Daily Gunsmoke

Gunsmoke - Wind

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:: 32m
Broadcast on:: 09 Jul 2024
Audio Format:: mp3

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Go to the city of Dakono.com for more information. Around that city and in the territory on West, there's just one way to handle the killers on 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. [Music] There you are, Marshall. Three boxes of forty-five. All right and I'm a little short of a rifle. I mean, that's true, Mr. Witherspoon. Now let's see. You still use that 44 Henry on to Marshall. Yeah, that's right. And how many? Oh, a couple of boxes will do. All right, here we are. Thank you. All right, Chester. What about you? Any fresh tobacco come in, Mr. Witherspoon? Yes, sir. Yeah, one caddy or spit a drowned tobacco. That's all. Say, could I owe you for this, Mr. Witherspoon? I've had just about the one unluckiest month I ever knew. You fellas will never run, will you? How to charge you interest, that's what? Well, I won't take it if you'd rather it didn't. I'll be a fool. Of course you'll take it. Thank you, Mr. Witherspoon. But you stay away from those gambling halls. You can lose more money than your money there. Uh-huh. You heard about the killing of the Texas Trail last night then, man. I did. Where were you, Marshall? Well, I've been away, Mr. Witherspoon. I just got back this morning. Nobody told me. Then I take it the man who did the shooting. He's got clean away. Oh, it wasn't a murder, Mr. Witherspoon. I looked into it. He acted purely himself to me. Uh-huh. That's what all the witnesses said, Mr. Witherspoon? Just another case of men being ruined by good whiskey and bad women and so on. Well, there was a girl mixed up in it all, right? Uh-huh. Oh, Chester. A new girl, Mr. Dylan calls herself Dolly Vard. She's caused nothing but trouble ever since she got here. But what do you mean? I don't exactly know, sir. Something to do with the gambling, though. And then she'll cause more trouble. Um, Chester, I think I'll drop by there. All right, sir. Uh, take my cartridges to the office, William. Yes, sir. Be glad to, Mr. Dylan. Uh, you had an unlucky month too, Marshall? What? You ain't paid, man. I'm sorry. Yeah, yeah. Back to Marshall. Go there. Good day, Mr. Witherspoon. Hello, John. Oh, hello, Marshall. Hello, Mr. Witherspoon. Ah, hello, man. Kitty? Did you have a good trip? Ah, it's successful, anyway. Never said it. Yeah. Well, I guess you heard about the killing last night, huh? Hey, uh, yeah, I did. Kitty? Huh? Who is this dolly, the pardon? Oh, I don't know, Matt. She says she's in St. Louis, but she is the luckiest thing I ever saw. Oh? Mm-hmm. Does she gamble? No. No, she says that it spoil it. She's just lucky for other people. Oh. Whoever she's with, he wins. It's real simple. Uh, and they cut her end to stand by them, is that it? Yeah. You never saw anything like it, Matt. She goes from man to man, whoever pays, is the most. But they figure it's worth it, huh? Yeah, they sure do. Unless she's with a man, he just doesn't seem to win. So, naturally, in time, they offer her practically anything to stay with him. She's made a lot of money here. Which game, Kitty? Farrow, only Farrow. She says it wouldn't work with anything else. Does anyone walk out ahead of the game? No. No, not from what I've heard. Everybody's losing sooner or later. If they can't afford dolly, they go on trying anyway. And the fight starts over one man offering her more money than another, is that it? Well, that's what happened last night, Matt. Who's runnin' the Farrow game? Oh, that's Frank Parrot. Oh, yeah. I don't remember. Oh, he came here a few days after dolly did. That sounds like an old setup. Well, nobody's caught in cheating yet, Matt. And if he and Dolly know each other, they're pretty smart about it. I've never seen them together once. Mm-hmm. Uh, where is Dolly now, Kitty? Upstairs. You want to meet her? Yeah. I'll go get her. Thank you, Kitty. She was on her way down, Matt. Uh, Dolly, this is Marshall's Dylan. Hello, Dolly. How do you do, Marshall? Sit down. Thank you. Well, I'll see you later, Matt. Yeah, sure, okay. Tell me, Dolly. Did you come here with Frank Parrot? Well, I know. I got here before he did. Sure, but that's not what I meant. What did you mean, Matt? I hear you got a lot of money for making a man lucky. Is that against the law? Only when it leads to trouble and killing. I'm not responsible for what these men do. No. But I am. Then why don't you do something about it, Marshall? That's why I'm talking to you. Go