Daily Gunsmoke

Gunsmoke - Pussy Cats

https://www.solgoodmedia.com - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free! Welcome to Daily Gunsmoke, your go-to podcast for diving into the legendary tales of Marshal Matt Dillon and the untamed landscape of Dodge City from the classic old-time radio series, "Gunsmoke." Join us every day as we explore a unique episode filled with high-stakes gunfights, complex moral issues, and the raw drama that cemented Gunsmoke's place as a cornerstone of American entertainment. Experience the adventures of Dillon, Miss Kitty, Doc Adams, and Chester Proudfoot as they navigate the challenges of life and law on the frontier. Don't miss a moment of these timeless stories—tune into Daily Gunsmoke for your daily dose of the Wild West.

Duration:: 31m
Broadcast on:: 14 Jul 2024
Audio Format:: mp3

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For call, 303-974-9444, to speak to a rent-to-state advisor today. American Giant Makes Great Clothing. T-shirts, jeans and more right here in the U.S. creating jobs in towns and cities across the country. Support America's workers and get 20% off your first order at american-giant.com with code "Staple20". Around Dodge City and in the territory on west, there's just one way to handle the killers and 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. Chester had been helping me with some paperwork after the regular day ended, and we didn't get through until about ten o'clock, and we were both kind of tired. I sure never did think I'd hold out, Mr. Dillon. I got a cramp in my hand and a crick in the neck. What I need to be here, I'll join you, 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. Hi, day, Matt. Oh, no, no, nothing much. I declare him as Kitty this beer tastes darker than usual. New brew, probably, Chester. Yeah, I suppose. Say, Matt, you ever seen the stranger before, the tall one, the bar? Huh? Huh, no. No. My heavens, Mr. Dillon, he is a lofty man, and that's for sure. Look at him, stretch out. Yeah. What about him, Kitty? Well, I don't know. Sam gave me the eye a bit ago just before you came in. Huh? You trying to make trouble? Sam's not sure. The fellow's been drinking straight for more than two hours, and he doesn't say anything. It just works like he's getting ready, maybe waiting for something. Yeah. Is the woman with him? Yeah. 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 butt 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, dry and tough, he'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 much. It was like Kitty said, he was waiting. About an hour went by, the place began to quiet down. Most of the men drifted out wherever their way was taken. Excuse me, Mr. Dillon. You want to get on back, Chester? Well, yes, sir. I was thinking about it. This beer is so dark, it's making me sleepy. Well you go ahead, I'll see you in the morning. You staying? Yeah, for a while, I think. Want to count that tall fella? Yeah. Yeah, maybe. Guess I'll get a little whiskey and sugar. Might keep me awake. No, you'll go on, Chester, it's all right. If it's all the same to you, Mr. Dillon, I ain't sleepy. Okay. There's a hotel down the way, mister, that could put you up here. Shut up, nobody asked you. Now, Jack, you ain't got no call to talk to the man like that. He's just been helpful. Say, Mr. Dillon, Chester, be quiet. I'm tired, I want to go to bed. I trip on the stage and travel them all day. I swear, I never miss them. Let's talk too much, don't be quiet, so stay in here with me. But, Jack-- You've been talking ever since we come in here. Let's stop when I'm going to hit you. What not be a bad thing if you did, mister Dillon? There is 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 they'll inhale in here? I don't know, Chester. You're still here, isn't it? Yeah, I sit on them in it with you, Kitty. Yeah, sure. You don't know their names, do you? No. I came in on a six 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. Yeah. You think they're married? She's wearing a ring. I never seen a man drink as much. Mad it's like water with him. Honey. Hey you. Honey. Yeah. Excuse me, Matt. Yeah, sure. You go drink then, sure. What do you want to drink then? I'm sure. I'm sure. I'm sure. I don't know. Who you want to be sure? Thank you, honey. Sure. Where you think you're going? I did. I'm going to fresh notes, y'all. Mm. I'm coming right back. See you do. 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 was the son of the horses turned to the door and there was a gun on his hand. You fellas at the table. Get up. Come over here. Boy. Well, I kind of wondered what you were waiting for. 