Around Dodge City and in the territory on West, there is just one way to handle the killers and the spoilers, and that's with a U.S. Marshal and the smell of gun smoke. Music Gun Smoke, starring William Conrad, the story of the violence that moved West with Young America, and the story of a man who moved with it. I'm that man, Matt Dillon, United States Marshal, the first man they look for and the last they want to meet. It's a chance a job, and it makes a man watchful and a little lonely. Raz? Raz? Wake up, son. Come on, son. Wake up. Today's the day. Ma, I don't want to do it. Now you mustn't waste time, Raz. The stagecoach from Hay City to Dodge will be going past James Cross and you'll miss it. No, Ma. Breakfast all ready for you, son. You can start out with a nice hot stomach. Ma, I ain't got the heart for it. Raz, you're sixteen now. You've got to get your hand in sometime, you know. Your Pa will be getting out soon. We have to have something to show him for all his years in there. Ma, I just plain don't want to rob a stagecoach. Now, Raz, that's no way to talk. This is a chance for you to get started. It's high time for you to be thinking about your future, boy. Ma, I ain't got the juice for it, I tell you. Raz, you're fair-shaming carrying on this way. What if your Pa was to hear you talk like this? Or your big brothers? No chance of them hearing, Ma. Ain't one of them's got less than two years to go. Raz, I've had enough of your foolishness. Now get up out of that bed and get to that stagecoach. All right, Ma. I got your favorite breakfast. Harmony and side-switch. I thought you'd like that. Yeah, thanks. I got Buck's saddle for you, too, son. Buck? Oh, Ma, that's done it. I ain't going. Well, you surely ain't going to walk to a hold-up, boy. But you know how spooky Buck gets with me, Ma? The minute I pick up the bridle reins, he gets a hump in his back. I just can't sit that horse. He's run off with me the last ten times I rode him. No, Ma, I ain't going on with Buck. Then go steal a horse you like and have done with it. We need another one around here anyway. I can't steal a horse, Ma. Then eat your breakfast and ride out on Buck. I ain't giving you no choice, Raz Hawkins. All right, Ma. I'll do it. But I don't like it. Can I have the sugar, will you, Ma? Oh, sure, Kitty. There you are. Thank you. I'd like it back when you're finished, Kitty. Here you are, Doc. Thank you. Like Chester says, helps the coffee slip down. Chester? Oh, say, what do you hear from him, Ma? Did he ever get to Hayes City? Yeah, he did. I got a telegram last night. He's coming back on the stage. Oh, why? Well, he delivered the papers in Hayes, all right, but his horse broke a leg. Oh, that's too bad. He was pretty fond of that horse. Oh, Chester's fond of every horse he sees, Kitty. I hope he doesn't forget my calico. Calico? I asked him to bring me back when he could. You asked him to bring you back? And he's going to pick it out? Well, sure. Oh, Kitty, don't you know that Chester can hardly tell one color from another? Doesn't matter. I think Doc's right, Kitty. He wears some hollering outfits sometimes. Just so he brings the calico and lots of it. I don't like the colors work. Yeah, I'm sure you will. But just be prepared for a few surprises. All right, folks, we'll rest the horses here. You've got five minutes to stretch your legs. Mr. Dobbs, Mr. Dobbs, when we start out again, would you mind me setting up there a few risks of awful crowded inside? You're a proud foot with a marshal's office, ain't you? Yes, I am. Oh, I was sure hoping you would ride up there with me. Well, poor horse of mine broke his leg in Hayes. First time I ever had a shotgun missing, didn't you? Oh, well, now, I ain't here on official business or nothing like that. I told you I just needed a ride back to Dodge City. Now, wait a minute. We ain't even got a pistol on you. Well, no, I don't. Well, where's your shotgun? What I need on them for? I know. You got a couple of revolvers in that suitcase, didn't you? Well, no, I got that suitcase full