 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 the U.S. Marshall 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 Marshall. It had been some time since we'd had any real trouble. Anything more than throwing a few juiced up cowboys in jail to sober up for a few hours. And I liked it peaceful for a change and I hope to stay that way. Well, that morning I'd gone to take a few catfish out of the Arkansas. When I got back to the office, I found a note from Chester. Saying he's at the Alephraganza having a beer. Hello, John. Over here, Mr. Dillon. Any luck, sir? No, about a dozen, Chester. We'll have them for supper. No, that'll be fine. Oh, I've been telling Mr. Carter here about you, Mr. Dillon. Mr. Carter? Robert P. Carter. How do you do, Marshall? Hello, how are you? Buy you a drink? Well, thank you. Yes, I believe I will. I think I'll have a beer. Bartender, a beer. Mr. Carter came in on the stage from Denver last Saturday. How are you living, Denver, Mr. Carter? Oh, heavens, no. New York, Marshall. I've only been west a few months, investing money in gold mines and cattle and the like. Mr. Carter is very weak. Just I will be if Mother Nature holds out. His girl is coming in on the stage today, Mr. Dillon. Oh, is that so? My fiance, Marshall. He met her in Denver. But she couldn't get ready in time to come here when he did. Ah, I see. I had to come ahead on business. Couldn't wait. We'll take the Santa Fe to St. Louis from here. They're going to be married in St. Louis, Mr. Dillon. Well, well, congratulations. Thanks. But is the stage always this right? He's worried, Mr. Dillon, with his girl on the stage now. It'll be along, Mr. Carter. You talking about the stage? Oh, hello, Shiloh. Shiloh says he's been sitting there by himself all morning, Mr. Dillon. Since last night, Chester. You know something about the stage, Shiloh? Only that it's carrying 50,000 in gold out of lead, though. So? Well, maybe that's why it's late. What do you mean, man? Well, if somebody wanted that gold, they'd have to stop the stage long enough to get it unloaded, wouldn't they? Bandits. He means bandit. Now, hold it, Mr. Carter. You're already bleeding, and nobody's shot you. What? Nothing, nothing, nothing. Just take it easy. The stage will get here all right. It's often a little late. But this man says it might have been held up while there may have been a shooting. Well, now, now, he's just daydreaming, that's all. Wait a minute. Listen, huh? Well, there it is now. See, Mr. Carter, there was nothing to worry about. Nothing got here all right. What is it, Jim? Got held up, Marshal. What? Lost 50,000 gold. Where'd this happen? About 20 miles back near Woodrow, but... Anybody shot? Not a shot. Fire. He tricked you. But now... Where's James? Driver. Where's the girl who was on this stage? What's happened to her? That's what I started to tell you, Marshal. There's a tree across the road. We got down to move it. This rider got to drop off. He's all alone. Never mind all that. Where's the girl? He took the gold, took the girl, too. What? He took James? You mean to tell me you let him take James? Well, now, mister, there wasn't much choice. He held a shotgun on us. They're gone before we could do a thing. Oh, but this is impossible. Now, take it easy, Mr. Carter. We'll find them all. You'll find them. You were off fishing when it happened. What kind of blow is there on here anyway? Easy, Mr. Carter. I took one of the team after, Marshal, but it couldn't get near him. He had an extra saddle horse with him. Put her on that. I see. But I don't think he planned on kidnapping that girl. Where it was, he just looked at her and told her to come along. Do you recognize him, Jim? No. Those horses are both sorrows. My heaven, Marshal, you'd better get her back here at once, or I'll pick this up with Washington. I'll see you disgracefully. Shut up, Carter. Chester, go get our horses and a couple of rifles. I'll get a few more details from Jim here. Well, don't you want to posthumously? No. There'd be too much shooting around that girl. Now, hurry, will you? Yes, sir. I'll hurry, Mr. Dillon. Mark my words. You'd better have Jane back here by nightfall, Marshal, You'll care to ride along, Mr. Carter. No. No, I'm not equipped for that sort of thing. I'll take care of matters at this end. Yeah. All right, now, Jim, now tell me first exactly what happened. Well, we just come down into the draw, about 100 yards from the creek. The blood-red sun was drooping over the edge of the prairie, and Chester and I reached Cottonwood Draw. We rode hard until night fell, and we had to stop and wait for daylight. But with morning, we drew a heavy rain that washed out every track. We rode on anyway, but the next three days, we scouted a big piece of that country. Well, it was hopeless. Finally, we headed back to Dodge, empty-handed. Bartender, bring me a bottle with you. You're mad. Hurry, C, Marshal. Is she all right? Carter, I know. I'm sorry. What? You mean you didn't find them? Rain washed out their trail first morning. We never picked it up again. They could be anywhere. You