 Down 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. Marshal and the smell of gun smoke. 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. Never saw a street like that. It's dusty, sir, just plain dusting. It's only spring and already the plaza's just vulgar with dust. Streets in Texas are all grass, Chester. No, sir, but they're a better nest. You think they'd be somewhere fixing it? Dodge is growing, Chester. Maybe someday it won't look so bad to you. I don't aim to live that long, sir. Well, I'm glad you got that much figured out anyway. I surely have. Oh, now, wait, that's not what I meant either. Don't let it worry you, Chester. Did you get those posters down to Mr. Hightower? Yes, sir. He said they'll be ready about noon tomorrow. All right, pick them up, then, will you? Yes, sir. Oh, my goodness, Mr. Dillon, I nearly forgot. No? Well, after... Forgot what? After I left Mr. Hightower's, I thought I'd just take a glass of beer. I had to get all that dust out of my throat. You know how bad it is walking around knee-deep in that stuff, and I was... Yeah, yeah, all right, Chester. Well, what is it you forgot? Well, sir, I dropped into the Texas Trail and Miss Kitty was there, and she said she thinks there might be trouble over there before long, and she said to tell you... What kind of trouble? Oh, the usual thing, some man fighting over a girl. Well, you don't seem to be very worried about it. I'm tired of people fighting. I wish they'd all just go away some words and kill each other off and have done with it. That'd be fine as long as they don't do it in dodge. Well, come on, Chester, let's go over and see what it's all about. To say it is a new girl, Matt. She's shy as a flower. I don't know what she's doing here anyway. How do you know the name of the man? Dorgan, who says... I tried to get her away from him, but I think she's too scared. Maybe she likes him. Do you ever think of that? I hope not. Anyway, he won't let anyone else dance with him. Go over to the bar near Chester there. They've tried twice. I know one of those men, the tall one. His name's Horn. Who is he? He's a gunman. Pretty fast, too, so I've heard. Well, I was over there with Tassado last time they came up, and somehow, from the way they talked, I got the feeling they're more interested in Dorgan than her. You mean they're trying to draw him into a fight? That's my guess, Matt. Let's see what I can do. Miss Tassado? Yes? I'm Matt Dillon. I'd be proud if you'd dance with me. Well, I don't think I'd better. Now go ahead, Tassado. It's all right. You could dance with him. Mr. Dorgan, you told those others that I... Hello, Marshall. Hello, Horn. This here is Watson. Howdy, Marshall. How are you? What's on your mind, Horn? You know, Marshall, if there's any trouble here, we ain't responsible. Leave me alone. There won't be any trouble. All we want, Marshall, is our turn with the girl here, and Dorgan's had her hog the whole evening. And that ain't fair, and that's all. Yeah. What's funny, Marshall? You sound like a man of the church's social. I'm trying to be peaceable about it, that's all. I've seen you when you didn't try, Horn. What are you looking for, an excuse to work this man into a gunfight? He sure is, Marshall. And I ain't got to take much more from him or Watson either. What's the real trouble between you? There's no trouble, Marshall. We just want to dance with that girl. That's all. You want to tell me, Dorgan? Nothing, Marshall. Nothing. All right. Tissette. Go over there and sit with Kitty, will you? Now, wait a minute, Marshall. Tissette is my girl. I've been buying her drinks. She's staying right here. Go ahead, Tissette. Go on over with Kitty. I don't know which one... You just go, Tissette, and nobody will stop you. Thank you for the drinks, Mr. Dorgan. Go on, Peter. Chester. They were handling things as all I can say. What is it, Mr. Dillon? Take their guns, Chester. Oh, no, you don't. Shut up, Watson. Are you going to let them do that? We ain't looking for trouble. You're smarter than I figured, Horn. Now, am I, Marshall? Get them, Chester. Yes, sir. All right. Your guns will be at the jail. You can pick them up in the morning when you leave town. All three of you. Good night, gentlemen. Taking his gun from a man like Horn was the fastest way in the world to get him out of the saloons and off the streets and behind covers somewhere. There were too many men who might show up out of his past and suddenly make their claim on him. And Horn was the one that really mattered. Neither Dorgan or Watson looked like real gunmen. So I thought I'd been pretty smart until the next morning. I was just crossing the plaza when I ran into Kitty and Chester. Matt. Matt. We've been trying to find you. Oh, what's the matter, Kitty? Mr. Seder, I don't know where she is. What? I looked into her room this morning and she'd gone. Nobody's seen her anywhere. Oh, maybe she went out to buy some clothes or something. Oh, she was afraid to go out alone. I always had to go with her. I just know something's happened to her. Oh, like what? Dorgan. He was real sweet on her, Matt, and I don't trust him at all. Oh. Dorgan came by the office real early, Mr. Dillon. I gave him his gun and he van boosted. He was in a big hurry to go someplace. I told him to leave town this morning. Well, you didn't tell him to take to Seder with him. Did they get back together last night? Sure. Just as soon as Horn and Watson left, I couldn't stop it. I see. Tell me, Kitty, can she ride? Oh, no. I asked her to go out with me once. All right. There was a stage west this morning. Go see if they got on at Williamchester. All right. Kitty, if