what “the law” can see versus what is felt by the people.
• Exile vs. Homecoming: Julietta dreads returning home, associating “Farren Crest” with isolation and rain; others look forward to familiar comforts.

Notable Quotes & Moments

• Gossip and Prejudice:
  • “Maybe they didn't, Jonathan. But all the same. Why the papers were full of it.” – Julietta (03:33)
• Ambivalent View of Justice:
  • “In the eyes of the law she's an innocent woman.” – Sergeant Jonathan (04:56)
• Community Solidarity and Deception:
  • “We told our story, the lot of us. And we told it well.” – Julietta (17:08)
• On the Transforming World:
  • “There's a great change coming, a great change in the ears of the world.” – Julietta (17:58)
• The Weight of Exile:
  • “No one to speak to all day and nowhere to go. Nothing to look at but bogs and mountains and rain. Nothing but rain.” – Julietta (06:04)
• The Unveiling of Social Truths:
  • “The law is a truly remarkable phenomena. Here you are sitting at your ease at the expense of the State. And for one word...you could be lying in the body of the jail waiting for the rope.” – Sergeant Jonathan (24:07)

Dramatic Climax & Reflection

• The play circles Helena’s ambiguous innocence and the doubts of those around her, closing with the idea that justice and social capital are as fluid as the rain and mist outside (“Farrenchryst...lights in the windows. The heart and the fire...The countryside’ll be up. Twould be like daylight with all the talk there’ll be there.” – 19:27).

Timestamps

• Opening scene at the Dublin station: 00:43–01:51
• Main characters introduced and trial aftermath discussed: 01:51–06:23
• Rumors and community responses: 06:23–10:59
• Reflections on justice and Helena’s fate: 10:59–24:45
• Final moments, homecoming, and social reckoning: 24:45–28:53

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2. Gunsmoke: “Pussycats” (28:53–End)

Setting & Mood

• Dodge City, nighttime—Marshall Matt Dillon and Chester finish a long day, seeking relaxation but drawn into trouble at the Texas Trail saloon.

Story Progression

• Introduction of the Strangers:
  • A tall, silent man (Jack, aka Jack Farrow) and a talkative woman arrive. Their odd demeanor raises Kitty’s and Chester’s suspicions (30:57–31:59).
• Danger Unfolds:
  • Jack draws a gun as riders arrive, holding up the bar and preparing for a shootout. When the attackers rush in, Jack and the woman gun them down (35:26–39:27).
  • Matt and Chester learn from a dying man, Acton, that Jack and the woman fled California after a bloody stagecoach robbery betrayal (45:03).

Themes

• Vigilantism and Pursuit: Matt’s dogged sense of justice pushes him to pursue Jack and the woman across the prairie.
• Law vs. Survival: The fugitives’ view of lawlessness collides with Matt’s code.
• Moral Ambiguity: The dying Acton is pressed for information, blurring lines between justice and human compassion (“Even if he was a gunman, I'd given no peace to a dying man.” – Matt Dillon, 46:01).

Chase and Final Confrontation

• Matt and Chester catch up to the fugitives on a train. With cunning, they help clear the train car—avoiding a shootout among civilians (50:07–52:50).
• Mrs. Farrow (the woman) attempts a desperate last stand but is overpowered after a brief firefight (53:24–54:25).
• Resolution: The law prevails, but not without tragedy. Mrs. Farrow mourns, her husband is killed, and Matt reflects on the weight of his actions and the ambiguity of frontier justice.

Notable Quotes & Memorable Moments

• On the weariness of the day:
  • “I guess the best thing that could be said for the night was that it was still—not cold, not warm—somewhere in that between that makes you wish it would be one thing or the other.” – Matt Dillon (30:15)
• Tension before violence:
  • “He doesn't say anything. He just looks like he's getting ready, maybe waiting for something.” – Chester (31:36)
• Matt’s hard reflection:
  • “You have to figure the odds of a man forgiving for what you do when a thing has to be done, then you split the difference... I had to do what I did because I had to find out about them. But it didn't help. Even if he was a gunman, I’d given no peace to a dying man.” – Matt Dillon (46:01)
• Final pursuit and moral ambiguity:
  • “I didn’t have any stomach for shooting a woman, even if she was a killer.” – Matt Dillon (49:47)
• Aftermath:
  • “...it wasn't until the wagon became a dust cloud out on the plain that she started to cry.” – Narration (55:24)

Timestamps

• Arrival at Texas Trail, introduction of strangers: 30:03–31:59
• The robbery and shootout: 35:26–39:27
• Interrogation of Acton: 42:36–45:20
• The pursuit across the plains: 47:12–50:07
• The train confrontation and shootout: 50:07–54:25
• Aftermath and reflection: 54:25–end

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Memorable Moments & Quotes with Timestamps

| Time | Quote & Context | Speaker | |-----------|--------------------------------------------------------------------------------------------|-----------------| | 04:56 | “In the eyes of the law she's an innocent woman.” | Sergeant Jonathan| | 17:58 | “There's a great change coming, a great change in the ears of the world.” | Julietta | | 24:07 | “The law is a truly remarkable phenomena. ... for one word...you could be...waiting for the rope.” | Sergeant Jonathan| | 46:01 | “Even if he was a gunman, I’d given no peace to a dying man. For that, he had to die harder.” | Matt Dillon | | 55:24 | “...it wasn't until the wagon became a dust cloud out on the plain that she started to cry.” | Narrator |

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Episode Takeaways

• Contrast in Morality: Both plays explore the messy boundaries between legal acquittal/guilt and the court of public opinion and inner conscience.
• Cultural Color: Distinctive Irish and Western American settings, humor, and dialects preserve the flavor and nuances of their times.
• Atmosphere: From rainy, gossipy Irish rails to the dusty, gun-toting American frontier, the episode encapsulates radio’s power to build a world from voice and sound.

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For fans of vintage radio, “The Relic Radio Show” continues its mission to uncover and share storytelling from other eras—where character, community, and crisis collide in ways as resonant today as they were then.

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Transcript

[Relic Radio Host]

This is the relic radio show. Old time radio entertainment still standing the test of time from relicradio.com with another 60 minutes of radio drama. This is the relic radio show. We'll begin this week with columbia workshop and hear their episode from March 13, 1999, 1939, titled in the train. That's followed by gunsmoke with their episode from March 21, 1953 titled Pussycats.

[Narrator/Sergeant Jonathan]

The columbia workshop presents in the train, an irish play for radio by hugh hunt, adapted from a short story by frank o'. Connor. The scene, a railway station in dublin. It is night, and the excited chatter of the passengers comes to us over the rattle of milk cans being loaded on the waiting tr. Half. Cigarettes.

[Julietta]

Cigarette?

[Narrator/Sergeant Jonathan]

Do you want a paper for the train, sir?

[Michael O'Leary / Male Passenger]

What paper is it? What way would I be wanting a paper? And I bor in me great loss this night.

[Narrator/Sergeant Jonathan]

Is it a wake you're coming from?