came back without her? We did what we could, Carter. I will just have to wait for word of some kind. You'll be seen sooner or later. Wait. Well, I won't wait. This will cost you your job, Marshal. I promise you that. Look, Carter, if it make you feel better, why don't you ride out yourself? It isn't my job to keep her all around here, Marshal. It's yours. Yeah. Say, Marshal. Yeah, what is it, Shiloh? Big Kate wanted to see you when you got back. Asked me to tell you. Big Kate? All right. Thank you. Well, I came out. How'd you know, Kate? I can tell by looking at you. It's thousands and thousands of miles at Prairie. And then just luck if we'd found them. Nobody's blaming you, Matt. No, Carter is. And I suppose it's hard on him. His fiance and all that. Carter's no good, Matt. Well, I never liked him, but I suppose that doesn't matter. And I'll tell you why he's no good. You know something, Kate? Carter's been drunk a lot while you were out. He was bragging to one of the girls last night. Bragging? What, about what? Not much, to my way of thinking. Well, go on. Well, to make it short, it seems Jane's father got into a big deal with Carter up in Denver. Yeah? Carter got him tied up good and threatened to ruin him. Oh, so what happened? He didn't ruin him. He took Jane instead. Yeah. Well, maybe she likes him. You don't know much about women, do you, Matt? You think a bought-in bride is likely to be in love with a man? So that's what I have to bring her back to. Well, what are you going to do about it? What can I do, Kate? You just have to wait and see what turns up. I waited. I waited a week. Carter was drunk the whole time, telling everybody how he was going to fix me good. I'm not doing much about it, except stay out of my way. And things were fairly quiet. Chester and I spent most of our time in the office. Well, he sure fooled me, Mr. Dillon. Now, Carter? Yes, sir. He seemed like such a nice fella and so rich. He's rich, all right. But poor in spirit. You've been going to church again, Chester. Yes, sir, Mr. Dillon, last Sunday. Oh, last Sunday? Didn't it rain, Mr. Dillon? Oh, I like church, Mr. Dillon. But I sure do hate to get all dressed up. You the marshal? Yeah, I am. Here you've been looking for a man and a woman. You know anything, mister? My name's Chad Brown, just rolled in from Satana. Yeah? There was a man and a woman about 80 miles back on the trail. What color horses were they on? Well, since they saw me, they rode off, so I didn't get very close. But both horses were the same color. I guess maybe so. Are you willing to ride back with me, Mr. Brown? I don't know, marshal. I've got an awful thirst. That woman's out there against her will. I'll go. I'll get our horses. No, no, no, Chester. Be better if you wait here this time. We'll be back in a few days with luck. Let's go, Mr. Brown. We will return for the second act of Gunsmoke in just a moment. But first, Frank Fontaine now brings you comedy with four members of the Frank Fontaine family, guest stars, and a delightful cast of entertainers. Sunday nights on CBS Radio. Listen in for the Frank Fontaine show tomorrow night. It's refreshing summer listening. So just for fun, try the Frank Fontaine show tomorrow night on CBS Radio. Now, the second act of Gunsmoke. Chad Brown and I covered the 80 miles on the day and a half. The outlaws trail headed south for a few miles and then turned northeast back in the general direction of Dodge. It was hot and still. On the horizon, there were occasional flashes of heat lightning. And then in the distance, we saw the long, low cloud of yellow dust that spelled cattle, the Texas herd trailing north. The kidnappers tracks led straight into it. An hour later, we pulled up not far from the swing of the herd, a line of long horn stretch for several miles across our trail. We watched them looking for a lag to ride through. All of a sudden, a rider came hallowing down on us. You ain't dammit across that herd, are you? Have you seen anything of a man and a woman around here, mister? Has they mounted? Yeah, a couple of sorrows. Don't matter. I ain't seen nothing but cattle and cowboys for six weeks. Besides, these cattle are plenty uneasy. They've been dry since yesterday morning. And that heat lightning ain't soothing to them. This herd's crossed the trail of an outlaw and a kidnapped woman, mister. That's all. Well, you just have to wait. You can ride around a dog back there. But you can't cut through this herd, mister. Look, I'm a US marshal out of Dodge. And I haven't got any time to waste. You think we can pass it? Well, I sure appreciate your problem, marshal. But I can't help you. I'm trail boss of this outfit. And I got 3,000 head of cattle here worth maybe $20 ahead of Dodge. They're too nervy now. And I sure can't chance you're touching them off by riding through there. I guess it's right, marshal. It'd be pretty risky from the look of them. They're moving too fast now. Yeah, I know. Just that I hate to lose the time. You've got more time than I got cattle, marshal. Well, I don't know about that. But I won't tempt the