The Whistler and Gunsmoke

Summary

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The Relic Radio Show – "The Whistler: To Rent Danger" & "Gunsmoke: Cyclone" (September 2, 2025)

Overview

This episode of The Relic Radio Show, hosted by RelicRadio.com, transports listeners into radio’s golden age with two classic dramas: an atmospheric psychological thriller from The Whistler ("To Rent Danger", April 16, 1945) and an action-packed western from Gunsmoke ("Cyclone", March 14, 1953). The show highlights the enduring appeal and varied storytelling of old-time radio, delivering suspense, intrigue, and classic Americana.

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Segment 1: The Whistler – “To Rent Danger”

Begins: 00:11
Key Theme: Trust, suspicion, and mistaken identity in a noir-laced countryside thriller.

Plot Summary & Main Discussion Points

• Opening Narration (00:11–02:56)
  The Whistler introduces himself and the story: star reporter Danny Pearson is dispatched to cover the escape of notorious “Killer Carter.” On his way, car trouble strands him at a remote farmhouse advertising rooms for tourists.

• Danny’s Arrival and Tense Hospitality (02:56–04:41)

  • Danny requests a room; Mrs. Monroe, stiff and suspicious, reluctantly agrees.
  • The house feels "eerie and almost too quiet," setting a noir mood.

• Claire’s Midnight Visit and the Seed of Danger (05:00–06:39)

  • Claire Monroe, the foster daughter, slips into Danny’s room, pleading for him to take her away.
  • She claims her foster mother has murdered her foster father.
  • Memorable Quote:
    "Will you take me away with you when you go? Because I have to get away from here. I never want to see this house again as long as I live." – Claire (05:32)

• Paranoia and Conflicting Stories (08:32–10:06)

  • Claire elaborates, alleging her mother killed her father and buried him on the property.
  • Mrs. Monroe interrupts, accusing Claire of sneaking or theft, escalating suspicions about everyone.

• Grave Evidence & Tension Mounts (11:44–14:20)

  • Danny and Claire dig in the woods and unearth a coat, intensifying the murder suspicion.
  • Danny agrees to take Claire away, wary but sympathetic.

• Attempted Escape and Confrontation (15:42–17:31)

  • As they try to leave, Mrs. Monroe catches them with a shotgun.
  • A car arrives: a police officer searching for Killer Carter, an escaped convict.

• Web of Accusations & Police Involvement (19:22–21:34)

  • Relationships fracture as accusations fly—Mrs. Monroe suspects Danny, Claire villainizes her mother, and everyone is under suspicion.
  • Memorable Quote:
    "Do you know what he really is? He's a murderer. He escaped from the state prison yesterday, and the police are looking for him. They'll get him sooner or later. They always do." – Mrs. Monroe (20:46)

• Climax: Truth Unravels (23:17–25:01)

  • Police question Danny; he proves he’s a reporter, not the escaped killer.
  • Danny accuses Claire of the murder when her story fails to add up.

• Twist Ending Narration (25:01–29:40)

  • The Whistler reveals the true mystery:
    • The body buried is not Mr. Monroe, but Killer Carter.
    • Mr. Monroe, during an attempted robbery, killed Killer Carter in self-defense, panicked, buried the body, and fled.
    • All characters’ suspicions and fears were misdirected—no one was who or what they seemed.

Notable Quotes & Moments

• On Fear and Suspicion:
  “People are sometimes like that on the farm. Not used to talking much. They prefer action because actions speak louder and longer than words.” – The Whistler (03:41)
• On Noir Irony:
  "She murdered her foster father. This is the woman you want!" – Danny, calling out Claire's duplicity (25:01)

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Segment 2: Gunsmoke – “Cyclone”

Begins: 29:40
Key Theme: Deception, greed, and justice in the American West.

Plot Summary & Main Discussion Points

• Dodge City in Spring—Atmospheric Introduction (29:40–32:13)

  • Marshal Matt Dillon and Chester bask in the signs of spring.
  • The Texas Trail saloon is lively as Cyclone Ranch hands celebrate allegedly selling the ranch.

• Suspicion Arises (32:13–34:39)

  • Kitty and Matt discuss rumors: Cyclone Ranch's owner (Bartlett) has supposedly sold out to “Jed Wade,” yet none of the regulars believe it.
  • Ed Revere, former foreman, feels Bartlett’s exit was out of character.

• Digging for the Truth (36:45–41:55)

  • Matt and Chester ride out to Cyclone Ranch, meet hostile new bosses (Dallas and Jed Wade), and the gentle Mrs. Wade.
  • Matt requests, receives, and later checks the bill of sale for forgery.

• Confronting the Forgeries and Disappearances (41:55–45:29)

  • Matt discovers the deed was signed by Bartlett but suspects he was forced.
  • No one in town has seen Bartlett or his wife leave.

• Hunches and Tragic Discovery (46:00–51:34)

  • Marshal Matt, guided by coyote activity, investigates river bluffs, suspects a shallow grave.
  • They unearth evidence of murder: the missing Bartletts, buried.

• Shootout and Pursuit (51:34–53:46)

  • Dallas is killed in a gunfight when discovered near the scene.
  • Matt and Chester confront Jed Wade in the barn, resulting in a standoff and a fire.

• Grim Resolution (54:30–56:12)

  • Jed dies in the fire. Mrs. Wade, grief-stricken, is left with nothing but her trunk and the sorrow of her sons’ crimes.
  • Memorable Quote:
    “Those boys done a lot of bad things, Mr. Dillon, but I don’t hold with killing.” – Mrs. Wade (55:29)

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Notable Quotes & Moments

• On Justice and Evidence: "A man can be made to sign something, Chester." – Matt Dillon (45:07)
• On Maternal Grief & Tragedy:
  “I always knowed it was gonna end like this sometime. I always noted.” – Mrs. Wade (55:03)
• Community Impact:
  Governor Arne of Kansas delivers a message (43:30–44:38) recognizing Gunsmoke’s realistic depiction of frontier life.