ahead, Dolly. Tom. Have you been this far west before, Dolly? No. Well, you see, men out here settle their differences a little faster than they do back east. Most of them don't spend much time in towns. But when they do come in, if there's anything or anybody that smells like trouble, that seems like they always find it. What's all that got to do with me? Your trouble, Dolly. Man got killed last night because of you. I don't think I like you, Marshall. You'll like me less when I run you out of town. Oh, you couldn't. I'll leave Frank Paris up to the men if he's caught cheating, they'll shoot him. But I don't want any more killing because of you. You understand? No, I don't understand. Why should you think about it? It's simple, Dolly. I don't believe in luck, that's all. If I did, I'd have been killed a long time ago. Say, Mr. Dylan? Yeah. Now, I forgot to tell you. While you were at the Texas Trail this afternoon, Doc was in looking for you. That was four or five hours ago, Chester. I guess it wasn't very important. No, sir, but I should have told you. Oh, Matt. How about Doc? I told him you were looking for him, Doc. Well, thank you, just a thank you. What do you want, Doc? Well, Matt, I've been thinking I got an idea. That's probably got shot last night. They buried him in your saddle blanket today. So? Well, that's no way for a man to be buried. Dolly ought to be ashamed of itself. This is a big town now. Well, how would you propose burying him, Doc? Why, in Pine Box, is Matt any man deserves at least a Pine Box? Well, I agree. Well, that's my idea, man. I think you ought to form a sort of a chameleon raising up money to bury people properly here. Why are you to disgrace this way? I don't know, Doc. I don't know. If we did that, everybody'd want to come to dodge and get shot. They got enough trouble, is it? Oh, I'm serious, Matt. All right, all right. I'll contribute a dollar. Oh, now what's that? Sounds like somebody couldn't wait for one of Doc's Pine Boxes. Come on, Chester. You might as well come to, Doc. Hey, sure, Matt. I'm coming. I thought you were going to stop all this, Matt. I am, Kitty. Where is he? Dead on the floor over there. Well, uh, we'll have to take a look at it. And then where's the man who's killing? Oh, Jack Singer there. But it was self-defense, Matt. Anyone can tell you. Jack Singer? Yeah. He's not a killer. I know. Was it Dolly again? Yeah. Same thing. Where is she? Oh, I see her. Excuse me, Kitty. Dolly? Don't bother me, Marshall. I didn't shoot him. I warned you once, Dolly. They're grown men. I'm not responsible for them. There's a stage leaving Dodget known tomorrow, be on it. Why? I'm sure you've got enough money for a ticket. And don't come back to dodge, ever. [Laughing] Sure, Marshall. Sure, yeah. Well, sir, it lacks 15 minutes until noon, Miss Villan. Yeah. And it lacks Dolly Barton too, just. Oh, she'll be along. Women don't never get any place ahead at times. Only two passengers have showed up so far. Maybe you should have run Paris out of town, too. Hell, I don't like to do that. That's not a suspicion. But I will as soon as somebody catches him cheating, if he lives through it. Mr. Villan, maybe you try too hard to make the law look fair. And maybe, anyway, here she comes. She's not carrying any bags. No, she isn't. Coming this way. Yeah. Hey, Marshall. Goodbye, Dolly. Why didn't you say goodbye? I said good day. What? I've thought it over, Marshall. I've decided not to leave after all. There's the stage, Dolly. Get on it. No. Get on it, Dolly. I said no. All right, if you I'll have to. You want, Marshall? Now, get on the stage. No, you're yelling at me, Marshall. That's not going to do it. Well, what is? Well, you'll just have to throw me on it. Throw you on it? Yeah. Your friend here might help. Chester, isn't it? Yes, man. Chester Proudfoot. I'm glad to know you, Ms. Dolly. I mean, I mean after all. Well, Chester could take my arms. You could take my feet, Marshall. Of course, it might be a little awkward getting me into the coach, but I'm sure you could manage it somehow. Oh, my, no, Ms. Dolly, we can't handle a woman that way. Oh, goodness, no. No. Oh, no. Oh, then you'll have to do it by yourself, Marshall. Throw me over your shoulder or maybe drag me. You're wasting time, Dolly. It won't be easy, though, because, Marshall, I'll scream and I'll cry and scratch and bite and I'll kick. Oh, how I'll kick. I'll be a mess when you get me there, and I'll have the whole town out watching you be a hero. You're serious, aren't you? Of course you could hit me. You could knock me out with your fist, or