stampede, mister. We'll ride around the drag. We'll see you in Dodge. The Oliver games are still running? Yeah, it is. Mostly on Texas money. Adios. We rode down along the herd and back up the other side about a four mile detour. But we picked up the trail again and followed it to a dock. Next morning, we found the outlaw still headed straight for Dodge and all we could figure was that he must be new to the country and just plain lost. Naturally, he'd want to avoid asking questions of anybody. By noon, we were inside a town and during that last hour, neither Brown nor I said a word. Finally, we rode up front street, got down at the jail. We got him, Mr. Dillon. They rode right in here early this morning. Gave himself up, huh? Yes, sir. I got the man locked up in back and the money is over at the bank. Oh, good. How's the girl, Chester? Oh, she's fine. A little tired, but fine. Well, what's his story? Who is he? He calls himself Scott Cooley. But he won't say anything more at all, Mr. Dillon. I just gave up on him. I thought I'd better wait for you. All right. I'll talk to him first, and then I want to see the girl. Where is she? I didn't like it, Mr. Dillon, but I didn't see what I could rightly do about it. What do you mean? What happened? Well, she sure didn't want to go with him. But that Mr. Carter came here and just the same as dragged her off. She went finally, but I sure don't like it. Well, they didn't leave Dodge, did they? Oh, no, sir. There's no train till tomorrow. They're at the hotel. Oh, all right. I'll go over there later, Chester. So you're Scott Cooley, aren't you? You knew around here, aren't you? Well, anyways, I never saw you before, Marshall. I've tried hard enough to meet up with you, Cooley. You're in trouble, you know. Bad trouble. Marshall, you've got anything to say. Just say it right out. I've got nothing to say. I'm just curious why you rode in to Dodge. So what do you care? I'm here. You got the money back and what? Oh, leave me alone, Marshall. Just let me alone. You've got to talk sometime. Now listen, Marshall. I'm ready to serve my time. That's why I gave myself up. But talk? No. I don't have to talk. Not for you. Not for anybody else. Mm-hmm. All right, Cooley, have it your way. Marshall. Yeah? Marshall, you going to see Jane? Yeah. What are you going to see her about? Find out what happened. Yeah. Marshall, I don't suppose you'd let me out of here just long enough to kill Carter. Now, you mean the girl told you about it? I wouldn't care if I hang for it. It'd be worth it to kill him. Mm-hmm. Tell me something. What makes you think what you did's any better? Well, you wouldn't understand, Marshall. But you do what you can for her, would you? Anything else you want to tell me? No, that's all. Who is it? Matt Dillon. What do you want? Open the door, Carter. I want to talk to the girl. Another time, Marshall. You want me to kick the door open? You're asking for trouble, Carter. How do you do, Miss? I'm Marshall Dillon. How do you do, Marshall? I know you've been through a lot, Miss, but I have to get the whole story from you so as I can file the proper charges against this outlaw, Scott Cooley. You want to use me to put him in prison? Is that it? Well, he's committed two crimes, robbery and kidnapping. We'll want him up for both. It doesn't de-fact that he gave himself up and returned the money. Help it all. I'm afraid I don't gather your drift. Then let it go at that, Marshall. We're leaving Dodge on the next train. So Jane won't be here to testify anyway. No? Is that what you have in mind, Jane? Oh, no. I mean, I don't know. Oh, please. He's upset enough. Marshall, leave her alone. I want anything out of you, Carter. I'll knock it out and I'll shut up. You can't talk to me like that. Wait, Marshall, I'll tell you all about it. But first, I'll not in front of him. Make him go out and then I'll tell you. All right, Carter, outside. Don't you order me around. This is my room. And I'll throw you out. I open the door and find you around. I'll throw you all the way downstairs. Now get it. Jane, you can talk. Can I trust you, Marshall? Really trust you? Well, that's up to you. But I'll tell you this, I know about Carter. About you and Carter, that is. Then you. You know how I hate him. Yeah? But right now I'm curious about this kidnapping. What happened? Why did Cooley give himself up? Because we decided we couldn't live being hunted down the rest of our lives. Ah, so you were in on it with him, huh? No, Marshall. The first time I ever saw Scott Cooley was when he held up the stage. I'd like to believe that. Very simple, Marshall. I love Scott Cooley. What? I love him. Oh, now look, Jane, girls like you just don't go around falling in love without laws. Don't they, Marshall? No, they don't. I did. Then either you're crazy or you're lying to me. And if you weren't a woman, I'd throw you in jail right along with him. I'm a woman, Marshall. But I have no objection to going to jail with Scott. Then you admit you're his accomplice. No. I suppose it's hard for you to understand, Marshall. It is. I'll try to make it simple. You