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Timestamps for Key Segments

| Time | Segment/Event | |-----------|-----------------------------------------------------| | 00:11 | The Whistler introduction | | 03:41 | Danny enters farmhouse; atmosphere established | | 05:00 | Claire’s plea for help | | 11:44 | Danny and Claire go to dig in the woods | | 15:42 | Attempted nighttime escape | | 17:31 | Police officer arrives searching for Killer Carter | | 19:22 | Events reach fever pitch (revelations & accusations) | | 23:17 | Police interrogate, truths exchanged | | 25:01 | The Whistler’s twist ending | | 29:40 | Gunsmoke: Opening sequence | | 33:00 | Suspicion over Cyclone Ranch sale | | 36:45 | Marshal confronts new owners | | 46:00 | Investigation into the riverbank | | 51:34 | Shootout and barn standoff | | 54:30 | Mrs. Wade’s heartbreak and conclusion |

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Engaging Elements & Episode Character

• Immersive noir and western atmospheres: Each segment brims with the genre’s characteristic suspense, dialogue-heavy storytelling, and psychological tension.
• Twists and misdirection: Both stories deliver signature OTR plot reversals—guilty parties aren’t who they seem, and suspicions are cleverly sown and then upended.
• Authentic dialogue and tone: The scripts evoke the mores and rhythms of their eras—The Whistler’s hard-boiled introspection contrasting with Gunsmoke’s laconic western justice.

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Conclusion

This episode of The Relic Radio Show is a perfect exemplar of old-time radio’s storytelling prowess. “To Rent Danger” draws out psychological terror and ambiguity with its rural noir mystery, while “Cyclone” weaves a tale of frontier justice, family tragedy, and the relentless pursuit of truth. Each segment is rich with memorable lines, evocative performances, and timeless moral ambiguity—reminding us of the lasting power and versatility of classic radio drama.

Transcript

[A]

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. Thanks for joining me. This Tuesday we'll begin with the Whistler. This week we'll hear to rent danger from April 16, 1945. After that, it's gunsmoke and cyclone. Their story from March 14, 1953. Signal gasoline. Let every traffic signal remind you you do go farther with signal Gasoline. Yes, you do go farther with signal. The Signal oil company and your neighborhood signal dealer bring you another curious story by the Whistler. Tonight to rent Danger. I am the Whistler, and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak. When in the editorial offices of the Cincinnati Gazette, the news was received that Killer Carter, the gang murderer, had escaped from the penitentiary in Columbus and that he had been at large for 24 hours, it was decided that Danny Pearson, star reporter, was to be sent up to the Capitol to cover the manhunt that was sure to follow. Danny borrowed a car from Clem Tracy, the rewrite man, and headed north. Late on Friday afternoon. Car trouble held him up, and at one o' clock he was still far from his destination. He was getting too sleepy to drive. So when he saw the tourist sign in front of the lonely farmhouse and he made his decision, he'd stop, get a few hours of sleep and continue into Columbus. In the early hours of morning, he pulled in the lane, parked the car and went up onto the porch. It took a few moments to rouse anyone, but finally the door opened and there stood a woman.

[B]

What do you want?

[A]

Good evening. I was driving along the road looking for a place to stay for the night, and I saw you a tourist sign out front, so I thought I'd stop and see if you had any room.

[B]

Why don't you drive on to the city?

[A]

Well, I'm too tired to drive that distance tonight. I'm afraid I'd fall asleep at the wheel. You do have a room, don't you?

[B]

I guess so. Cost you $2 in advance.

[A]

That's all right.

[B]

And I don't serve any meals here.

[A]

Well, I'm not hungry and I'll be leaving in the morning before breakfast.

[B]

All right. Come in.

[A]

Is it okay to leave my car in the driveway here?

[B]

It'll be safe there. Nobody will steal it. Come in.

[A]

He certainly isn't Very friendly, Danny. Is she? But a room is a room, and it'll be nice and quiet here for the night. The house is large and dingy and eerily quiet.

[B]

Almost too quiet. Here it is. You'll find everything neat and clean. There's a bathroom to the right of the bed and plenty of towels and soap.

[A]

Oh, thank you. Looks fine.

[B]

Did you leave your luggage in the car?

[A]

No, I don't have any luggage with me. I'm traveling light.

[B]

Well, I guess anyone who drives an expensive car like yours can do anything he likes. I'm going to bed myself right away. So if there's anything else you want, you'd better think of it now.

[A]

Well, thanks, but there's nothing else I need. Good night, Mrs. Good night. All fine. Your hostess is hospitable, isn't he? But don't worry about it. People are sometimes like that on the farm. Not used to talking much. They prefer action because actions speak louder and longer than words. And the bed is soft and comfortable. That's the main thing. Just made for your night's rest. Who's there? I said, who's there?

[B]

Just me.

[A]

Hello. Who are you?

[B]

My name is Claire Monroe.

[A]

Well, Claire, do you make a habit of walking into strange men's rooms in the middle of the night?

[B]

I want to talk to you.

[A]

Huh? What are you so nervous about?

[B]

I'm afraid she'll find me in here.

[A]

She?

[B]

The lady who showed you the room.

[A]

Then why don't you leave?

[B]

Because I have to talk with you.

[A]

Okay. Go ahead. Talk.

[B]

I don't know where to start.

[A]

Just tell me that you're lonesome. You don't have any excitement on the farm. You're looking for something to do. It's an old routine.

[B]

It's nothing like that. I know you're gonna think I'm crazy, but I've got to ask you. Will you take me away with you when you go?

[A]

Me? Why should I?

[B]

Because I have to get away from here. I never want to see this house again as long as I live.

[A]

Why don't you just run away? You don't need me.

[B]

Because I don't have a car and I don't have any money. My mother would have me picked up by the police. She'd tell them I wasn't of age.

[A]

Well, are you?

[B]

I'm 23 years old, but I can't prove it.

[A]

Why not?

[B]

Because I'm an adopted child and I don't know where I was born. And my mother. Call that lady my mother. She'd lie about my age Just to keep me from going away.

[A]

Well, how do I know you're of age?

[B]

Look at me. Do I look 17?

[A]

No, I'll have to admit. You don't.

[B]

I know I'm 23 years old, but she won't let me go.

[A]

Why do you want to run away?

[B]

Because. Because that lady, my foster mother, last night, she murdered my foster father.