of calico from this Kitty. She's a friend of mine in Dodge. Calico? Yeah, oh, I got her some real nice... If I'd known that you wasn't riding a fish alike, I'd have refused this running. I told you, my horse broke his leg. No, but I thought that was just talk, part of her plan to make you being here look natural. He said he didn't want to call attention to the money. Who said? Well, the banker in Hayes. He's sending it to the bank in Dodge. He what? Oh, all right, everybody. Load up. We're moving out. Mr. Dobbs? Mr. Dobbs, just how much money is the banker sending to Dodge? Twenty thousand dollars. Twenty thousand? Mr. Dobbs, the worst outlaws in the country will be after us if the word has got out. That's just what I know. Come on, let's get up on the box there. Oh, if I live through this, I'm going back to Boston and haul teachers. Hang on, everybody. Hey! Rudy! Come on, you angry boys. What? You see something up ahead there? Well, no, I thought I did, but I reckon not. Hey, Mr. Dobbs, you better slow this thing down. Oh, not till we get to Dodge City. Now, if you'd have brought your shotgun like you should have. I told you I ain't no shotgun rider. Why? The passengers, somebody in there must be carrying a rifle. Not today. Now, you've seen all them passengers get aboard and they're a cowboy and they're a hunter and a monster. Hey, look, Yonah. What? Where? Where? What? There's a crowd of guys swirling up from around the bend there. Oh, yeah. Moving toward us, too. Like a horse was running or something. I knew it. I knew it. No, now, maybe it's just a gust of wind. Oh, it won't be. I just, I'm going to have on for a while. Look there, he got thrown. Pull up the jing, Mr. Dobbs. Pull it up. Maybe he's hurt. I think we're making a mistake. Pull up! Pull up! Pull up! Oh, now, that ain't no hold up. Look at him. He's just a young kid. Why, he ain't no more than a young hold up, man. He's got a gun. You two better get down. I knew it. The rest of you, too. Outside, everybody shake out of that space, Coach. Now, you just look at here, young fella. You got a watch on you? Well, yes, I do. Then throw it on the ground there. Throw my watch on the ground? That goes for everybody. I'd like you to throw your watches in money where I can get them easy. Oh, he's a young fella, ain't he? Probably quick on that trigger. Come on, hurry it up, now. Come on, throw them down there on the ground. All right, everybody back in the stage. Well, I... Except you. Except me. You're going to help me gather up this stuff. Well, I ain't, Clara, I ain't going to do too much. We'll need something to put it in. How about that satchel up there? What did I tell you, Chester? He knew about the gold all the time. I said hand me down that satchel. He ain't giving you that. Oh, yes, I am. I ain't going to get shot. Mr. Dawkins, don't do that. Don't, don't, don't do it. Mr. Dawkins. Thanks, Mr. Now, you, Chester, you pile all them watches and things in there. Well, I... You just wait until Mr. Dillon hears about this. He's sure going to come after you, long term. There. Take it. Oh, man, that thing's heavy, ain't it? It'll take both hands. You carry it, Chester. Me? Well, I got to hold this gun. No, you don't. Do what he says. Don't make a stand. Let's get started. What are you going to do with me? We can walk it, Tate Park. Walk? Well, I don't know where a buck is. Buck? Well, there's two men, Chester. Probably a whole gang covering us from somewhere. Come on, you... Mr. Dobbs, you, you'll see that Miss Kitty gets her calico. I'll tell Mr. Dillon to be sure. Sure, I'll tell Mr. Dillon. Come on, pick up that bag and start moving. Oh, this is crazy. Just don't make no sense at all. This cussing satchel's heavy. How, sir, are we going to get to where we're going? We're there now, Chester. What? That little shack. What's that, your hideout? That's my home. Ma'll have something to eat. Ma'll? Red? Red, is that you? Yeah, Ma'll, it's me. Well, get on in here, boy. Where have you been? I've been worried sick. Why, who's that with you? That's