[Michael O'Leary / Male Passenger]

It is not then. But I parted from my best friend this very night. Michael o' leary is the best friend I ever had.

[Julietta]

Walter, have I time for a cup of tea before the train goes?

[Michael O'Leary / Male Passenger]

I ever had. Michael o' leary was the best friend I ever had. And I never.

[Narrator/Sergeant Jonathan]

This way, sergeant. This way, ma'. Am. There's plenty of empty compartments along here. Now, will this carriage suit you now, sergeant? It will do very nicely. Very nicely indeed. Will this do you all right, julietta?

[Julietta]

I suppose it's as good as any other on this awful train.

[Narrator/Sergeant Jonathan]

Well, sit yourself down now beside the window and take your ease.

[Julietta]

Jonathan, please tell that man to put my hat box on the seat. You know I don't want it crushed.

[Narrator/Sergeant Jonathan]

Ah, there you are, madam. As comfortable as if you were riding in the lord mare's court. Well, here's a shilling for you. Maybe you'll slip around and drink the wife's help. Indeed, sergeant. Thank you and good night to you.

[Julietta]

I hope no one else comes in. But of course they will.

[Narrator/Sergeant Jonathan]

It is pleasant sometimes to have company on a journey.

[Julietta]

Well, I won't have any of your police or any of those awful witnesses. I tell you that now.

[Narrator/Sergeant Jonathan]

Yeah, well, let me see what's in the paper here. You know, we're not a bit too soon getting here. It's 23 minutes, too.

[Julietta]

And I would have had heaps of time to get that other hat at cleary's. Heaps of time.

[Narrator/Sergeant Jonathan]

Well, I always like to be in time for a trance.

[Julietta]

It's always the same. No thoughts for anyone. Only yourself.

[Narrator/Sergeant Jonathan]

Dear, dear, dear me, I know heaven.

[Michael O'Leary / Male Passenger]

Michael o'reilly, the best friend I ever had cock and scratch.

[Narrator/Sergeant Jonathan]

Cock and scratch.

[Julietta]

Dear, dear Dublin. I always want to cry when the train stops. Ah. How long will it be before I see it again?

[Narrator/Sergeant Jonathan]

A long while, I suppose.

[Julietta]

Three short days. And now back to that old hole San Frisch.

[Narrator/Sergeant Jonathan]

Well, twas a pleasant little change for you.

[Michael O'Leary / Male Passenger]

Change?

[Julietta]

When do you think I like having my name mixed up in a murder trial? After all I have friends in Dublin, you know.

[Narrator/Sergeant Jonathan]

Oh no, no my dear. No one thought you were mixed up in it.

[Julietta]

Maybe they didn't Jonathan. But all the same. Why the papers were full of it. But it was like heaven to be back in Dublin. Just to look down from the hotel windows and see men in real evening dress. I thought the prosecutor. Oh, what was his name?

[Narrator/Sergeant Jonathan]

Mr. Boyle.

[Julietta]

Yes, Mr. Boyle. Oh, he'd a wonderful face. And his voice went right through me. Oh, if only we hadn't been engaged in this awful business. Oh, that terrible woman. Standing there in the dark. Staring. Just staring. Sometimes I couldn't sleep at night after seeing her.

[Narrator/Sergeant Jonathan]

Yes, she was a bit scared. So she was scared.

[Julietta]

Rubbish. She enjoyed it. I really believe she was proud of having murdered her poor unfortunate husband. The brazen hussy. Why wasn't she convicted? That's what I want to know.

[Narrator/Sergeant Jonathan]

Well, it's hard to say which way the law take. If tis hard on some, Tis easy on others. And that's the way of it.

[Julietta]

Jonathan. Jonathan. Here she is. Quick. Don't let her come in here. If she comes in here, I'll. Is it this carriage that goes to far? And priest? Oh, tis that I didn't see your Thomas.

[Narrator/Sergeant Jonathan]

Well, I'll be blowed.

[Julietta]

Fancy her coming back on the same train as usual. Well, you'd think she'd felt some shame. I nearly fainted.

[Narrator/Sergeant Jonathan]

Well then again, why wouldn't she? There's no one could tell her to stop now. She's free now to come and go as she pleases. By the mercy of God.

[Julietta]

Oh, I suppose you're going to say that she never killed her husband at all.

[Narrator/Sergeant Jonathan]

Well, in the eyes of the law she's an innocent woman.

[Julietta]

Oh, if it were anywhere else except Haron Krish this never would have happened. Never. And the country people that you brought up as witnesses, why they're as bad as that one. With all the lies they told in.

[Narrator/Sergeant Jonathan]

The course the people in far increased have a great distaste for the law. Excuse me.

[Michael O'Leary / Male Passenger]

Excuse me lady. At my own door there's a coffee couple and I can't get into my compartment. So I thought I'd Come and tell you about my old friend Michael o'. Leary. Well, I pardon from him I am the very.

[Julietta]

Jonathan, Do I have to endure this?

[Narrator/Sergeant Jonathan]

Now, move along like a decent man. The wife has a headache. Certainly.

[Michael O'Leary / Male Passenger]

Opposite. Certainly. I beg your pardon, ma'.

[Kitty]

Am.

[Michael O'Leary / Male Passenger]

Dear, I want you to know about Michael. The best. And I am the best.

[Julietta]

Well, now, really, that's too much. It's too much. Well, why didn't you put him out sooner? Chocolate chicken at final help. Nobody has any consideration for my feelings. Suppose. I'm sure I shall have a nervous breakdown after all this yesterday. I cried all the day.

[Narrator/Sergeant Jonathan]

You bore up. Grand thanks be to heaven. And when you get back to Far Increased, you'll be a different person.

[Julietta]

Far increased. I have no life at all there. No one to speak to all day and nowhere to go. Nothing to look at but bogs and mountains and rain. Nothing but rain. Oh, you're from your precious policeman Magner. And the other two. Well, I hope they've sense enough not to come in here. I couldn't bear to listen to them for the next four hours.

[Narrator/Sergeant Jonathan]

We'll be joining us later for a glass, Sergeant. We'll be up the far end. I wouldn't like to leave the wife alone.

[Julietta]

Oh, don't mind me, please.

[Narrator/Sergeant Jonathan]

You see Aero sign in Allmore and the other folk. I did not. Then they'll have to be hurrying. Do you know who's on the train? No. Who? Well, you'll not believe until you see your face. Helena Maguire herself. But she walked in here not two minutes ago as cool as a cucumber. Aye. Tis strange how cool. Some can take it, but that one would fester. Come along now, Magner, if it's a quiet seat you want. And what happened to the lamp?

[Julietta]

When they might have managed to say.

[Narrator/Sergeant Jonathan]

A good evening to me, they hadn't much time to get themselves settled.

[Julietta]

And what did Delancey mean by passing me by like that? Without even speaking to us? I don't think I'll ask him to tea again. The others make some attempts, but really Delancey is hopeless.

[Narrator/Sergeant Jonathan]

Oh, Delancey. He's a poor slob.