[A]

Whistler fan. We members of the cast certainly owe you a great big thanks. Tonight, in fact, two of them. Two weeks ago, you recall, we asked a favor of you. Asked if you'd be kind enough to drop in on the folks who are bringing you the Whistler, your Signal Gasoline dealer, and tell him how you like this program. Well, since then, Signal Gasoline dealers all the way from Canada to Mexico have been telling us how many of you stopped at their station and expressed enthusiasm for the Whistler. So naturally, we have. The cast are mighty happy and mighty grateful to you. Oh, but that's only the half of it. You see, during the past month, the popularity of the Whistler has continued to increase so much that now, according to the latest radio popularity survey, more people listen to the Whistler than to any other west coast program. Yes, the Whistler is now way out in front. So for your loyalty, thanks again to all of you, from all of us. And now back to the Whistler. Danny Pearson had driven up from Cincinnati looking for a murderer. But he hadn't expected to find one so soon, nor to find another one than the one he was looking for. But you never know what you'll find when you stop at a lonely farmhouse where they take in tourists. Danny, you lie there in your bed. The good looking young girl asks your protection from her murdering foster mother. If this is a gag, it's a pretty rugged one. Look, baby, let's break this up. I don't feel like playing games. I gotta get some sleep.

[B]

You don't believe me, but I'm telling you the truth. Ever since they adopted me, they've done nothing but fight with one another. You've seen my mother. You can tell how cold and strong she is. Well, my father was just as weak as she is strong. She bullied him for years, mostly because he didn't make a lot of money. What, she cares about his money because we never had any. She hates everything and everybody, especially my father.

[A]

How do you know she killed him? Did you see?

[B]

No. She threatened more than once to kill him, though. Last night I was in bed and I heard a shot. I wasn't sure whether or not I dreamed it, so I didn't get up to see. But when I came down this morning, she said that he had left and wasn't coming back. That he'd gone out west somewhere. That didn't sound like him because he was born and brought up in this part of the country and he wouldn't leave it for anything.

[A]

How in the world do you know he's dead? You know, in law you have to produce a body.

[B]

I haven't seen it, but I think I know where it is.

[A]

Oh? Where?

[B]

Today I was working out on the farm and I noticed a patch of grounds up in the edge of the woods that was recently dug up. When she saw me out there, she got very angry, Ordered me into the house and positive she killed him and buried him there. What are you doing in this man's room? I was just talking to him, that's all. Up to your father's sex, weren't you? You're just like she was just talking to me. Stealing from the guests, sneaking in to rob them or work. No, I only wanted to talk. He was just telling me about the shows and things in the city. Get back to your room and stay there. Get. If I catch you in here again, you'll wish your head stayed there. And as for you, young man, you'd better watch your step or you'll be in trouble.

[A]

Oh, now, look. Wait. You're. Well, Danny. Cozy little situation you step into, isn't it? A girl, pretty but strange, who accuses her foster mother of being a murderous. Mrs. Monroe, in turn, accuses the daughter of being like her father, who evidently made a habit of robbing his tourist guests in their sleep. And how about that, Danny? She did sneak into your room. Did she come to talk, as she said, or to rob you? And what's it all about anyway? Who can you believe? But there is one thing you know. You're going to get up, get dressed and get out of this place as fast as you can. That drive into town doesn't look half as far now. But just as you're about to leave, you see something slip under your door. A piece of paper, a. A note. Go on, Danny. Pick it up and read it. Please, you've got to believe me. I need your help. My room's across the hall. Clear? That's right. Crumple it up and throw it away, Danny. But wait a minute. Suppose she is telling the truth. Suppose she is in danger. You couldn't go off and leave her like this. Especially not as pretty a girl as Claire. Claire. Claire. Yes, it's me, Danny. Danny. Pearson, don't put on a light. Get dressed and come on with me.

[B]

I am dressed.

[A]

Oh, come on.

[B]

Where are we going?

[A]

You're going to show me where you think your father was buried. So the two of you move cautiously out of the house into the darkness of the outside night. You pick up a shovel at the barn and start up the path through a field of sharp, tough hay. You keep looking over your shoulder, afraid that she might see you and come out of the house after you. Why should you be afraid of her? Well, if she killed a man once, she could do it again. Finally, you reach the woods, and Claire points out the patch of ground she thinks her mother made into a graveyard.

[B]

This is it, right here.

[A]

I wish we could see a little better.

[B]

We'll see, too.

[A]

Well, I'm afraid this ground isn't very hard. Shovel sinks right into it.

[B]

Told you it would.

[A]

The boss could see me now. Why I'm doing it, I'll never know.

[B]

Maybe it's because you like me.

[A]

What makes you think that?

[B]

Because you'd have run away or gone back to sleep after she took me away.

[A]

Back to sleep? Hey, tell me, is what she said about your foster father true?

[B]

You mean about him stealing from the guests? Yes. She hounded him about money so that he finally took to that to satisfy her. When tourists came, you'd wait till they were asleep and then slip in and rob them.

[A]

Yeah, but didn't anybody ever catch him?

[B]

Not that we ever knew of. They only took part of their money, not all of it, so they didn't miss it until they'd left. And then they had no proof.

[A]

Sweet little racket. Maybe somebody caught on and that's why he went out west.

[B]

I don't think so, because we didn't have any tourists here last night. At least not that I know of.

[A]

Possible, though, isn't it? Could have taken somebody in after you were a slave.

[B]

Yes, possible.

[A]

Then he might have tried to rob them. They caught him and he had to leave hurriedly. I could account for his disappearance.

[B]

Yes, but.

[A]

Hey, I just hit something.

[B]

Oh, Danny.

[A]

I got a hold of it. Here it comes.

[B]

His coat. My father's coat.

[A]

Yeah, Just when I had it figured out another way.

[B]

Danny, don't dig anymore. I'm getting scared. Couldn't stand to look at it. Don't dig anymore. Just fill it in.

[A]

We.

[B]

We found out what we wanted to find out. Please fill it in.

[A]

Take it easy, baby. I don't like this any more than you do. I'm just doing it because you wanted.