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. Don't you put your gun away, mister? Don't bother me. There's trouble coming through that door any minute. Put it back. I don't allow gunplay and dodge. What you will allow ain't up to you now, mister. If you're in trouble, it's my job to protect you and your wife. It's just private trouble. You want part of it, I'll give it to you right now. In the belly. Jack, they're here. Outside. Yeah, I know. Get out the back. I ain't runnin' no more. You either. Come on, get behind the bar. Yeah, honey. You two fellas unhitch your belts. Leave 'em lay where they fall. Boy. Honey, you give me a gun, will ya? I give you one, I give you one. Wait a minute. Okay, are you two gettin' around behind the bar? Alright. At the end, you, you and a lady. Well listen, you can't shoot up this place. 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. And then we waited. All of us behind the bar, except for the cowboy drunk asleep at the table. You know, when we had that mirror in for a month, it's gonna be busted for sure. Honey, we shoulda kept goin'. I got the train in the morning for the west. We'd had to stop somewhere. Listen, mister, I'm goin' over and get the boy sleepin' at the table there, he's gonna get hurt. You move an inch from where you're at and I'll shoot ya. Nice shot up all of ya. I hear 'em out there. Yeah. Just start shootin' when that door swings in. Mr. Dillon, shh. Stay down, Kitty. Don't worry, Matt. There's a baby. Alright, stop the dog. Don't be in a saloon, true. I know, Barrow. Well, come on. Might as well start lookin' in here. Alright. Let's do it a drink. Alright. There it is. There it is. There it is. There it is. There it is. There it is. There it is. There it is. There it is. The shooting went on for about five seconds. When the glass started to come down behind us, we covered up, and the fattily-fothered warm trickle along the side of my face where a splinter had slashed me. There wasn't anybody behind the bar hurt beyond a scratch or two from the glass, but out there, but the door and sprawled out beyond under the walk, were four men, and never had a chance. They'd never have another. Watch out for the glass, Jack. We got 'em, we got 'em. Yeah. Yeah, we got 'em, honey. When 'em still alive. Who is it? It's acting. Let me. Never did like 'em. Come on, let's go. Alright, Jackie. Sorry, messed up your place, honey. Don't you try comin' after us, mister. Jack's had a taste of blood. Come on, come on. Jackie. We're gonna have to ride now. Yeah. Oh, honey, I'm tired. We'll take you an easy later. Oh, yeah. You alright, kitty? No, I think so. Look at that mirror. Just look at it. Yeah. What happened? Chester, get some guns from the office, saddle up and get back here. Yes, all right now, folks. There's just been a little shoot, and that's all. Everything's gonna be good. Kitty. Get Doc quick. What is it, man? This man isn't dead. Huh? We'll go on. Hurry up, will you? Yeah, sure. She ran out into the night for Doc. I stayed in the Texas Trail watching the life flow out of the bullet hole in the chest of the man. The killers are called actin'. We will return for the second act of gun smoke 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 violently lost. 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His eyes were open, but he didn't see me. And when I talked to him, he didn't hear. While I waited for Doc, I went 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. Oh, poor fella. He's done that. There's not a living chance. If I could just get him to talk, we got to find out who he is and what they've done, those two. I don't know. He's put in a gun, we can't. Yeah. Acton. Acton, can you hear me? Acton. Acton. Acton, that fella, Jack Ferro. He and the woman. What did they do? Oh, there's no use. Acton. Acton. Now, listen to me, Acton. Matt. Acton, who are they? Why did they shoot you? He's trying the poor devil. Come on. Come on. Now, you're wasting time. I got to get after him. Now, what did they do? I'm dying. I'm dying. We've all got to die. Oh, Matt. That ain't kindly, mister. Now, I want you to wake up. You hear what I'm saying? Yeah. Yeah. I hear you. If I was on my feet. Now, listen to me. Ferro. I heard you call him Ferro. And the woman. Now, what about him? Why did you come gunning for him? Eh, had it come. Why? What did they do? Don't matter. It matters. If you're going to die, get it off yourself. Now, come on. You and your pals there. If you did nothing wrong, you'll die more comfortable. Oh, Matt, let's hear B. It's not mad! What about it, Acton? That's enough, Doc. Acton. Uh, in California. Out in California. You pharaoh me and the boys. We held up a stage in a pharaoh. He took the money, and I'll be it out with that woman. We have a boy who's been following. You look out for her. She's mean with a gun. Martha Lou. Yeah, he's gone, Matt. Yeah. I guess you had to do it that way, Matt. But... But what? Nothing. All set, Mr. Dillon. All right, Chester. You're going after him, Matt. Why not? They don't murder, haven't they? You have to figure the odds of a man forgiving you for what you do when a thing has to be done. Then you split the difference. You're dependent 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 give a no-piece to a dying man. And 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 would be headed. Son's coming up, Mr. Dillon. I got eyes. Yes, sir. There's a homestead