[Julietta]

Oh, yes, but that's not enough, Jonathan. Slob or no slob, he should make an attempt. He's a young man. He should have a dinner jacket at least. What sort of a wife will he get if he won't even wear a dinner jacket?

[Narrator/Sergeant Jonathan]

He's easy. I'd say he's after a farm in Waterford.

[Julietta]

Oh, a farm, a farm. The wife is only an incidental, I suppose. Well, no.

[Narrator/Sergeant Jonathan]

From all I hear, she's a nice little incidental.

[Julietta]

Yes, I suppose many a nice little incidental came from afar. Oh, here come the neighbors. I hope they realize what sort of figures they cut. Not one of the women has a hat up the far end.

[Narrator/Sergeant Jonathan]

There's less goes up there.

[Julietta]

Hurry up, Marsh. Hurry up, or you'll be missing it yet. All these other business. Good evening. Good evening, Wales. For the future, I shall certainly cut that woman, Moll Moore.

[Narrator/Sergeant Jonathan]

Ah, poor old Malmore. She is a big heart.

[Julietta]

She's a scandalous liar. A brazen liar.

[Narrator/Sergeant Jonathan]

Oh, the poor soul. She means well.

[Julietta]

She contradicted you in the most outrageous fashion in the court. Jonathan, in future you're not to recognize that woman when you see her.

[Narrator/Sergeant Jonathan]

Is it in a place like Farncrest where you couldn't refuse to salute an old cow?

[Julietta]

Oh, there it is. There it is. No social distinctions, no principles. Oh, I can feel it enveloping me already. That awful place. I really can't bear it any longer.

[Narrator/Sergeant Jonathan]

Well, now, maybe as soon as we get back, we'll get a shift to somewhere else. Oh, no, no, no, don't cry. Ah, that's the good girl.

[Julietta]

It's too much.

[Narrator/Sergeant Jonathan]

Oh, wish now wish you'll be glad we're off. Four minutes late.

[Michael O'Leary / Male Passenger]

I can't possibly beat Michael o'.

[Julietta]

Leary. I tear down my life for Michael o'. I sometimes wonder if I can put up with it any longer. Oh, I'm afraid I'm not used to such surroundings. My father was an educated man, you see. But culture doesn't exist in Parenthesia.

[Narrator/Sergeant Jonathan]

No one to speak to and nowhere to go. No land at all. Bury down there. Nothing to look at but mountains and bombs. Nothing but rain. Criminals too. Don't think I'll ask your land you to see. Poor old Lany. He's cracked on the sergeant's wife. Oh, did you see the eye he gave her as we were passing herself in? The sergeant. Oh, I am cracked on her. The devil admire me. I never hated anyone yet. But I think I hate the living sight of her. Oh, no, no, no. Don't you spend the time catching into Mr. Tea. I don't want her old tea. I never asked for old tea. I can get better tea at the barracks. But what can I do when she knows where I am every hour of the day? And when she's tired of persecuting the sergeant, she's only to send across the road for me. Well, indeed. I don't know how the sergeant puts up with that same damsel Ah, she'll never rest since she's out of far and Crease and the sergeant along with her. I'd be sorry for that. He's a real nice man and very friendly to the place. Is the city life she wants. And how do you like the city yourself, then? Oh, man, dear, I'd like it fine. There's great life in a city you can have it and welcome. Why so? I'm well content where I am. I don't know. There must be a great charm about the criminal courts. Much charm they had for you when you were up in the witness box. Oh, I know. Shutting your eyes like a kid afraid he was going to get a clip on the ear.

[Michael O'Leary / Male Passenger]

Is this my carriage, gentlemen?

[Narrator/Sergeant Jonathan]

No, it is not. Go on with you.

[Michael O'Leary / Male Passenger]

I had as nice a carriage as ever would put on a railway train. A handsome carriage and his loss.

[Narrator/Sergeant Jonathan]

Try further up.

[Michael O'Leary / Male Passenger]

Excuse me interrupting your conversation, gentlemen.

[Narrator/Sergeant Jonathan]

That's all right. Now go on with you.

[Michael O'Leary / Male Passenger]

I'm very melancholy, gentleman. My best friend, Michael o'. Leary. I parted with him this very night. And says no one if I'll ever lay eyes on him again in this world. Oh, good night, gentlemen. Good night and thank you. Thank you for all your kindnesses.

[Julietta]

Oh.

[Narrator/Sergeant Jonathan]

Still, I admit Delancey wasn't the only one had the wind up when he stepped in the box. He was hot. Even the sergeant was shook when he picked up the mug with that bit of poison in it. He was trembling all over. And before he could put it down, it danced a jig on the table. Well, there was something queer came over me when that long, lean lawyer fella with a wig started rattling his questions at me. Twas that had me muddled. Only for that, I'd have been all right. Well, this time tomorrow night, I'll be sitting in Ned Ivor's pub with a pint in my fist. And by the same token, Dan, did you bring the drink with you? I did. Then hand it over to me that tis poor stuff only you'd get in the city.

[Announcer]

Ah.

[Narrator/Sergeant Jonathan]

Tis little good is in it. I wonder now what came over that same Helena Maguire to rise up and kill her husband. Maybe it was on account of the drink he'd take. He was a hard man, I'm told, when he drink taken and his father the same. I wouldn't say that now. I'd say there was another man in it, maybe. Oh, a man?

[Julietta]

How so?

[Narrator/Sergeant Jonathan]

There was a young fellow from the Black Glen. She had her heart set upon. Very often I'd meet him down by the river. Before her father wed her over to Seamus. Very great they were together. Maybe twas that she was thinking of. Here's the sergeant coming now. We'll ask him. He wasn't long getting tired of his julietta. Well, lads, what about a glass or something? Isn't that remarkable? Now, I was only mentioning the subject when you came in. I've noticed before, Foley, that you and I have what might be called a simultaneous thirst. How's the wife, sergeant? Well, now she's bearing up well, thank you. Though it was a bit of a shock to her seeing that same Helena mcguire in the trail. We were just running our minds back over the trial, sergeant, when you came along. Would you say it was on account of the drink that she did it? Well, it might. And then again it might not. Or would you say it was the great desire she had for katie driscoll? Well, it maybe was. A fine spirited woman she must be to have done the like of that. Ay, and never let on to a thing. The time she stood up to face the judge, she bested the lot of us. There wasn't one of us that didn't feel the strain when we stood up in the court. But she never let a quiver out of her. It was a remarkable kiss. I mind. Well, the sort of dull look she had when we came to take her off to the barracks. The same look that she had in the court. Oh, that old court. Never forget that. The questions they asked and the answers we gave Was a strange case. Took a statement from accused. She seemed depressed and quite amused. Friday night at half 10 an Ivor's cup deceased and liquor taken. Then he had my life. The conduct that the guards displayed Templary I'll see a lodge at worst invade and nothing but depressing youth and overwrought and nothing but the truth. And nothing but the whole truth and nothing but. And nothing but. Your lordship. Where are we? Aren't we home yet?