your gun. I wouldn't scream so much then. Gosh, Mr. Dolly. Well, Marshall. I'm tempted to put you on that stage no matter how, Dolly. But maybe there's another way to handle you. Yeah, best way to handle me is to leave me alone and have more men get killed. If they're fools enough, what difference does it make? I don't think I could explain that to you, Dolly. But anyway, you remember what I said. You're through and dodge. Come on, Chester. Yes. [Laughter] Gosh, Mr. Dillon, how are you going to get rid of? I'm going to start by ruining our game, Chester. But how? I'll show you. Right here at the Dodge House. Here. Yeah. Frank Parris stays here. Don't find out what room he's handling. Yes, sir. Wake up, Lonzo. Don't go over here. Ooh, Chester. I'm going to shoot you. Follow him, Frank Parris. Ooh, shoot. Oh, it's too tense. Thank you. It's room 10, Mr. Dillon. All right. [Knocking] How do you know Parris lives here? Kitty. Hmm. Now, here it is. [Knocking] Who is it? Oh, you're Marshall Dillon, aren't you? Yeah. I want to talk to you, Parris. For sure. You've been, Marshall. You two, uh, Chester. That's right. Well, what can I do for you, Marshall? Parris, I told Dolly Varden to leave town on the known stage today. Oh, she refused. I'd have had to force her physically to make her leave. Well, why are you telling me this, Marshall? Because I thought I'd leave you alone, Parris, and that whoever caught you take care of you. But I've changed my mind. Oh, I don't know what you're talking about, Marshall. Don't you? No. No, I don't. Now, just remember this. If Dolly Varden comes anywhere near your table from now on, you stop the play till she leaves. Is that clear? Now, look, you're Marshall. I've got nothing to do with that woman. You can't handle her. You've got no right wrecking my game trying to. I would never play a left if I started that. Parris, maybe I can't rough up a woman and run her out of town, but you're a man, and I won't even waste time arguing. You'll do as I say or you'll leave. There's too much money and dodge for me to leave, Marshall. It's the way I said, Parris. I won't even argue with you. Good day. We will return for the second act of gun smoke in just a moment, but first, America's finest men choose United States Army careers. These young Americans know that in the new regular United States Army, there is travel, education, good pay, good food, and all, yes, all the essentials of a full good life and fine future. These young Americans know that the finest technical schools in the world, the United States Army's technical schools, will provide them with increased skill and earning capacity, but they will earn while they learn and open opportunities for steady advancement in Army careers. There are thousands of these young people who have been picked by the Army who are proud of their country's uniform and their country is proud of them. The recruiting officer at your nearest U.S. Army and U.S. Air Force recruiting station has the complete details. Remember, America's finest men choose U.S. Army careers. Now the second act of gun smoke. Well, that was quite a meal tonight. Quite a meal. Yeah, sure was Doc. I was nearly starved too. Yeah, haven't had a meal like that since we got snowed in at Fort Fletcher a few years back. What do you mean, Doc? Well, one night four of us were down to a quart of dried peas in the bottle of vinegar. But by heaven it made a better meal than Gilmonico's put out. Oh, Doc, he wasn't that bad. Doc likes southern cooking, just any man who works hard deserves good food. I'll let Chester answer that, Doc. When you're through, Chester, I'll see you there. All right, try'll be along directly. So long, Doc. Mind if I walk along with you for a minute? All right. What's on your mind? Marshall, I'm sorry I behaved the way I did this noon. What? I shouldn't have done that. Just so that was the death threat, that's all. Desperate? About what? I've got to tell you, and I want to, but I can't, out here in the street, somebody will come by and then I'll be embarrassed. Here, let's get around the corner out of the light. Please, please, Marshall. Go ahead. Now, what's this all about, darling? I was starting hysterical at noon. You've got to forgive me. You've just got to. I don't cry. You just tell me. I've been thinking about it ever since last night. I can't leave Doc, Marshall. I don't have any place to go. Now, darling, don't make me go. Please, I promise I won't go near a gambling table again. I swear I won't. Well, it's up to you, darling. If you do that, then don't cause any trouble, right? Thank