see, Scott doesn't know why he took me with him when he held up the stage. He's never done anything like that before. But it just seemed perfectly natural to him. He saw something he wanted, and he took it. That's all. I'm afraid the court will look at it somewhat differently. All right. I suppose you'll go to prison for the hold up, but not for kidnapping. Why not? Because I'll testify that I went with him of my own free will. I almost wish you two hadn't ridden back to dodge. Marshall. Yeah. You said you know about Bob Carter and me. Yeah? Well, Scott's been wild, and he's done wrong. But he's never done anything really evil. Well, maybe you're better off with Cooley if he straightens up. You know I am. Don't you, Marshall? It's no business of mine. I'm a peace officer and not a matchmaker. My job's to keep Cooley under arrest and get him up for trial. That's all now. What you do is your own business. You can testify any way you like. I can't stop that. Oh, please. Marshall, help me. There's no one else who can. Yeah, who is it? It's Carter. Open this door. Well, gentlemen, there are four of us here, Marshall. We figure you've talked to Jane long enough. Yeah. Yeah, I think I have, Mr. Carter. You're leaving. Yeah. Yeah, we're leaving. Are you ready, Jane? Oh, thank you, Marshall. Yes, I'm ready. Jane isn't going with you. I've just put her under arrest. Under arrest? I arrest anybody I think needs arrest in Mr. Carter, and I'm not going to have it explained in the wine. There's a law about that. You're in dodge, Mr. Carter. Come along, Jane. You can't do this, Dylan. We don't stand for it. You're a fool, Carter. I know these three bums you've got with you, and they don't want to draw on me any more than you do. You fed them some liquor and promised them more. For that, they'll do anything, anything but face me in a gunfight. Am I right, boys? Huh? Well, I take it I am. All right, now get out of my way. Huh? You go first, Jane. You stay here, Jane. Take your hands off her, Mr. Carter. Just step over him, Jane. Mr. Dylan, I don't like to say anything. Well, then don't, Chester. But I can't help it, Mr. Dylan. This is the first time you've ever jailed a woman, and I just don't like it. Good. What? I don't like it either, Chester. What's this all about, Mr. Dylan? Chester, Jane, and Cooley are in love. Don't look so joy-eyed about it. Cooley's got to stand trial yet, you know? I've got no part of this, Marshal. Now what, Shiloh? I never did like that, Carter. Well, what's he up to? Oh, sir, he's drunken. He's buying liquor for everyone. He's making a lot of talk. There's about 20 men with him now. Where? Texas Trail. Nobody likes it about this girl. Looks like they'll come over here and try to bust her out of jail. Chester. Yes, sir? Those horses still out back. Yes, sir, I was going to put them away later. No, leave them, leave them. Now, will you get over to the Texas Trail and install those men for a while? All right, Mr. Dylan. Come on, Shiloh. Not me. I'm going to bed. I got two tons left. Come on up. What is this, Marshal? Just hurry it up, will you? Let's go, Jane. Oh, no, no. Stay where you are, Jane. I don't like this. You'll do what I tell you, Cooley. It's all right, Scott. We can trust him. But I don't know what he's got. Scott. All right, Jane, if you say so. All right, now off back. Here that way. Come on, let's move. All right, you take the gray horse, Jane. He's gentle enough. But hurry, will you? Come on, Marshal. You're going to Hays City. Cooley's going to stand trial there. Yeah. I got the money back, Scott. They can't do much to you. I know. But there's that kidnapping, too. I won't testify. That's all. Jane, you're going to have to testify. You'll be in contempt of court if you refuse. Then I'll lie. Anyway, I did go of my own free will after a while anyway. That's perjury. But you don't have to do that either. There's an easier way. Ah. Well, before I deposit Cooley in the Hays City jail, we might just make a little stop. What do you mean, Marshal? Stop where? We are going to stop at the preachers. You know, a married woman can't testify against her husband. Come on, honey, let's go. Gun smoke transcribed under the direction of Norman MacDonald stars William Conrad as Matt Dillon, US Marshal. Tonight's story was especially written for gun smoke by John Meston, with music composed and conducted by Rex Corey. Featured in tonight's cast were John Stevenson, Larry Dubkin, and Patricia Walter, with Mary Lansing, Herb Ellis, Jonathan Hull, Jim Nussar, and Frank Gerstle. Parley Bear is Chester. Join us again next week as Matt Dillon, US Marshal, fights to bring law and order out of the wild violence of the West in Gun Smoke. Tomorrow, a new feature is added to CBS Radio's On A Sunday Afternoon program, when Eddie Gallagher introduces the Main Street Music Hall with handsome Bob Carroll and pretty Eugenie Baird as your singing stars. On A Sunday Afternoon is heard in most of these same CBS radio stations. This is Roy Rowan speaking. And remember, daytime is a gay time with Arthur Godfrey on the CBS radio network.