[Julietta]

No, no, won't be. What's troubling you to get home so soon? Me little house, me little hat. I suppose wasn't enough for you to be to board up the windows and put barbed wire on the old bit of a gate before you left?

[Narrator/Sergeant Jonathan]

Tis all well for you that have someone to mind Yours for you. And what are you laughing at, ma'?

[Kitty]

Am?

[Julietta]

Does that same have me laughing to think of me own healthy fidget of a man this week past is the stir above pot, ay, and making the bed and watching the children say aye and his chickens running off with teddy can't Deal his barley.

[Narrator/Sergeant Jonathan]

My barley is. It's better barley that was ever guarded on your old pigsty of a farm.

[Julietta]

Oh, there's something to say. Isn't it A great thing for me this week? Half and I lookin at an old scarecrow the like of you instead of my own fine bouncing man.

[Michael O'Leary / Male Passenger]

She's not here.

[Julietta]

Who's not here, mister?

[Michael O'Leary / Male Passenger]

I'm looking for my own carriage, ma'.

[Julietta]

Am.

[Michael O'Leary / Male Passenger]

And whatever they done with it is lost. The rainwares in this country have gone so.

[Julietta]

Richard, there's nothing else for struggling here. Wouldn't you sit here down along with myself?

[Michael O'Leary / Male Passenger]

Well, I would with great pleasure, ma'.

[Kitty]

Am.

[Michael O'Leary / Male Passenger]

With great pleasure. But. Tis only the carriage. Tis me traveling companion. I'm a lonely me. I parted with. With me best friend this very night. I found one to console me and when I turned me back, she was gone.

[Julietta]

Oh, so it's a female person. Without consoling you.

[Michael O'Leary / Male Passenger]

It was indeed, ma'.

[Narrator/Sergeant Jonathan]

Am.

[Michael O'Leary / Male Passenger]

A female person with a beautiful face. A sad female person.

[Julietta]

What sort was she?

[Michael O'Leary / Male Passenger]

I. I don't know, ma'.

[Narrator/Sergeant Jonathan]

Am.

[Michael O'Leary / Male Passenger]

I don't know from far. And Christ, she came with a Beautiful name. Helena McGuire. She called us out. I must find her, ma', am, if I have to search the whole trail. Ok.

[Julietta]

So herself is on the train, is she?

[Narrator/Sergeant Jonathan]

Isn't it a great impudence in her to come back?

[Julietta]

Isn't it now?

[Narrator/Sergeant Jonathan]

She won't be there long.

[Julietta]

You'll give her the hunt, I suppose.

[Narrator/Sergeant Jonathan]

If no one else do. I'll give her the hunt myself.

[Julietta]

And still Teddy Kindillan. You swore black was fight to save her neck.

[Narrator/Sergeant Jonathan]

I did, of course. What else would I do? Malmour? There was never an informer in my family.

[Julietta]

What else would we do? Isn't she one of ourselves? And great disgrace upon the village if they'd hanged her by the neck. We told our story, the lot of us. And we told it well. We did indeed. And nobody told it better than Malmo, do you think?

[Chester]

Here?

[Julietta]

Or she believed it herself? The Lord knows I nearly did. Did anyone ever think the day would come when a woman in our parish would do the like of that? Never.

[Chester]

Never.

[Julietta]

A monster. She might do it for land, maybe for money. When the hunger was land, people killed for land. When the hunger was money, people killed for money. In my young days, if you killed a man, there was treason in it. But what are they killing for now? Ah, the people aren't as wild as they were. Nor as poor as they were. Not as strong as they were. There's a great change coming A great change in the ears of the world.

[Narrator/Sergeant Jonathan]

People are asking for more.

[Julietta]

Be the forky here. The body. Oh, come on in, Sergeant. Come on in. Come on in the whole bunch of ye and set me free from the dismal talk, isn't it?

[Narrator/Sergeant Jonathan]

Well, we were lonely without you. You're the biggest and brazenist and cleverest liar of the lot. But I'll forgive you everything if you give me one soap from the bottle of liquor you have hid there under your shell. Well, I hope there's none of that same illegal potine you have there, Moll.

[Julietta]

Oh, Sergeant. And you think I drink that stuff?

[Narrator/Sergeant Jonathan]

Did you ever drink anything else? There'll be one good day's work done at Baron Creek on the head of this trial. And how so?

[Julietta]

Dan Moore will make a great brew.

[Narrator/Sergeant Jonathan]

Of 14 when our backs will turn. I'll get that husband of yours yet down the Lottie.

[Julietta]

It's too much.

[Narrator/Sergeant Jonathan]

How did you manage? It was a wonderful story you told. And Helena Maguire should be down on her knees offering up prayers for you this night. Sure, you fooled us right enough, you fool selves better. Well, there'll be great talk now when we get back to Faring Crease. Well, I'll be well pleased to be back. I have no great gras for city life myself. No life for a man.

[Julietta]

Listen to the rain, Lydia. We'll have a wet walk home. Twill be midnight before we'd be there. Ah, sure, the whole countryside'll be up. Twould be like daylight with all the talk there'll be there. And there'll be no sleep in Farrencrist tonight. Oh, Farren Kleicht. Farren kleesht. And the sky over yet. I wouldn't change places with the Queen of England this night. Farengrit.

[Narrator/Sergeant Jonathan]

Farengkhrisht. Farrenchryst. Ought to be back to Farengkhrisht. Farengkhrist. Lights in the windows. The heart and the fire. The mist and the meadow. The cow in the fire. The black and the turf. The white marsh wall. The humpback mountain. Overall and Millie Burned and Molly Birth, Art and Shine and Seamus Quirk will all be there to welcome us to Parliament Street. Parliament Street. Paramount Creek. Parliament Street. Welcome us to Parliament Street. Parliament.

[Michael O'Leary / Male Passenger]

I'm a lonely man and now I'm going back to me lonely habitation. My best friend. I left behind me Michael o'. Leary. Tis a great pity you don't know Michael. And a great pity Michael don't know you. But look at the misfortunate way A thing will happen. I was looking for someone to console me. And the moment I turned my back, you were gone. Oh, This is where I go to. This is where I get out. But this is the end of a beautiful friendship, Helena. If you will permit me to call you that. You have a beautiful face. A beautiful face. But what's more important, you have a beautiful soul. I look into your eyes and I see the beauty of your nature. Allow me one favor, only one favor, before we part.

[Julietta]

What is it you be wanting, mistress?

[Michael O'Leary / Male Passenger]

A kiss, ma'.

[Kitty]

Am.

[Michael O'Leary / Male Passenger]

A kiss on your beautiful sad face. Kathleen. The grave.

[Julietta]

On my beautiful head. Where to? Where to?

[Narrator/Sergeant Jonathan]

Nothing left.

[Julietta]

Nothing.

[Narrator/Sergeant Jonathan]

Come on.

[Julietta]

Are the jury back? Come on, now.

[Narrator/Sergeant Jonathan]

Come on.

[Michael O'Leary / Male Passenger]

The verdict of the jury is Mary mother. That Helen McGuire is Mary mother.