up around the bend. They'll stop and find out if they've seen anything. How about that? There's no more than a half hour ago, Marshall. I was fixing to fetch some water when I heard him. They stopped, huh? Yeah. The woman looked tuckered out. Never see a woman with all their skirts ride the way she did. It was some picture. How long did they stay? Five minutes maybe. The wife had some coffee and drank it. Scaldin' and took off. Had it east. Yeah. They wanted to know how far to Kingsley. Maybe they wanted to know the next station and I told them Kingsley. Santa Fe is doing their pre-hutcheons in about eight. They do something wrong, Marshall. Just four murders back in the ditch. Come on, Chester. The Pharaohs had enough start on us that if they got the train in Kingsley, before we caught up, we'd have to use the telegraph. I 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. We 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. My running like that give me a stitch in the side. And the puffs. Take it easy, Chester. I sure wish we'd have had time to find out if there's on this train, Mr. Dillon. They ain't, we've lost 'em good. Oh, 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. Now, Chester, put away the gun. No shooting on the train. Yes, Mr. Dillon. We started from the last car and moved up. That way they wouldn't see us first. I hope we could get 'em without any gun play 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 'em. There they are, Mr. Dillon. All right, get back. Okay, we'll just stay here. Conductor's coming this way. Good. Howdy, Marshall. Mr. Hineson. You want a pleasure ride or business? Business, Mr. Hineson. That couple, they're in the fourth seat from the front. Told ya. Yeah, and the woman. Yeah, I wondered about them when they got on. Sure, funny pair. She looks well worn out. They both done murder. Oh, Marshall, there's kids in the car. I want to get 'em without any shooting. As long as they don't see us, it'll be all right. I'll wear your next stop. About 30 miles down the line? No. Well, we'll try to figure something out. I hope you can, Marshall. The train rolled on. I saw Ms. Farrah 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've said if she knew. Jack Farrah 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. We 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 and see what you think. We'll be about 10 minutes waiting until that herd gets crossed. How about if I tell folks in the car they can get out stretched legs for a bit? Might give you a change. All right, go ahead. Hey, stand there, folks. There's little delay for cattle crossing. We're almost fells, stretch out a minute. We watched. Slowly one of the 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. And then they changed their minds and hobbled off. And I left the car empty except for the pharaohs, Chester, Mr. Hindson and me. That'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? Yes, sir. All right, Chester. All right, Chester. There ain't nothing like California, Jackie. I haven't seen anything so flat. How far you think it goes like this? I don't know. You know? I ain't going to take me in that. You won't take my gun for a while. Take him in the rip. Hold on to it. I said, hold on to it. All right, get your hands up over your eye 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 signal and she was gone. Fire any of us from behind the seats. Jackie! Jackie! All right, throw out your gun, Miss Pharaoh. Jackie! Throw out your gun and stand up. I don't want to hurt you. I'll kill you. I'll kill you! Look out, Mr. Dillon. She's gone for his gun. Yeah. Chester, give me a hand, will you? I'll stop it. I'll stop it. Stop it. I'll kill you. Jackie! Jackie! 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 her handcuffed to the seat. Then she shut up. She 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 Pharaoh 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 crowd out on the plane that she started to cry. ♪ Gun smoke under the direction of Norman McDonald stars William Conrad as Matt Dillon, U.S. Marshall. Tonight's story was specially written for Gun Smoke 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 Crucion. Parley Bear is Chester, Howard McNair 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. Marshall, fights to bring law and order out of the wild violence of the West in Gun Smoke. ♪ As 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 Miss 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 Miss Brooks over most of these same CBS radio stations. Be sure to enjoy her tomorrow night. George Walsh speaking, America's 45 million radio families listen most to the CBS Radio Network. ♪ ♪ Well, it sounds like the tenants hit your rental property sure know how to throw a great party. You just wish they wouldn't throw so many parties on Tuesdays until 4 a.m. And if they could pay the rent on time, that would be nice too. Being a landlord can be stressful, but it doesn't have to be. 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