Chester. He helped me carry the stuff. Chester? Oh, pardon me, ma'am. How do you do? Why, why you? Raz? This ain't Matt Dillon's assistant. Yes, Ma'll. You got to look in the bag, Ma'll. Go on. Now, what have you done, Raz? Helped up the stagecoach. That's what he done, ma'am. What? Raz Hawkins? Have you been a robin again? How many times have I told you? Ma'll, what are you saying? You was the one who told me. Raz, you shut your mouth now. Not another word out of you or I'll bucks your head. Oh, I hope he hasn't caused you any trouble, Mr. Proudfoot. Proudfoot, yes, ma'am. No, he ain't troubled me too much. He done his fair share of totin. It's just that I ain't used to walking in these boots. Raz, don't stand there. Get a chair for Mr. Proudfoot. Ain't you going to look in the bag, Ma'll? Get the chair, Raz. All right. Oh, what trouble I went to. Here you are. Oh, thank you. I tell you, it's mighty good that you're sad. I'll fix you a nice supper before you go, Mr. Proudfoot. Maybe it'll help you to forgive my son for what he's done. Well, forgiving won't be up to me, ma'am. It'll be more up to the bank people. Bank people? Yes, ma'am. They're the ones sending the money. May I see that bag, Mr. Proudfoot? Of course you can't hear me. You see, ma'all, they're awful pretty. Raz, so close. They're pretty all right. Hey, all them bills. Look at them all. Where all them bills come from? Raz, stay back. Raz, why you... Just wait till they're a paw. Here's a match, too. That's better than watches, huh, ma'all? Raz, you better give me that gun of yours. I'll hold it so nobody gets hurt. The Last Post There you are, man. Now, make sure you get out of that one. You play a tough game of checkers, Doc. Of course I do. But not tough enough. Just a minute. You're beat, Doc. Take a look. If I'd had a wasted youth like you, maybe I'd be better at this game. Just talk, Doc. Plain, ordinary talk. Yeah, when Chester gets back, I can start winning again. Don't put the board away. You should be in here any minute now. The stage just came in. Which one of you is the marshal? Well, I am. What's the matter? The stage has been held up, marshal. The stage has been held up. They got all the money, the whole 20,000. What are you talking about? The banker and his were sending it to Dodge City. Chester was on that stage. Where is he? They got him, too, marshal. Took him with them. Forced him at gunpoint. Where did this happen? Not far from here. Just this side of James Cross. What are you going to do, marshal? How many men were there? I don't know, but I think there was a man named Buck. He'd out some more. Matt, give me a rifle. You stay here, Doc. I'm not asking you. I'm telling you, Matt. All right, here. Thank you. I'll get my horse. Tell me something. Did Chester put up a fight? He looked at me like he was going to. He had an awful serious look on his face. Chester, this time you may be in real trouble. Red? You out there? Yeah, ma. Come in here. So ready, I'll get Chester. No, just you. I want to talk to you. All right. Close that door. What's the matter? Where is he? Chester? Oh, he's out back washing up. Why? I've got a plan. For what? For killing him. Ma, we ain't going to kill Chester. Put your voice down. Listen to me, son. I can't let that money just walk away from here. Oh, it ain't right to kill somebody. Raz, don't make it any harder than it is. Him looking at me with them big sad eyes of his. Now here's what I want you to do. Me? You ain't expecting me to do it. Don't be so selfish, Raz. Think of your pa and the boys coming home to all that money while we never have to steal a solitary sent again. Well, I ain't never going to steal again anyway. Raz! No, Ma. I never went against you before, but I am now. Just one quick shot before supper. No, I tell you. A son is abounding to obey his Ma. Not in something like this, he ain't. We never done killing before and we ain't going to start with Chester. Then it looks like I'll have to do it myself. Where can't we work for a living like everybody else? Chester? Chester, honey, come