[Narrator/Sergeant Jonathan]

Not guilty.

[Julietta]

Men black fight the one of the sh.

[Narrator/Sergeant Jonathan]

Kill her man. Set her free. She's going back. Go.

[Julietta]

Going back. Where to? Nothing left.

[Narrator/Sergeant Jonathan]

Helena.

[Julietta]

They're all up in the train. Wouldn't you come now and join us? No, no. Just as they're asking for you. I couldn't. Oh, why couldn't you? Who are you minding? Is it the police? I'll stop where I am, you know. You know. Take a sieve of this and I'll put new heart into you. Thank you kindly. Wait till I tell you what Magner said. That fellow's the limb of the divil. I've heard a drop mall, says he. Maybe I have. Then, says I. What is it? Says he? What do you think? Says I. Oh, for the love of heaven, says he. That ties it quick and call it whiskey. Oh, they're coming along themselves. Here, give me that bottle. Twouldn't do at all for the sergeant to see that stuff. Will you look at that fellow Magner? He's taken a drop too much. Right enough.

[Narrator/Sergeant Jonathan]

Eleanor. Accept my congratulations. We'll get you the next time, though, Musha.

[Julietta]

What are you saying, mister?

[Narrator/Sergeant Jonathan]

Not a word. You're a clever woman, a remarkable woman, and I'll give you full credit for it. You threw dust in all our eyes. Eyes. And it's hard to come by and easy to trace. But it beat me to trace where you got it from that time.

[Julietta]

Well, there's things they're saying about me.

[Narrator/Sergeant Jonathan]

You're safe now. As safe as a judge on the bench. Last night when the jury came out with a verdict, you could have stood up and said, you're wrong. I did it. I got the stuff at such and such a place. I did it and I'm proud of it. You could have Said every word of that, and no one would have dared to lay a hand on you.

[Julietta]

Indeed. What a thing I'd say.

[Narrator/Sergeant Jonathan]

Well, you could. The law is a truly remarkable phenomena. Here you are sitting at your raise at the expense of the States. And for one word, one little word of a couple of letters, you could be lying in the body of the jail waiting for the rope and the morning jaunt.

[Julietta]

Please don't talk that way, mister.

[Narrator/Sergeant Jonathan]

Well, it was the holy will of God. With all the bloody lies Brown Moore told.

[Julietta]

With all the plaster spools you made yourselves in the witness box.

[Narrator/Sergeant Jonathan]

And no Helena, since tis all over and past. Maybe you'll tell us what came over here to do a thing me like of that.

[Julietta]

Was it for the land you did.

[Narrator/Sergeant Jonathan]

It, or the money? Was it because he was old and dirty and cantankerous and a miser, the way they said he was? Or maybe on account of the way he beat you. We need the drink taken. Or what made you do it? We know different from that, don't we, Helena? Well, there'll be one happy man in Foreign Creech tonight. No, no, Magdale, don't be making mistress. One happy man. Tis his. No, no, man, you're drunk. You wanted him, didn't you? Your people wouldn't let you have him, but you'll have him at last, in spite of them all.

[Julietta]

Do you mean Katie Driscoll?

[Narrator/Sergeant Jonathan]

You know rightly who I mean.

[Julietta]

I'll tell you nothing.

[Narrator/Sergeant Jonathan]

She's a close woman. And she's right, surely.

[Julietta]

Well, however, it is a bright welcome before you when you get back home. Since you'll be the interesting woman and the people wondering how you came to do it at all, you'll have all that you want. I'm not wanting anything at all. Is that a new blouse you have on? I seen it last night. And a shop in the Keys. A shop on the way down from the cottage. Is it nice? Just a fine color. How much did it cost you?

[Narrator/Sergeant Jonathan]

Is that all you were thinking of? You should have been on your bended knees before the altar.

[Julietta]

I was, too.

[Narrator/Sergeant Jonathan]

Well, we'll be in in a couple of minutes. I'd best be getting along. To the wife. Well, good night to you, ma'.

[Kitty]

Am.

[Narrator/Sergeant Jonathan]

I'm glad for all our sakes things turned out the way they did.

[Julietta]

Good night.

[Narrator/Sergeant Jonathan]

I pity him. There'll be a scolding for that poor man when he gets back to his maid. Give us another shot from that bottle mouth. That's enough now. You've had enough for the night.

[Julietta]

And for why would you revine a new blouse?

[Narrator/Sergeant Jonathan]

Ah, we're just coming in. Can you see? Is there any other boys on the platform? There's a great crowd surely.

[Julietta]

Can you. Can you catch a glimpse of my man Dan?

[Narrator/Sergeant Jonathan]

Isn't that him beyond under that lamp?

[Julietta]

Ah, move over, can't you? The way he'll see me wave.

[Narrator/Sergeant Jonathan]

There's me bald Seamus quirky old man sword behind.

[Julietta]

Where? Where?

[Narrator/Sergeant Jonathan]

Behind the nelly.

[Julietta]

Couple of girls now.

[Narrator/Sergeant Jonathan]

Who the thought she'll come down to meet me?

[Julietta]

Didn't she crack on you God.

[Michael O'Leary / Male Passenger]

Last quick.

[Narrator/Sergeant Jonathan]

Did you hear that, Foley?

[Julietta]

Come on. Is there a sign of Pillan under the old rascal D. I'm here if you leave me. Get out. Mary. Jonathan. How disgusting. I always hated clowns. Dan? Dan, is that you? Dan? Who else would it be if I.

[Michael O'Leary / Male Passenger]

Chance it, is it?

[Julietta]

Hurry on now.

[Narrator/Sergeant Jonathan]

Unless you don't be standing around castering. Come on now, miss, unless you want to be left behind the train.

[Julietta]

Please, mister, did you see Gary Driscoll here tonight?

[Narrator/Sergeant Jonathan]

Sure, and how would I be saying him? Didn't he leave for America yesterday?

[Julietta]

Did you ever see such rain the river likely be flooded with Best walk around by the road. He's no more to me than the salt sea.

[Narrator/Sergeant Jonathan]

More to me than the salt sea. Than the salt sea sea. You have been listening to the Columbia Workshop's presentation of in the Train, a radio play by Hugh Hunt adapted from a short story by Frank o'. Connor. The music was composed by Bernard Herman and the entire production was under the direction of Bruce De Morgan. Next week at this same time, the Columbia Workshop will present an original play for radio called A Letter from Home by Charles R. Jackson. This is the Columbia Broadcasting System.

[Announcer]

Around Dodge City and in the territory on west, there's just one way to handle the killers and the spoilers. And that's where the U.S. marshal and the smell of gun smoke. Gunsmoke, starring William Conrad. The story of the violence that makes moved west with young America. The story of a man who moved with it. Matt Dillon, United States Marshal.

[Matt Dillon]

Chester had been helping me with some paperwork and after the regular day ended and we didn't get through until about 10 o' clock and we were both kind of tired.

[Kitty]

Well, I sure never did think I'd hold out, Mr. Dylan. I got a cramp in my hand and a crick in the neck. What I need is a beer.