she did leave with Dorgan, maybe it's because she wanted to. Oh, maybe. She wouldn't say anything about him last night, one way or the other. I told you, I think she's afraid of him, Matt, but even if she did want to go, well, she isn't as kind, that's all. Well, that may be, Kitty, but it's not the law's job to chaperone every girl that hits Dodge. What if she didn't want to go, Matt? What if he forced it to? Well, that would be different. A whole lot different. You bet it would. They was on it, Mr. Dillon. The agent described him exactly. Left an hour ago, right on time. I knew it. I knew it. Will I get our horses? No, no, wait a minute, Chester. Dorgan might put up a fight, and if he does, we can't shoot around that girl. Well, then how can you stop him, Matt? Well, somehow I don't figure Dorgan is a really brave man. I think we can bluff him. He might try to fight two of us, but if there were more, say, maybe a dozen, man. You mean we'll take a posse? Well, this time it might just work, Chester. But I'll pick him. The man I can trust not to do any hasty shooting. Chester, you go round up Arnold Winters and John Kemp, Marty Walter and Bob Gast, and I'll get the rest of them, and tell them we'll all meet at the jail in 20 minutes. All right, I'm coming, Chester. You men, because I know that you're steady. Now, there's a girl on that stage, and whatever happens, we can't return fire. Is that clear? All right. I'll figure out how we're going to stop them when we get there. Tell me in Watson, Hurt, you needed help. I told you to get out of town, Horn. We just want to be sure you got Dorgan before we left, Marshall. I don't need your help, and don't you be here when I get back either one of you. Close Cottonwood's, Chester and I'll right forward and stop her, and then you close in around us. We got it. No passengers. Front of me, Marshall. I figured that, Dorgan. Come on out anyway. Just say to get out. What's on your mind, Marshall? Up to Cedars here because she wants to be. That's all. Tell him to Cedars. Just tell me the truth to Cedars. If you want to go with him, you may, but if he's forcing you to go, then we're here to take you back to Dodge. You wouldn't want her death on your conscience, would you, Marshall? Well, please don't kill me. I'll tell it. I came because I wanted to. That's her to Cedars. Then go on back to Dodge and leave us alone. I guess you didn't hear the same thing I did, Dorgan. I'm warning you, Marshall. You haven't got a chance. How long do you think you can use her for cover? We'll follow you from here to California if necessary. Isn't that right, men? Get killed. I'll just let you imagine what we'll do to you. Go right where you are and step forward. Get your guns and put Dorgan up behind you. Mr. Dillon, what are we going to do with this Cedars? She can't ride anyway, especially in those clothes. Well, the blood-soaked place is a couple of miles from here. Go over there and borrow their buck board chester. Where you're troubled, we'll let you drive her back to town. Yes, sir. My? Well, you wait right here, Mr. Cedars, and I'll be back in no time at all. Now, a buck board ain't like a horse. You can't drive it a lope all the way. That's all right, Chester. What have you got there? Dorgan's breakfast. You'll probably have to wake him up. He hasn't made a sound so far. Oh, there are the keys on the desk. It didn't, Chester. What? There's no rope in his cell. Somebody called him over here to the window. I head and slip the rope around his neck and tie him tight to the bars. This isn't suicide. It's murder. Horne and that fellow Watson, they did it. Well, they're the only ones I know who've been wanting him dead. Will we go arrest him? Yeah, they just go free again. I got no evidence the court would accept. I'll bet those two don't think any more of Strang than a man than shooting a wolf and throwing his skin over a fan. They're killers, Chester. But right now they got nobody to kill, except maybe me. For the second act of gun smoke in just a moment. But first, make sure you're by your radio this Monday evening. For CBS Radio's Monday evening dramatic shows, the Lux Radio Theater and Suspense are putting on two of their top shows of the season. Suspense has a new writer, William Shakespeare by name, and they're staging his wonderful tale of love, vengeance and murder, a fellow with Richard Widmark as the star. And our Lux Radio Theater is bringing you the charming nostalgic story Wait Till the Sun Shines Nelly with David Wayne and Gene Peters in their original movie roles. It's a date Monday night. Suspense and the Lux Radio Theater on most of these same stations. Now the second act of gun smoke. When Watson was still in Dodge, I figured that they were probably waiting for me to run them out. Now they'd be glad for the excuse if I did. Even Dorgan's murdered behind them. Instead I did nothing and I set nothing. Opened up to sand their nerves some. Maybe drive them to a bottle and some loose talk. That night, pretending there was nothing in the world on our minds, Chester and I walked into the Texas Trail. The story is crowded tonight, Mr. Dillon. Yeah. Say, there's to say to. See ya. You're like a fall hog after ripe acorns, Chester. Well, my gracious, it wouldn't be polite for me not say hello, would it? I'll see you later. Well, who just left? Is he coming back, kiddie? He went broke. Sit down, man. You drinking? No, not tonight. Well, expecting trouble, huh? Yeah, maybe. Look at Chester and just say to that. I sure wish this place were quieter. I'd give anything to know what they're saying. It may get noisier. What? Look over there. Watson just came in. Oh, say, he's