[B]

Me to I couldn't bear to look at it. Don't dig anymore.

[A]

Okay, I'll fill it in. I guess we've seen enough to know you were right. So you put the coat back where you found it, Danny, and fill in the hole again. You pat the dirt down again just as you found it, and start back for the house. On the way back to the house, Claire holds your arm tightly. And you notice for the first time how soft and warm she is. Of course, she's trembling a little bit, but who wouldn't?

[B]

Danny, will you promise to take me away tomorrow? I couldn't stand another night here.

[A]

Where would I take you? What would I do with you when I got you there? I. I got enough to do without taking care of somebody else.

[B]

Take me to someplace far away, Some city. I'll get a job and take care of myself. Don't worry about that. Just get me away from here.

[A]

Your mother might accuse me of kidnapping.

[B]

Once she knew I was never coming back. I don't think she'd even care. Please, Danny, don't let me stay here. I'm afraid she might even do something to me if she finds out I know what happened. You've got to help me.

[A]

All right. All right, I'm a sucker, but I'll do it. But remember this. Once I get you out of here, you're strictly on your own. I got enough things to worry about without trying to take care of you.

[B]

Thank you, Danny. Thank you. We'll leave the first thing in the morning.

[A]

No, we'll leave tonight. Right now.

[B]

That's awfully stunning.

[A]

You wanted to get out of here, didn't you? I'm leaving right now. You can do what you want. Come or stay.

[B]

I'll go with you.

[A]

We're almost at the house. Don't even bother to go inside and get anything. She might hear you. Here. Here's my car. I just jumped in and beat it. You game?

[B]

Yes.

[A]

All right, now be quiet. We'll get in the car, let it roll backwards into the road.

[B]

Just a minute. Surprise. You didn't think I'd let you get away, did you?

[A]

Hey, put that shotgun down. It might go off.

[B]

It might if you start anything.

[A]

Now listen here, Mrs. Munro.

[B]

You thought I was asleep, didn't you? I had better sense. I watched you leave the house together. And I had a pretty good idea you weren't coming back.

[A]

So what? What do you think you're doing with that gun?

[B]

Maybe I'm protecting my daughter from a fast talking stranger. I can take care of myself. That remains to be seen. As for you, young man, I want you to get back in your car, drive off and never come around here again.

[A]

That's a very good idea. I'll buy that. Should have left here a long time ago.

[B]

I'm going with him. You stay where you are. I'm old enough to do what I want to do. I'm gonna leave and you can't stop me. You don't think so? You wouldn't dare pull that trigger. Put your foot on that running board and try me.

[A]

Hey, now look, girl, you keep out of this.

[B]

Maybe I'm doing this as much to protect you from her.

[A]

I don't need any protection.

[B]

Wait. Somebody's coming. The car?

[A]

Yeah. Hey, looks like they're turning into your lane.

[B]

Both of you, get in the car, quick. Keep your lights out. Drive it in the barn. Show him one of this pair and chuck it all. After you.

[A]

Pardon me, ma'.

[B]

Am. Yes?

[A]

I'm a police officer.

[B]

What can I do for you?

[A]

We're chasing a man. We think he came up this way. You seen any strangers around lately?

[B]

What did he do?

[A]

He escaped from the state penitentiary.

[B]

Is he dangerous?

[A]

He's a cold blooded murderer. He escaped yesterday and we've tracked him down to this vicinity. He's been driving stolen cars. Last we heard, he was driving a big rich looking convertible he picked up in Columbus. Have you seen him?

[B]

No. Nobody stopped here. Didn't even see anybody passing the road?

[A]

No. Well, he's in this neighborhood somewhere, but. Say, didn't you know about this before? I mean, I thought you did when I saw you with your shotgun here.

[B]

Oh. Oh, no, I. I just saw you coming up the lane and I like to be prepared for strangers this time of night.

[A]

Yeah, sure. It is pretty late. You want to be in bed. I don't let this keep you up. You needn't worry about Carter. We'll get him.

[B]

I won't worry.

[A]

Oh, that's. Say, but all those tire tracks on the ground.

[B]

Where?

[A]

There, where my flashlight's pointing. They go toward the barn.

[B]

Those are tractor tire marks.

[A]

Oh. Well, I'm sorry that I bothered you, ma', am, but, well, we've got a job to do.

[B]

That's all right, mister. Wish I could have helped you some.

[A]

We'll keep looking.

[B]

Good night, ma'. Am. Okay, Alex, go.

[A]

Too bad you couldn't hear what was being said. Danny waiting in the barn. But while the lady and the officer were talking, you had some things to say to Claire.

[B]

What are we gonna do now?

[A]

I think just wait. You See who that is out there.

[B]

A man got out of a car and he's talking to her.

[A]

You know who he is?

[B]

No, but he's got a flashlight. Wait a minute. Something on his coat lapel flashes. I think it's a bag. It must be the police. What are we going to do?

[A]

I told you, nothing. Murder is a matter of proof. Until we can prove that your mother murdered your father, we don't have a leg to stand on anyway. I told you, I don't want to get mixed up in it. I got enough to worry about myself.

[B]

It's all right with me. All I want to do is get out of here.

[A]

Okay. Just figure some way to get that gun away from your mother.

[B]

Danny, the men are leaving, driving down to the road. She's coming back to the barn.

[A]

All right, just sit tight. Wait.

[B]

They're gone.

[A]

Oh, so they're gone. I suppose you're breathing easier now.

[B]

Maybe I am and maybe I'm not. Will you stop pointing that gun at us? I will when I've finished what I'm going to do.

[A]

You won't get away with shooting anybody.

[B]

You ought to know I don't intend to stand here talking all night. Here's what I want you to do. I want the both of you to get in that car and drive to kingdom come if you can. Never want to see either one of you again as long as I live.

[A]

You changed your mind.

[B]

That suits me. Come on, Danny. Let's get out of here while we've got the chance. Heaven knows what she might do.

[A]

Okay, let's go.

[B]

Just a minute.

[A]

What?

[B]

Before you go, Claire, I think there's something you ought to know about your fine new friend. I know all I want to know about him. Do you know what he really is? He's a murderer. He escaped from the state prison yesterday, and the police are looking for him. They'll get him sooner or later. They always do. What do you think of that? I don't believe it. And even if it were true, I. I don't care.