you, Marshall. Thank you. I promise. You'll see. Yeah, sure, I'll see. Please go now. I want to drive my eyes before I get off the street again. Let's stay away from Frank Paris, darling. Oh, I dropped it. You mean you're going to shoot a woman, Marshall? I doubt it. Probably. Oh, no. Give it to me. There. Well, you're quite a girl, darling. You're going to jail. You're too dangerous to be low woman, I know woman. Put me down. Put me down. Hello, Matt. Where's Frank Paris, Kitty? He moved his table. It's beyond the bar, there. Oh, and that's him with his back to us, huh? Yeah. What's the trouble, Matt? You're mad about someone. I just threw Dolly in jail. Now it's Paris's turn. You stay out of this, Kitty. What's going on here? What's so... Oh. Oh, it's the Marshall. You're all through, Paris. And don't try anything. But the trouble now, Marshall. There's no woman near my table. And I won't be, not for a long time. Dolly Varden's in jail. What? If you try to shoot me a little while ago and I throw her in jail. Oh, I see. Well, maybe she's better off there if she did cause a certain amount of trouble around here. She can't see it that way, Paris. She thinks it's all right to lock up a man, but not a woman. What's all this got to do with me, Marshall? You're going to jail, too. You can't arrest me. I'm not arresting you. There's no proof of anything against you. I got Dolly now on attempted murder, but nobody's caught you doing a thing. Come on, Paris, let's go. No. No, you just said it. You can't arrest me. You're going to jail, Paris. Tomorrow you'll leave and dodge. You're clever, but you're crooked. Dolly's in it with you. That's all I need to know, proof or no proof. I should have stopped you the day I got back. I told you, Marshall, that there's too much money here. I don't want to leave. I'm not arguing with you. I just wanted everybody here to know about this. We were doing fine till you came back, Marshall. You're in the way now. Don't be a fool, Paris. Oh, shit. My hand. You got my hand. My hand. You're lucky. I didn't kill you. Now you walk out that door. Doc, I'll take Caribbean jail. Here's their ticket, Mr. Dillon. All the way to St. Louis. Thanks, Trusser. And here's your change, Mr. Mayor. Give it to Dolly. Here, Mr. Dolly. Thanks. I think I'd better count it, Chester. Oh, no, ma'am. I counted it. It's all there. Oh, I'm joking. I trust you. I'm not suspicious of everybody like the Marshall here. Well, who wouldn't be suspicious? You both tried to kill him. Sure. But he trusts me now. Don't you, Marshall? I do. Well, you think I'm going to get on that train without making you throw me on it, don't you? No, I'm not sure. But I'll throw you on it if I have to. Yeah, I know. You would now. I would. Why don't you shut up, Dolly? Marshall could still bring us a trial if you wanted to. I know. Tell me, Marshall. Why didn't you? The judge is busy enough without my hauling and everybody who tries to shoot me. And besides, you've sort of had your wings quit. Oh, Dolly, what's the use of lying to him anymore? He's talking about me. I'm going to never be able to deal cards that I used to with his hand. Right. The truth. Think about it, Dolly. But quite a few people who managed to get along on us living. I never knew how, but we're going to have to find out. Oh, there it is. Bye, Marshall. Chester, bye. Yeah, bye. Marshall, I don't think I hate you as much as I did. Good. Dolly! Dolly! So long, Dolly. [Music] Gunsmoke, under the direction of Norman McDonald, stars William Conrad as Matt Dillon, U.S. Marshall. Tonight's story was specially written for Gunsmoke by John Messon with music composed and conducted by Rex Corey. Featured in the cast were Virginia Greg as Dolly, with John Dayner as Paris and James Griffith as Witherspoon. Harley Bear as Chester, Georgia Ellis is Kitty and Howard McNair is Doc. Gunsmoke has been selected by the Armed Forces Radio Services to be heard by our troops overseas. 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 Gunsmoke. [Music] [Music] Lovely Dorothy McGuire, star of Broadway and Hollywood, will be heard on CBS Radio next Monday evening in a dramatic story entitled The Fall of Maggie Phillips. It's another in your Luck Summer Theater series, so be listening for it next Monday on most of these same stations. The Fall of Maggie Phillips starring Dorothy McGuire. This is George Wall speaking. Sunday night's Dick Powell is rough, tough Richard Diamond, private detective on the CBS Radio Network. 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Go to thecityofdakono.com for more information.