[Matt Dillon]

I'll join it. Just Chester. I locked up the office and walked down to the Texas trail with Chester. I guess the best thing that could be said for the Night was that it was still not cold, not warm. Somewhere in that between that makes you wish it would be one thing or the other. Or maybe it was because we were tired, that it didn't feel right. The bar wasn't crowded. And right off, Kitty came over to our table with beer. I thought she looked kind of worried.

[Chester]

Hard day, Matt?

[Matt Dillon]

Oh, no, no, nothing much.

[Chester]

Oh.

[Kitty]

I declare, Miss Kitty, this beer tastes darker than usual.

[Chester]

New brew? Probably change?

[Kitty]

Yeah, I suppose.

[Chester]

Say, Matt, you ever seen the stranger before? The Tall One bar, huh?

[Matt Dillon]

No, no.

[Kitty]

My heavens, Mr. Dillon, he is a lofty man, and that's for sure. Look at him stretch out.

[Matt Dillon]

Yeah. What about him, Kitty?

[Chester]

Well, I don't know. Sam gave me the eye a bit ago, just before you came in.

[Kitty]

Huh.

[Matt Dillon]

You trying to make trouble?

[Chester]

Sam's not sure. Fellas have been drinking straight for more than two. He doesn't say anything. He just looks like he's getting ready, maybe waiting for something.

[Matt Dillon]

Is the woman with him?

[Chester]

Yeah.

[Matt Dillon]

He was a lean, almost stringy man, Better than usual tall, and he might have served in the army once because he wore his gun. But forward as we sat, Chester and me drinking our beer, he turned around a couple of times and looked at the door. I never saw a man with eyes as gray or with a skin to his face so dry and tough you'd swear you could get sparks off it with a flint. The woman standing next to him talked loud and often, but he didn't appear to be listening. My, it was like Kitty said, he. He was waiting. About an hour went by. The place began to quiet down. Most of the men drifted out to wherever their way was taking them.

[Kitty]

Excuse me, Mr. Dillon.

[Matt Dillon]

You want to get on back, Chester?

[Kitty]

Well, yesterday I was thinking about it. It. This beer is so dark, it's making me sleepy.

[Matt Dillon]

Well, you go ahead. I'll see you in the morning.

[Kitty]

You staying?

[Matt Dillon]

Yeah. Yeah, for a while, I think.

[Kitty]

On account of that tall fellow.

[Matt Dillon]

Yeah, maybe.

[Kitty]

Guess I'll get a little whiskey and sugar. Might keep me awake.

[Matt Dillon]

No, you go on, Chester. It's all right.

[Kitty]

If it's all the same to you, Mr. Dylan, I ain't sleepy.

[Chester]

But, Jack.

[Kitty]

Okay. There's a hotel down the way, miss, that could put you up. Shut up. Nobody asked you.

[Chester]

Oh, now, Jackie, you ain't got no call to talk to the man like that. He's just being helpful.

[Kitty]

Say, Mr. Dylan.

[Chester]

Chester, I'm tired. I want to go to bed, trip on the stage and travel all day. I swear I've never been sick.

[Kitty]

He's talked Too much. Be quiet. Stay in here with me. I've been talking ever since we come in here. Stop where I'm going to hit you. Might not be a bad thing if you did. Mr. Dillon, there's anything in this world I hate, it's a woman who does nothing but clobber her guns. Kitty. I bet he is miserable to be wed to, though. What do you reckon's ailing him?

[Matt Dillon]

I don't know.

[Chester]

Chester, you're still here?

[Matt Dillon]

Yeah. Sit down a minute, will you? Kidding?

[Chester]

Yeah, sure.

[Matt Dillon]

You don't know their names, do you?

[Chester]

No. I came in on the 6 o' clock stage from Oklahoma Territory. That's all I know. She's been talking a lot, but mostly about clothes and liquor. He don't say anything.

[Matt Dillon]

You think they're married?

[Chester]

She's wearing a ring. I never seen a man drink as much, Matt. It's like water. Hey, you, honey. Yeah. Excuse me, Matt.

[Matt Dillon]

Yeah, sure.

[Kitty]

What do you want? Huh? Sure.

[Chester]

Thank you, honey. Sure.

[Kitty]

Where you think you're going to?

[Chester]

I'm gonna freshen up, Jack. I'm coming right back.

[Kitty]

See you do.

[Matt Dillon]

The woman had just got out of sight when we heard the horses coming down the street outside. There were only six of us left in the place. Sam, Kitty, Chester and me. The stranger at the bar and a cowboy sleeping it off at a table across the room. The tall man called Jack, with the sound of the horses, turned to the door and there was a gun in his hand.

[Kitty]

You fellas at the table, get up. Come over here.

[Matt Dillon]

I kind of wondered what you were waiting for.

[Kitty]

I know you've been wondering. That's why you've been hanging around. I don't want no trouble with you. Stay out of the way. You won't get hurt.

[Matt Dillon]

Why don't you put your gun away, mister?

[Kitty]

Don't bother me. Trouble coming through that door any minute.

[Matt Dillon]

Put it back. I don't allow gunplay in Dodge.

[Kitty]

What you allow ain't up to you now, mister.

[Matt Dillon]

If you're in trouble, it's my job to protect you and your wife.

[Kitty]

This is private trouble. You want part of it? I'll give it to you right now. In the belly.

[Chester]

Jack, they're here. Outside.

[Kitty]

I know.

[Chester]

We can get out the back.

[Kitty]

I ain't running no more. You either. Come on, get behind the bar.

[Chester]

Yeah.

[Kitty]

You two fellas don't hit your belts. Leave them lay where they fall. Go on.

[Chester]

Honey, you give me a gun, will you?

[Narrator/Sergeant Jonathan]

I'll give you one. I'll give you one.

[Kitty]

Wait a minute. Okay.

[Narrator/Sergeant Jonathan]

You two.

[Kitty]

Get around behind a bar. All right, at the end, you and a lady. Listen, you can't shoot up this place.

[Matt Dillon]

Sam, do what he says. Chester and I did as we were told and got behind the bar along with Kitty and Sam. The tall man picked up our guns and tossed one to the woman. Then dropped the others beside him on the floor. Then we waited, all of us behind the bar except for the cowboy drunk asleep at the table.

[Kitty]

I only had that mirror in for a month. It's gonna be busted for sure, honey.

[Chester]

We should have kept going. Got the train in the morning. Further west.

[Kitty]

It had to stop somewhere. This is as good a place as any.

[Matt Dillon]

Listen, mister, I'm going over and get the boy sleeping at the table there. He's gonna get hurt.

[Kitty]

You move an inch from where you're at and I'll shoot you. Now shut up, all the of you.

[Chester]

I hear him out there.

[Kitty]

Yeah. Start shooting when that door swings in, Mr. Dylan.

[Matt Dillon]

Stay down, Kitty.

[Chester]

Don't worry, Matt.

[Kitty]

Be in a saloon. Sure. I know Pharaoh.

[Matt Dillon]

Well, come on. Might as well start looking in here.