[A]

Where did you pick up this routine about me being a murderer?

[B]

Don't listen to her, Danny. I believe you.

[A]

What if I was a murderer?

[B]

Wouldn't make the slightest difference in the world, Tony. Because, Nanny, I'm in love with you.

[A]

Do you know what you're saying?

[B]

Yes, I know what I'm saying. Come on, let's get out of here. She gives me the jitters. Don't I, though?

[A]

Okay, if that's the way everybody wants it, we'll go. I don't know what we'll do, but I'll figure out something.

[B]

You better think hard. Hurry up, Danny. Yes, hurry up. You'll get caught quicker that way. All right, everybody stand where you are.

[A]

Put that gun down, lady.

[B]

Andy.

[A]

Yeah, you will. Now go around the other side the barn. All three of you stand over there. Dave, see if they have any guns. No guns on that one. No guns, Sheriff. No guns, eh? Good. Now, don't misunderstand me. There might not be anything wrong here, but I had to come back and take a look. It's pretty unusual for a woman to be walking around outside at 2 o' clock in the morning with a shotgun. Now, out with it. What's going on? What are you hiding in the barn for? Who's this car belong to? Come on, start talking.

[B]

Somebody here's the murderer you're looking for. There he is. And there's the car.

[A]

Why didn't you tell me that when I was here before?

[B]

Because I thought there might be a reward for him and I wanted to collect it myself. She didn't. Because she was going to let him get away.

[A]

Who are you?

[B]

My daughter, Claire Monroe.

[A]

All right, now, who are you? Danny Pearson. Do you have to use that light? Keep him covered, Dave. What are you doing here? Stopped here for the night. They rent rooms to tourists. I don't recommend. Where do you live? Cincinnati. What do you do for a living? Newspaper reporter. I was on my way here to cover the Carter break. Here's my press card. Let's see. Daniel J. Pearson, Cincinnati Gazette. How are you? All right. Take it back. Where'd you get this car? I borrowed it from another reporter in Cincinnati. Okay.

[B]

I told you he was the man you're looking for. Don't let him fool you with a good story.

[A]

He's not fooling us, lady. He's not the man we're looking for. The guy we want is at least 45 years old. This fellow isn't even 30 yet. I guess I made a mistake all around. That the man, Sheriff? You're looking for a murderer. I'm always looking for a murderer. All right, then. Go ahead, Claire. Tell him.

[B]

What, Danny?

[A]

Go ahead. Has to come out sooner or later. Come on, young lady. If there's anything to tell, let's have it.

[B]

Well? Well, that woman, my foster mother, murdered my father. What? Are you crazy? No, no. Last night I heard a shot. And then this morning when I came down, she said he'd gone away out west. He wouldn't do that. He would, but he did. I found the note he left on the old typewriter in the hall when I came down this morning.

[A]

Did you hear the shot too?

[B]

I. I don't know. I thought I dreamed. She heard it all right. She killed him. Danny and I just found the body buried up in the woods. What? Oh, no. No.

[A]

All right, keep her covered. Out. Wait a minute, Officer. If this woman had murdered her husband, why did she take the chance of giving me a room tonight knowing that I might learn something? Why wouldn't she have run away or killed the girl too, to cover up?

[B]

But Danny.

[A]

On the other hand, Claire here never once mentioned going to the police about the murder. She was willing to run away with me a few minutes ago, even though she thought I was a murderer. And she knew exactly where the body was buried. He could have written the note to her mother.

[B]

Danny. Danny. You mean. You think I.

[A]

Yes, I do, Officer. This is the woman you want. She murdered her foster father. The Whistler will return in just a moment with the strange ending of tonight's tale. Meantime, because yesterday marked the opening of a six weeks drive to check auto brakes sponsored by the International association of Chiefs of Police Signal Oil Co. Believes you'll want full information on just what this drive means to you. With today's cars averaging seven years old, faulty brakes are threatening to increase America's already large number of traffic accidents which kill over 20,000 men, women and children per year, injure another 800,000 and cost a billion and a quarter dollars. What's more, when a car is damaged or wrecked in an accident today, parts are often not available to repair it and there are no new cars to replace it. So it means an even further strain on the transportation. America must have to see us through the war. That's why traffic officers in every state plan to check every car involved in a moving traffic violation or accident. So the time to have the safety of your brakes checked by a competent brake expert is now. Your cooperation in this brake drive may prevent an accident that could cost you your car or your life. And now back to the Whistler. Well, Danny turned out to be quite a detective, didn't he? He saw through Claire all the time and figured the whole thing out. But wait, did he? Well, not exactly. Because you see, when they dug up the grave at the edge of the woods, they found Mr. Bolton Monroe's clothes. But the body was someone else's. In fact, when the police identified it, it was the body of Killer Carter. Yes, Killer Carter, escaped convict. And when they put out a dragnet and caught up with Claire's very much alive foster father. They got the whole story. Danny had figured it exactly right. Once Killer Carter had stopped at the tourist home late that night. Neither Claire nor her foster mother knew about it. When the old man started to pull his usual robbery, Carter caught him in the struggle. Carter was shot and killed in self defense. But not knowing who his victim was, Mr. Monroe got scared, buried him after changing clothes with him, wrote the note to his wife and took off in Carter's stolen car. Knowing nothing of Carter's presence in the house, Claire had suspected her mother and Mrs. Monroe had suspected suspected Claire of murdering a man who wasn't dead and was a fugitive from a crime that wasn't a crime. In the police book, the killing of an escaped convict in self defense. Next Monday at 9 o' clock, the Whistler will bring you another sweet, strange tale. The Whistler is broadcast for your entertainment by the marketers of signal gasoline and motor oil and fine quality automotive accessories and by your neighborhood signal dealer. This program directed by George W. Allen with story by John Hayes, music by Wilbur Hatch, is transmitted to our troops overseas by the Armed Forces Radio Service. This is Marvin Miller speaking and suggesting you let every traffic signal remind you you do go farther with signal Gasoline. Yes, you do go farther with signal. This is cbs, the Columbia Broadcasting System. Around Dodge City and in the territory on west, there's just one way to handle the killers in the spoilers and that's with a U.S. marshal and the smell of gun smoke. Gun smoke. Starring William Conrad. The story of the violence that moved west with young America. The story of a man who moved with it. Matt Dillon, United States Marshal Ladies and gentlemen, later on tonight's program you'll hear a special message from the honorable Edward F arne, Governor of the state of Kansas. But now we bring you the first act of gunsmok. I'll swear it's going to be spring before we know it, Ms. Dylan. This weather won't hold Chester. We always got a rip snorter after a spell like this. Sure don't look much like it today. I even heard a metal arc this morning. It's early for metal larks, isn't it? Yes, sir, that's what I'm telling you. Spring is downright staring us in the face. Well, the Texas trail's kind of lively for this time of the afternoon. That'll be livelier if you're right about spring and those trails. Trail herds start rolling in.