drunk, man. He's real drunk. Yeah. He's just going to start trouble again. Look, he's spotted to say to. I don't see horn. Well, horn hasn't been in tonight. I said I was going to dance with her. You're a little drunk, Watson. Get out of here and leave the lady alone. What, lady? You take that back. Matt. Are you from Texas, Mr. Yes, I am. Well, now if I was from Texas, I'd certainly keep it to myself. You're wrong, Watson. There's a lot of good decent people in Texas. Maybe, since you left. I'd say one of you can even get a woman like this. Don't you be judging the people of Texas. Matt. Oh, only Mr. Dillon. I was only going to fight him. I didn't think he'd draw. Everybody saw it, Chester. He had his gun out first. I shot him. Twice. He didn't even fire. How come he didn't kill him? Now take it easy, Chester. To say the, go get him a drink, will you? Yes, sir, do right away. Did you strangle Dorgan? Dorgan. We killed him. Me and horn in jail. Come. Live, I'll call on some of you men as witnesses to Watson's confession here. I'll call a couple of you. Take him out back. Chester, you all right? You look peaking. I got him a whiskey, sir, just like you said. Drink it down, Chester. Mr. Dillon? Yeah. Mr. Dillon, if he hadn't have been drunk, I couldn't have shot him. Well, that may be, Chester. But don't forget one thing, drunk as he was, he drew to kill you. If you'd given him another second, he would have. You had to shoot him. It was self-defense, pure and simple. Yes, you didn't. That's sure true, but I... Now, you stay here for a while. I'll be out in the plaza. To say to get me one more drink. The word of the gunfight would spread fast, and the word of the dying man's confession even faster. Wherever Horn was, I knew he'd hear about it. And since he was a gunman of an entirely different breed from men like Watson and Dorgan, it could be defended on that instead of running, he'd shoot it out with me. It was a simple matter of vanity, and there was no way to stop him. Only thing I could do was wait. Expectantly, the plaza cleared. But before Horn showed up, Chester came out of the Texas Trail and walked over to me. Mr. Dillon? Are you all right now, Chester? I'm fine, but say, I just heard that Horn's gone and got himself a shotgun. Now, is that so? You can't meet him like this. I'll go get you one out of the office. No! But Mr. Dillon, a shotgun... I know. But if Horn's done that, he's lost his nerve. It means he can't face me any other way. Yeah, but you haven't got a chance against a shotgun. Well, we'll soon find out. He does have a shotgun, Mr. Dillon. All right, get off the street, Chester. I don't like to leave you. Go on. Yes, sir. Evening, Marshal? You're well armed. This is the first time, isn't it? First time what? You had to get behind a shotgun. I ain't taking no chances, Marshal. Sure. But from what I've heard, that never bothered you before. Meaning? You're fast enough with a sixth gun to have lived this long, Horn. You must be pretty good. But you're through now. You've lost your nerve. You're not a gunman anymore. You're just ordinary, dirt common. That's not for that. I could find a dozen men like you on any saloon in town. It was different before, Horn. You kind of stood out a little. Nobody's going to worry about you after this. You think not? You think I need this shotgun? Of course you need it. Everybody can see that. I ain't scared of you, Marshal. I ain't scared of no men alive. Talks cheap. I ain't talking! Don't you tell me I'm scared. You don't have to draw, Horn. You can still take your chances in court. It was right, Marshal. I was scared. I ain't no more. Look, I'm giving you a chance. Why don't you take it? Never mind. You all right, Mr. Dillon? It's been a long day. Let's go somewhere and try and forget it. Smoke under the direction of Norman McDonald stars William Conrad as Matt Dillon, U.S. Marshal. Tonight's story was especially written for gun smoke by John Meston, with music composed and conducted by Rex Corey. Featured in the cast were Tom Tully, Lawrence Dobkin, Paul Dubov, and Lillian Byatt. Harley Bear is Chester, 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 smoke. You have to face facts when you talk about Korea, and the facts are that there are more than 35,000 war orphans in Korea. They not only have no parents, but they have no shelter, no warm clothing, no food. They are not responsible for their condition, and some of them can remember no other. Their government tries to help, but the best it can do is a cup or two of rice a day for each. Other Korean war refugees cannot shelter them. Often they can hardly care for their own children. Because these orphans have not had food and have been exposed to all kinds of weather, many of them have tuberculosis. They are all weak from hunger and an easy prey to disease. Yet people over there like the representatives of CARE, the package sending relief agency, say many of these children can be saved if they get food and clothing now. CARE has stockpiles over there. An order or contribution will send them to those most in need. Package delivery is guaranteed. To save the kids of Korea, send the contribution to your local CARE office or to CARE New York or CARE Los Angeles. Some people wake up like this. And some people wake up like this. Come on, you lazy bum. Get out of that sack. But nine million people prefer to wake up to music, to a breakfast symphony, a popular singer or news. Because nine million people have clock radios that turn themselves on in the morning. How do you like to wake up? America now wakes up to nine million clock radios and listens most to the CBS radio network.