[Kitty]

Yeah. See.

[Matt Dillon]

The shooting went on for about five seconds. And when the glass started to come down behind us, we covered up. And at that, I felt a warm trickle along the side of my face where a splinter had slashed me. There wasn't any. Anybody behind the bar hurt beyond a scratch or two from the glass. But out there by the door and sprawled out beyond onto the walk were four men. They never had a chance. They'd never have another.

[Chester]

Watch out for the glass jacket.

[Kitty]

We got him. We got him.

[Chester]

Yeah. Yeah, we got him, honey.

[Kitty]

When I'm still alive.

[Chester]

Who is it?

[Kitty]

It's Acton.

[Chester]

Let me. Never did like him.

[Kitty]

Come on, let's go.

[Chester]

All right, Jackie. Sorry we messed up your place, honey. Don't you try coming after us, mister. Jack's had a taste of blood.

[Kitty]

Come on. Come on.

[Chester]

Jackie, we're gonna have to ride now.

[Kitty]

Yeah.

[Julietta]

Oh, honey, I'm tired.

[Kitty]

Take it easy.

[Narrator/Sergeant Jonathan]

Later.

[Matt Dillon]

You all right, Kitty?

[Chester]

I think so.

[Kitty]

Look at that mirror.

[Narrator/Sergeant Jonathan]

Just look at it.

[Matt Dillon]

Chester, get some guns from the office. Saddle up and get back here, huh?

[Kitty]

Yes, sir. All right now, folks, there's just been.

[Narrator/Sergeant Jonathan]

A little shooting, that's all. Everything's gonna be.

[Matt Dillon]

Kitty, get Doc, quick.

[Chester]

What is it, man?

[Matt Dillon]

This man isn't dead, huh? Well, go on. Hurry up, will you?

[Chester]

Well, yeah.

[Matt Dillon]

She ran out into the night, for Doc and I stayed in the Texas trail watching the life flow out of the bullet hole in the chest of the man the killers had called Acton.

[Announcer]

We will Return for the second act of Gunsmoke in just a moment. But first, you can help your fighting men and our children win the fight for life if you act now on the battlefront. Our fighting men need blood to replace the precious substance they have so valiantly lost. Only through contributions to your Red Cross fun drive can we keep up that lifeline of blood to our wounded men. But time is running up. Give now. Your Red Cross must also have funds to transform blood into anti polio serum. The polio season is just around the corner. Red Cross gamma globulin is the one weapon that will spare our children from death or the crippling paralysis of polio this summer. Polio won't wait. Your community, your neighbors, perhaps your own child can be saved from the horrible effects of the dread disease if we do something now. Your Red Cross will not distribute the anti polio serum. It will be sent to critical areas by government health agencies. There will not be enough to protect every child this year. But many thousands will be spared polio paralysis this summer because you gave to your Red Cross. When your Red Cross fund volunteer calls, give generously. Do it today. You give, they live. Now the second act of gun smoke.

[Matt Dillon]

His eyes were open, but he didn't see me. And when I talked to him, he didn't hear. While I waited for document through his papers. His name was Brad Acton. That's all I could find. About two minutes later, Kitty came back with Doc. Didn't take Doc long to shake his head, poor fellow. He's done that. There's not a living chance. If I could just get him to talk. We gotta find out who he is and what they've done. Those two.

[Narrator/Sergeant Jonathan]

I don't know.

[Kitty]

He's pretty near gone.

[Narrator/Sergeant Jonathan]

We can't.

[Matt Dillon]

Yeah. Acton. Acton, can you hear me? Acton. Acton. Acton. That fell. Jack Farrow. He and the woman. What did they do?

[Kitty]

Oh, there's no use.

[Matt Dillon]

Matt Acton. Now listen to me. Acton.

[Chester]

Matt Acton.

[Matt Dillon]

Who are they? Why did they shoot you?

[Narrator/Sergeant Jonathan]

He's trying. The poor devil, he.

[Matt Dillon]

Come on. Come on now. You're wasting time. I gotta get after him. Now what did they do?

[Kitty]

I'm dying.

[Chester]

I'm dying.

[Matt Dillon]

We've all gotta die.

[Chester]

Oh, Matt.

[Kitty]

That ain't kindly.

[Matt Dillon]

Mister, I want you to wake up. You hear what I'm saying?

[Kitty]

I hear you. If I was on my feet.

[Matt Dillon]

Now listen to me. Pharaoh. I heard you call him Pharaoh. And the woman. Now, what about him? Why did you come gunning for him?

[Kitty]

Had it come?

[Announcer]

Why?

[Matt Dillon]

What did they do?

[Kitty]

Don't matter.

[Matt Dillon]

It Matters. If you're gonna die, get it off yourself. Now, come on, you and your pals there, if you did nothing wrong, you'll die more comfortable.

[Narrator/Sergeant Jonathan]

Oh, mad.

[Matt Dillon]

Let him be.

[Narrator/Sergeant Jonathan]

It's not mad.

[Announcer]

What about it?

[Matt Dillon]

Acton.

[Narrator/Sergeant Jonathan]

That's an I've got.

[Matt Dillon]

Acton.

[Kitty]

California. Out in California. Pharaoh. Me and the boys, we held up a stage in Pharaoh. Took the money and lit out with that woman.

[Narrator/Sergeant Jonathan]

We.

[Kitty]

We've been followers. It. Look out for her. She's mean with a gun. Martha Lou. Yes? He's gone, Matt.

[Chester]

Yeah. Guess you had to do it that way, Matt, but.

[Matt Dillon]

But what?

[Chester]

Nothing.

[Kitty]

All set, Mr. Dillon.

[Matt Dillon]

All right, Chester.

[Chester]

You going after him, Matt?

[Matt Dillon]

Why not? They've done murder, haven't they? You have to figure the odds of a man forgiving for what you do when a thing has to be done, then you split the difference and depended on the reasons for doing it, you feel better or worse? I had to do what I did because I had to find out about them. But it didn't help. Even if he was a gunman, I'd given no peace to a dying man. For that, he had to die harder. A man a long way from home. Chester and I rode out into the east the way we figured. Pharaoh and his wife had beheaded.

[Kitty]

Sun's coming up, Mr. Dylan.

[Matt Dillon]

I got eyes.

[Kitty]

Yes.

[Matt Dillon]

There's a homestead up around the bin. We'll stop and find out if they seen anything.

[Kitty]

No more than a half hour ago, Marshall. I was fixing to fetch some water when I heard him.

[Matt Dillon]

They stopped, huh?

[Kitty]

Yeah. The woman looked tuckered out. Never see a woman with all them skirts ride right the way she did. It was some picture.

[Matt Dillon]

How long did I stay?

[Kitty]

Five minutes, maybe. Wife had some coffee and they drank it scalding and took off.

[Matt Dillon]

Headed east?

[Kitty]

Yeah. They wanted to know how far to Kinsley. Or maybe they wanted to know the next station. And I told them Kinsley. Santa Fe's doing there for Hutchinson about eight. They do something wrong, Marshall?