[B]

Look who's here. And in the daytime too.

[A]

Miss Kitty.

[B]

Miss Kitty, isn't it wonderful out and guess What? Matt, I heard a metal arc this morning.

[A]

You and Chester, huh? I've been telling him Miss Kitty Spring is just around the corner. Kidding? Yeah. How come there's such a crowd in here?

[B]

Oh, you mean the boys at the bar? Well, it's some of the writers in.

[A]

The Cyclone Ranch they're celebrating. Seems to me they were celebrating Saturday night. They're making kind of a long weekend out of it.

[B]

Jim Paulson said they all went back to the ranch Monday morning. But they got paid off. Yeah, the ranch was sold.

[A]

Sold? You mean old man Bartlett sold out? I hadn't heard anything about it.

[B]

Well, that's what they said. The new owner had already taken over some stranger. He's the one who paid him off. He brought his own riders with him.

[A]

What's this stranger's name? Kitty.

[B]

Well, I don't know, man. Ed Revere over there was Bartlett's foreman.

[A]

Ask him. Yeah, I think I will. Excuse me. I figured old man Bartlett would stay on. Howdy, Marshall. Figure on throwing us in the hooscal? No, Ed. I wasn't planning on it. Do you happen to know where I can find old man Bartlett? Well, afraid you're out of luck. Him and his wife's left the country. At least that's what the fellow that bought the ranch told us. You mean he didn't even stay around to pay you off? Nope. Made up his mind right sudden, I reckon. Guess this fella Jed Wade made him a mighty good offer. Jed Wade, huh? Yeah. Texas man, more than likely. Ain't from around here anyways. None of his cowboys, neither. Then you haven't seen old man Bartlett since you left the ranch and came into town Saturday morning, huh? Mary hide in her hair. And he didn't say anything last week about planning to sell? No, didn't. Sure can't figure old man Bartlett selling out. Said he put half his life into that place and planned on living out the rest of it. Right. Listen, let me ask you something. What do you figure about all this? I don't know, Marshall, except that it ain't quite right somehow. You don't think there's something crooked about it, do you, Marshall? I don't know what to think, but it just ain't like Bartlett to run out this way. If there's anything I can do. Yeah, sure. Thanks, Ed. Marshall, I don't even have to look it up in the record. There's been no deed of sale on the Cyclone Ranch filed in this office. If there had, I'd know about it. Yeah, well, all right. Thanks. That's all I wanted to know. Furthermore, there won't be one filed. Old man Bartlett will live out his life and die right there. You take it from me. Yeah, that's what I figured. Mr. Dillon. Oh, come on in, Chester. Sorry to interrupt, Mr. Mifflin. Oh, quite all right, sir. I believe our business is completed. Yeah? Yeah. What you find out, Chester? I checked the depot and the stage lines, Mr. Dylan, and nobody in town hasn't seen neither one of them since last week. Well, all right, Chester. I guess we better ride out to the ranch. Looks like that new outfit brought some of their own cattle up from Texas, Mr. Dylan. Yeah, they're wasting no time slapping a brand on them, either. Want to take a look at them? No. Oh, let's ride on up to the house. I sure can't figure it, Mr. Dylan. Working night and day to build up a good feeder ranch like this, and then up and selling out without even thinking it over. Well, I can't figure it either, Chester. All right. Oh, my golly. Itchuria is a fine ranch. We ain't hiring anybody. Better mount up and ride. Are you Jed Wade? Name's Dallas. I'm a range boss. Matt Dillon, U.S. marshal. Mr. Wade here? He's out in the barn. What do you want to see him about? Oh, suppose I take that up with him, huh? And suppose you turn around and hightail it out of here. Whenever Jed's got business with the law, he'll come to you. Now, look, mister, you hadn't ought to.

[B]

Talk to visitors that way.

[A]

Jed don't want strangers hanging around Ms. Wade. He don't want you talking to strangers, either. You better go on back in the house.

[B]

I guess I know better than you what my own son wants. I'm the only one that understands him. You come right on inside, gentlemen. Mr. Dillon, did you say? That was the name?

[A]

Yes, ma', am, that's right. This is my partner, Chester Proudfoot. How do, man? How do you fellas wait right there. I'll go get Jeff. I think we'll accept the lady's invitation. After you, ma'. Am.

[B]

Why, thank you, Mr. Vince. Surely does perk a body effort to be having collars in her own house. Especially when you live so long from hand to mouth.

[A]

I understand that you're new here, ma'.

[B]

Am. Oh, yes, yes, we were camped for three weeks down along the river. Nary a caller, just living in a wagon. Oh, do be seated, gentlemen.

[A]

Thank you.

[B]

Ain't this a real pretty place now? Why, when Jed and Dallas rode back to camp Sunday, Morning and said they just bought a real bargain. I couldn't dream they meant something like this. A body. Just can't figure why the owners would ever want to sell it and leave. Would you gentlemen care for some cold buttermilk?

[A]

No, thank you, ma'. Am. You didn't meet the owners yourself then, huh?

[B]

No, no, they already gone when I came over. Oh, you mustn't mind Dallas, Mr. Dillon. He's really a good boy at heart. Him and Jed just picked up a habit of talking mean like that sometimes, and seems like people just don't understand it. Mr. Dillon, Jed ain't got himself into some kind of trouble again, has he?