on in. Supper's ready. Yes, Ma, I'll be right there. On second thought, I think I'll wait till after supper. Them sweetbreads turning out pretty good and I'm ashamed to waste all that food. Well, here's where it happened, Doc. Yes, you can see where the stage almost left the road. A single horse ran off that way. See, Matt, look. Footsteps over here. Huh? Oh, yeah, two men. What do you make of it, Matt? I don't know. And they continue up this way. Right off across the... Oh, Matt, you... You don't suppose they walked Chester off a ways? I don't know, Doc. But we'll follow these steps as far as they go. Come on. ... Chester, Mr. Dung, he just calls on me for help all the time. My, these sweetbreads are tasty. You know, my mom used to make them this way. I was just a little, but I can still remember. Anything you don't see, just ask, Chester. Well, thank you. Like I said, Mr. Dillon really needs me. Now, today, for instance, I was coming back from Hayes City after taking some legal documents over the farm, you know. Sure wish I could get a job like that. So do I, Raz. Oh, now, Raz will make out Miss Hawkins. I'll just take this money and everything back, and when Mr. Dillon hears how Raz didn't know he was stealing the bank's money, why, if I ask him, he'll just come on out and talk to Raz. See, Ma didn't say nothing about bank money. Raz, keep still. Eat your supper. Yes, especially when I tell Mr. Dillon what a nice mama Raz has got. You know, Ma, I didn't never get to know my mama. Chester. She died when I was just a teeny-easy little fella. Chester. You know something, Miss Hawkins? From what I can remember, she is a good deal like you. Here, Chester, take a gun. A gun? What a... Oh, you've been keeping it from Raz. Now, ma'am, that ain't necessary no more. I figure he's kindly seen the light. Raz, get him out of here. What did I do? Chester. Mr. Dillon and Doc, well, now, how did you get here? Having a nice supper at your... Oh, yes, Doc, I am. Oh, Mr. Dillon, everything is all right. I got the money from the bank, the watches, and everything is sitting right there on the table. Now, ain't you glad? Yeah, I'm glad, Chester. Well, the marshal's come to take me away like he did Luke and Zed. Hello, Hattie. I might have known you'd come, Matt. You two know each other? Doc, I want to talk to Hattie. Would you and Chester take Raz outside? Oh, yes, ma'am. Come on, Chester. All right. Well, it's been a long time, Matt. Yeah, Hattie, it has. I'd almost forgotten about you. I was hoping you had. Since you put Pa and the boys away, I've been waiting on Raz, waiting for him to grow up, but it looks like I waited too long. Hattie, I want you to... Matt, don't preach to me. Oh, you'll win in a way, because poor Raz won't ever be any more than he is right now. And you'll let him be himself? Only Raz could bring home $20,000 and a marshal's assistant at the same time. And you'll let him be? Well, I'll let him be. I promise you that. Good. I'll drop by once in a while, though, just to make sure. Wouldn't be you if you didn't. Hattie, I was at the window when you... when you changed your mind about shooting Chester. Matt, did you ever take a good look at him? Yes, I have. He's safe wherever he goes. Yeah. Look, Hattie, I'm going to tell him and Dodge that the holdup man dropped his loot making a getaway. Now I can get the money to the bank and the watches back to the passengers. Well, I didn't think I'd ever... Thank you, Matt. But Raz, well, he's all I've got left now. That's not why I'm doing it, Hattie. Thank you, Matt Dillon. Can I serve you a cup of hot coffee before you go? No, thanks, Hattie. Hattie, the satchel. Oh, dear. Here you are. Goodbye, Hattie. Gun Mode. Produced and directed by Norman MacDonald, stars William Conrad as Matt Dillon, U.S. Marshal. The story was specially written for Gunsmoke by Tom Hanley with editorial supervision by John Meskin. Featured in the cast were Jeanette Nolan, Sam Edwards, and Vic Perrin. Harley Bear is Chester, Howard McNear is Doc, and Georgia Ella is Skiddy.