[Matt Dillon]

Just four murders back in Dodge. Come on, Chester. The Pharaohs had enough start on us that if they got the train in Kinsley before we caught up, we'd have to use the telegraph and hope they could be stopped further down the line. With killers like that, there'd be a lot of shooting. And I figured it was my job to be there when it happened. We rode hard. It lacked a couple of minutes before eight when we saw the smoke of the engine. We still had a couple of miles to go to reach the station, and she was moving out when we got there. I swung Aboard and held out a hand for Chester.

[Kitty]

My running like that, give me a stitch in the side and the puffs.

[Matt Dillon]

Take it easy, Chester.

[Kitty]

I sure wish we'd have had time to find out if they was on this train, Mr. Dylan.

[Matt Dillon]

They ain't.

[Kitty]

We've lost them.

[Michael O'Leary / Male Passenger]

Good.

[Matt Dillon]

Well, we'll see. Now, look, there's a lot of people in those cars up ahead. The Pharaohs see us and they're gonna start shooting, and I don't want that, so go slow. We see them first, get out of sight. We'll wait until they get off the train. Yes, sir. Okay. No, Chester, put away the gun. No shooting on the train.

[Kitty]

Yes, Mr. Dillon.

[Matt Dillon]

We started from the last car and moved up. That way they wouldn't see us first. I hoped we could get him without any gunplay at all. Mostly for folks who would get hurt. But I didn't have any stomach for shooting a woman, even if she was a killer. We got to the third car when Chester spotted him.

[Kitty]

There they are, Mr. Dillon.

[Matt Dillon]

All right, get back. Okay, we'll just stay here.

[Kitty]

Conductor's coming this way.

[Matt Dillon]

Good.

[Narrator/Sergeant Jonathan]

Howdy, Marshall.

[Matt Dillon]

Mr. Hindson.

[Kitty]

You on a pleasure ride or business?

[Matt Dillon]

Business, Mr. Hindson. That couple there in the fourth, fifth seat from the front.

[Narrator/Sergeant Jonathan]

Tall gent?

[Matt Dillon]

Yeah. And the woman.

[Narrator/Sergeant Jonathan]

Yeah.

[Matt Dillon]

I wondered about them when they got on. Sure are. Funny pair.

[Kitty]

She looks a little wore out.

[Matt Dillon]

They both done murder. Well, Marshall, there's kids in the car. I want to get them without any shooting. As long as they don't see us, it'll be all right. Now, where's your next stop? About 30 miles down the line. Yeah, well, we'll try to figure something out. I hope you can, Marshall. The train rolled on. I saw Ms. Farah take a kid on her lap, play with it. And the mother in the next seat looked on with fond eyes. I wonder what she would have said if she knew. Jack Farah just looked out the window. We didn't make a move. At the next stop, two men got off and there were still some 20 people left in the car besides the killers. About 15 miles beyond, the train pulled up again. I could see a big herd of cattle crossing the tracks. It was going to take a few minutes. Mr. Hindson came down the aisle to the platform where we were standing. Hey, Marshall, I got an ID. See what you think. Yeah, we'll be about 10 minutes. Wait until that herd gets crossed. How about if I tell the folks in the car they can get out, stretch legs for a bit? Might give you a chance. All right, go ahead.

[Narrator/Sergeant Jonathan]

And stand there, folks, if there's little delay for a cattle crossing. If you want to get off for.

[Kitty]

A spell, stretch out a bit, there's plenty.

[Matt Dillon]

We watched slowly, one at a time, they made up their minds. The women glad to let the kids work off steam. The men to size up strange land or somebody else's herd. And they straggled out. There was one old couple that wouldn't move, though. And I saw Mr. Hindson making an eye and a shrug at me. Then they changed their minds and hobbled off. Left the car empty except for The Pharaohs, Chester, Mr. Hindson and me. It's your deal, Marshall. Lucky they didn't decide to get off. I didn't think they would. All right, go ahead, Mr. Hindson, and get those people down the line a bit, huh?

[Kitty]

Yes.

[Matt Dillon]

All right, Chester.

[Kitty]

But.

[Chester]

This ain't nothing like California, Jackie. I never seen anything so flat. How far you think it goes like this?

[Kitty]

I don't know.

[Chester]

You know I ain't going to take me in that. You want to take my gun for a while? Dig him in the river.

[Kitty]

Hold on. I said hold on to it.

[Matt Dillon]

All right, get your hands up over you high. And don't turn around. But she must have had her gun already in her hand, wanting to give it to Pharaoh to hold. She was fast. One minute she was upright in the seat and then she was gone, firing at us from behind the scene. Jackie. Jackie. All right, throw out your gun, Ms. Farrow. Sandy, throw out your gun and stand up. I don't want to hurt you.

[Julietta]

I'll kill you.

[Matt Dillon]

I'll kill you.

[Narrator/Sergeant Jonathan]

Look out, Mr. Dillon, she's going for his gun.

[Matt Dillon]

Yeah.

[Narrator/Sergeant Jonathan]

Chester, give me a hand, will you? Now stop it.

[Matt Dillon]

She was like a crazy woman. It took both of us to hold her. And we couldn't even do that right until we had our handcuffed to the seat. Then she shut up. He just sat there looking at her husband's body. When we got off at the next stop to wait for the next train back to Dodge, Jack Farrow was taken away in a wagon to be buried. His wife stood by the tracks watching it as it moved off. And it wasn't until the wagon became a dust cloud out on the plane that she started to cry.

[Announcer]

Gunsmoke, under the direction of Norman McDonald, stars William Conrad as Matt Dillon, U.S. marshal. Tonight's story was specially written for Gunsmoke by Anthony Ellis, with music composed and conducted by Rex Corey. Featured in the cast were Michael Ann Barrett and Tom Tully, with John Dana, Lawrence Dobkin and Jack Crucian, Harley Baer is Chester, Howard McNear is Doc and Georgia Ellis is Kitty. Gun smoke is heard by our troops overseas through the facilities of the Armed Forces Radio Service. Join us again next week as Matt Dillon, U.S. marshal, fights to bring law and order out of the wild violence of the west in Gunsmoke. The scholastic standards are rigid at Madison High. You must have a sense of humor to attend. Listen in to Eve Arden as English teaching our Ms. Brooks any Sunday evening and you'll get the point when Eve takes over the class. Everybody's favorite subject is comedy, so don't forget your Sunday eve is our Ms. Brooks over most of these same CBS radio stations. Be sure to enjoy her tomorrow night. Night George Walsh speaking America's 45 million radio families listen most to the CBS Radio Network.

[Kitty]

Sam.

[Relic Radio Host]

There's more from the Columbia Workshop, Gunsmoke, the Relic Radio show and all of the other podcasts at the website. Relicradio.com got a shoutcast stream there with even more old time radio and you can donate through the website as well if you'd like to help support this and all of the shows. Thanks to those who have donated. Thanks for joining me this week. I'll be back tomorrow with an hour of mystery on Case Closed and next Tuesday with our next episode of the Relic Radio Show.