[A]

Again, Mrs. Wade?

[B]

Well, it's like I said, people just don't understand Jed lots of times. It ain't easy to bring up a boy alone. And a body don't always know what's the right way to do and. And what's not. But Jed's real good heart are down underneath. Once you understand him like I do, why. Why, the way he even talks to me sometimes would make you think that he was. Well, son, I.

[A]

What did I tell you about mouthing off the stranger?

[B]

But I was getting the kitchen all right, son. Do you think so?

[A]

She's getting old, and it's been a hard trip up here. Dallas told me you was here, Marshal. What can I do for you? What do you want? I'd like to see your bill of sale for this ranch, Mr. Wade. What for? Well, I'll tell you after I see it. Are you trying to accuse me of something? Not if you got a bill of sale signed by old man Bartlett. Well, all right, Marshall. There you are. Take a look, huh? Satisfied? Now, where did the Bartletts go, Mr. Wade? They said they was leaving the country, and that's all I know about it. Here, you want to give me back my bill of sale now? I'd like to take it into town and check the signature, if you don't mind. Go ahead. It'll check now. Then you got nothing to worry about, have you? Nary thing, Marshall, I don't know what's on your mind, but you're barking up wrong tree, you ask me, Mr. Dillon. I'd say that Wade and his partner are ornery enough for anything. Just plumb cussed. Downright sneak in mean. Maybe so, Chester, but you can't jail a man for meanness. Not as long as it only comes out in words. I suppose there ought to be a law of some kind.

[B]

Not take.

[A]

Like the way he talks to his mom. I don't see how she can put up with it. She's his mother, Chester. Well, I know that, but there's no. Oh, hiya, Doc. Just getting ready to close up the office. How about feeding with me later, maybe, Doc. I say, Doc, you still got that bill of sale on that horse you bought last fall from old man Bartlett? Why, sure. Guess so. Mad? Why? Well, I just want to check Bartlett's signature.

[B]

Why, what do you got there?

[A]

I know his signature pretty well. Let me take a look at that. Now, man. Oh, here. See what you think, huh?

[B]

Oh.

[A]

Oh, yes. That's old man Bartlett scrawl all right. Of course. There. Well, maybe I was wrong. Yes, sir, looks that way, Mr. Dillon. But only about the bill of sale. Chester, we still don't know what happened to the Bartletts at this time. It is with great pride that Gunsmoke is able to bring you a specially recorded message by the honorable Edward F. Arne, governor of the state of Kansas. Ladies and gentlemen, Governor Arne. It's a real pleasure for me, on behalf of Kansans everywhere, to congratulate the CBS Radio Network, the writers, producers, directors, actors and technicians on the splendid job you are doing with Gunsmoke. Here is real adult Western drama without the usual horse opera cliches, portraying an era and community of Kansas that graphically mark the formative years of our great state. Let me point out, however, the Dodge City of today is a far cry from the Dodge City so vividly brought to life in Gunsmoke. From those early pioneer and frontier days, Dodge City has developed into one of the fine cities of our state. Industrially, agriculturally and historically. The folks of Dodge City, and indeed all the people of this great Sunflower State, thank you for a good job well done. Thank you, Governor Arne. And now the second act of Gunsmoke. Big crowd in town tonight, Mr. Dylan. In here, too. Must be the feel of spring in the air. Get the man on the prod. Makes him feel good. Not me. Chester. Yes, sir. I've been noticing that you haven't said one dozen words in the last hour. It don't do a man any good to stay down in the dumps that way. Drink your beer. Well, now, we just made a mistake, that's all. Got the wind up over nothing. Now, we know it's old man Bartlett's signature, but I just can't help feeling that we haven't made a mistake.

[B]

Well, maybe ought to make one, Matt.

[A]

Oh, how you kidding?

[B]

Everybody ought to make a mistake once in a while.

[A]

Keep them from getting old or Else helps them along.

[B]

What's your trouble, Matt?

[A]

Feeling that somebody's guilty? Not being able to prove it. It's that Cyclone Ranch business, Ms. Kitty. I know Bartlett didn't sell us. His signature is on that bill of sale, Mr. Dillon. Yeah, but a man can be made to sign something, Chester.

[B]

Well, why don't you find Mr. Bartlett and ask him?

[A]

I'd settle for just finding him. I don't think I'd need to do any more asking.

[B]

Do you mean that the way it sounds, Matt?

[A]

Yeah. I know I'm jumping at conclusions, but the way things add up, it's the only answer that makes any sense.

[B]

Well, I hope you're wrong, Matt.

[A]

So do I. But I don't think I am.

[B]

Anyway, there's not much you can do about it right now. Why don't you forget it for a while? How about a round of drinks, Matt? An honor of Spring.

[A]

Spring, huh? You and Chester. Well, it is, Mr. Dillon.

[B]

Yeah, even the coyotes feel it. Did you hear him just after dark tonight, yapping down along the river bottom?

[A]

Yeah, I heard him. Kitty, would you mind if we had that drink later?

[B]

Well, all right, but where you going?

[A]

Well, I just thought that Chester and I might take a little ride, that's all. Hold up a minute, Chester. Yes. Be all right. Roll. Cigarette, Mr. Dylan? No, you better not. We're too close to the Bartlett place. This Kitty sure was right about those coyotes. Every one of them and his brothers out tonight all yapping their fool heads. Yeah. You suppose those coyotes really know it's spring coming, Mr. Dillon? It could be. They're sure scattered all over the countryside. There seems to be more of them off there toward the river bottom. Though the more sure may be right, Mr. Dylan. Wonder why. I don't know. Might be worthwhile taking a look. Yes, it sounds to me like most of those coyotes are up around those river bluffs there by the bend. Yes, Mr. Dylan. I believe it does at that. Come on, Chester, let's ride over that way. They're on the other side of that willow thicket. Let's cut through the thicket here. He must be awful interested in something, or they sure wouldn't let us get this close. Well, I guess they heard you, Chester. I think most of them are over there at the foot of the bank. Let's take a look. Come on. Chunk of the banks caved off there, Mr. Dillon. Yeah, but the coyotes didn't do it. I've been trying to dig something up, not bury it. I wish there was more moonlight. Yes, sir. Well, if you'd have told me what we were up to. I could have brought a lantern. I didn't know we were going to run into anything. Just. Yes. See if you can find a stick and let's scratch her on in this loose dirt, huh? Anybody tried to tell me this morning that I'd be out here in the middle of the night digging in that dirt like a ground hug, not even knowing what the same hill I was? What is it, Chester? Did you find something? Yes, sir, I sure have. Here, let me see. Mighty lucky hunch you had, Mr. Dill. Well, now we know why nobody saw the Bartletts leave town. They killed them. They killed both of them? Yeah. After they made them sign that bill of sale. Hit the dirt, Chester. They came from the edge of the bank up there. Watch for the next flash. Is that you, Wade? Just to the left of that sumac, Mr. Dylan. Yeah, I saw it. You're under arrest for murder, Wade. Now throw down that gun and come out of there with your hands up. All right, Chester, let's open up on him. Careful, Chester. You may be faking it. Only one thing, Mr. Dylan. It's not Wade. It's Dallas. Then let's go find Wade. Ranch is dark. Looks like they're all in bed. Maybe easier that way. Yes. I wish there was some way of keeping his mother out of it. I don't see how it can be that you.

[B]

You scare the coyotes away. I heard the shooting in a house.

[A]

It's not Dallas, ma'. Am.

[B]

Why, it's the Marshal and Mr. Proudfoot. At this time of night? Well, this is quite a surprise.

[A]

Yes, ma', am, I reckon so. Is Jed here?

[B]

Well, I guess so. Maybe he's out in the barn or somewhere. What's wrong, Mr. Dillon? I sure do hope Jed ain't in some kind of trouble.

[A]

I just want to talk to him. Ms. Weener, why don't you go on back in the house, huh? And we'll see if we can find him.

[B]

Well, all right. If you think best. You just go straight on back through the barn. Reckon you'll find him all right.

[A]

Thank you, ma'. Am. It's not gonna be easy, I know. Keep yourself covered. I will. Sounds like you're working back there. Yeah. Bartlett put up enough prairie hay here to last for three years.

[B]

Right on back.

[A]

Dallas just about got these here running iron finish. Dallas won't be needing any running irons, Wade, or anything else. He's dead. We found where you buried the Bartletts. That's where that shooting was. You and Dallas, you're under arrest for murder way. And if you make a move, you're going to end up the same way Dallas did. How could I do anything martial? I got no gun. I noticed it hanging on the wall there behind you. You leave it there? I. Sure. Now lay down that hammer and stick out your wrist. Sure. Anything you say. You smash the lantern, Mr. D. Watch it, Chester. You'll have his gun. Now. Get back, Chester. Get back toward the door. I can't see a thing in all this smoke. That haze is dry as powder. This burn's going to go up like a tinder box. The Wade, you haven't got a chance. Now come on out of there while you still can.

[B]

Why don't you come back here and get me?

[A]

Crazy fool. Come on out now. The heat's getting awful bad, Mr. Dylan. Yeah, I know. Back toward the door, Chester. We're gonna have to get out of here. Even for a man like Wade, that's not a good way to die. Mr. Dallas. Don't know where he is. Then you come right down to a Chester dead.

[B]

He's in there, lady.

[A]

He's there with all that fire. I'm sorry, ma', am, but you got.

[B]

To go get him out of there.

[A]

No, I. I'm afraid there's no use. I'm going there myself. No, no, no. It's too late for.

[B]

I always knowed it was gonna end like this sometime. I always noted.

[A]

I'm sorry, Ms. Wade.

[B]

You had done something real bad. Didn't he, Mr. Dillon? Him and Dallas. That's why you come back here.

[A]

Yes, ma'. Am, I'm afraid so. They killed the people who owned this ranch, eh? Buried them down along the riverbank.

[B]

Those boys done a lot of bad things, Mr. Dillon, but I don't hold with killing.

[A]

I'm sorry it had to happen this way, ma'. Am.

[B]

Mr. Dillon, I'd like to ask a favor.

[A]

Why, certainly, ma'. Am.

[B]

I come out here in a wagon out back of the house. Now that it's getting light, if you'd hitch up my team to it, I'd like to go back to town with you, Chester.

[A]

Yes, Ms. Dillon, I'll do it.

[B]

I'll just take what I brought, Mr. Dillon. Nothing else.

[A]

Well, just as you like, ma'. Am.

[B]

It's all in the trunk. Funny thing. I never did unpack it.

[A]

Gun Smoke under the direction of Norman McDonald stars William Conrad as Matt Dillon, U.S. marshal. Tonight's story was specially written for Gunsmoke by Les Crutchfield, with music composed and conducted by Rex Corey. Featured in the cast were Vivi Janis, Harry Bartel, Lawrence Dobkin, Joe Cranston and Jerry Housner. Polly Bear As 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 Gun Smok. Tomorrow night, Theater of Stars brings you Dana Andrews as a New England fisherman of the old school in a colorful, exciting drama of the clipper ship day titled the Token. Hear what happens when a determined young lady steals her sister's betrothal token and then sets out to steal the stalwart young fisherman as well. It's on Theater of Stars tomorrow night on on most of these same stations, a feature presentation of CBS Radio at the Star's address. And you've heard of people stopping the show? Well, there's a show on CBS Radio every Sunday evening that stops the people. It's the Jack Benny show, of course. And when it comes on the air, practically everybody stops doing practically everything except laughing. So tomorrow night, just stop everything and listen to Jack Benny. He'll be on your favorite CBS radio station, George Walsh speaking. And remember, Eve arden as our Ms. Brooks also teaches you how to laugh Sundays on the CBS Radio Network. Sam there's more old time radio@ Relicradio.com. all the podcasts are there, our shoutcast stream and everything else. Relic Radio if you'd like to help support it all, visit donate. Relicradio.com or click on one of the support support links. Your support makes it all possible and has for 18 years. Thanks to those who have helped out.

[B]

Thanks for joining me this week.

[A]

Be back tomorrow with Case Closed and next Tuesday with our next episode of the Relic Radio Show.