July 23, 2025 • 23 mins
Set in a frontier town, this series follows a U.S. Marshal as he maintains law and order. The show combines action with moral dilemmas of the Old West.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:10):
Around Dodge City and in the territory on West, there
is just one way to handle the killers and the spoilers.
And that's where the US Marshal and the Smell of
Guns Smoke Gun Will Spoke, starring William Conrad, The story
(00:42):
of the violence that moved west with young America and
the story of a man.
Speaker 2 (00:46):
Who moved with it.
Speaker 3 (00:47):
I'm that man, Matt Dillon, United States Marshal, the first
man they look for and the less they want to meet.
It's a chancy job, and it makes a man watchful
and a little lonely.
Speaker 4 (01:19):
Well, that's elastic of wood, Ben Ben wood, holler and
maw here you well, if I'm gonna keep this stove
going on in tomorrow wood.
Speaker 5 (01:30):
There's some in the wood box.
Speaker 4 (01:31):
No, you didn't fetch any today. Now going out the
wood jet and bring me something, Maw.
Speaker 5 (01:37):
I was just fixing to leave for town.
Speaker 4 (01:39):
Then Redgate, you fill my wood box and there'll be
no going to town tonight.
Speaker 6 (01:45):
Ma.
Speaker 7 (01:46):
You can't keep me here like a tethered.
Speaker 4 (01:48):
Calf while you're living in my house. You'll do as
I say.
Speaker 6 (01:51):
I'm a man grown, Ma, Paul says.
Speaker 4 (01:54):
I says, you want to go to town, so you
can be like your paw, Ben, Ben, it's going to town.
That's turned him the way he is.
Speaker 6 (02:04):
He's still my Paul.
Speaker 4 (02:06):
Well you're not going to town. That's the end of it.
One man in this family hanging around saloons is enough.
Speaker 5 (02:12):
Where's the horses?
Speaker 8 (02:15):
And thought?
Speaker 2 (02:16):
I told you to get the horses.
Speaker 7 (02:18):
Ben Mars says I can't go.
Speaker 5 (02:21):
And I say you can't go on now, get the horses.
Speaker 4 (02:26):
The boy isn't going, Horacio.
Speaker 5 (02:27):
No dog stand in the way, Livy. He's big enough
to go to town with his Paul.
Speaker 6 (02:33):
Ain't you be now sure?
Speaker 8 (02:34):
I am Paul.
Speaker 4 (02:35):
He's not to go. You're not to take him in
here and start.
Speaker 5 (02:39):
Him on the road you took it will now, Ben,
don't think it's at your bad road out of wager.
Speaker 8 (02:46):
Sure?
Speaker 7 (02:46):
Not all them sights I never seen.
Speaker 5 (02:52):
Time you saw him?
Speaker 4 (02:53):
Boy, I mean what I say, Horatio, Ben is not
to go. I can't stop you from going. It's too
late for you anyhow. The whiskey hasn't been off your
breath for five years or month.
Speaker 6 (03:04):
No concern in your It's.
Speaker 4 (03:06):
My concern that I had to keep this place going.
So my boy and i'd have a roof over ey Oh.
Speaker 9 (03:11):
E't you had it hard though, I've done what had
to be done, and I'm not gonna have you coming
back whenever the spirit moves your string up things, filling the.
Speaker 5 (03:22):
Boy with wild tas he's my son to.
Speaker 4 (03:25):
He's your son like I'm your wife. It hasn't meant
much for a long time. You can't come back now
and start taking over the boy's life.
Speaker 5 (03:33):
I should have known you ain't stop reading me out
since the last time. I don't know why I keep
coming back.
Speaker 4 (03:40):
Well, whether you come or go means nothing to me,
but mark my words, you leave that boy alone.
Speaker 5 (03:50):
You mind you said that, Livy, you will have cause
to rue this day, Paul where you're going, any son
of mine can find me, and Dodd I won't be hiding.
Speaker 7 (04:16):
He sure don't favor his daddy's standing there doing.
Speaker 10 (04:19):
Oh, Sir Horacio Redgate never spells the drunk.
Speaker 8 (04:25):
Why he'd let it right up off from the barn
bad to don't you leave me be?
Speaker 5 (04:30):
Why? Sonny?
Speaker 7 (04:31):
We figure you need somebody to look after you, and
that's all.
Speaker 6 (04:34):
Ain't that right?
Speaker 10 (04:35):
That's right way I get it? His model like come
out of her sight. Somebody's gotta watch over.
Speaker 8 (04:42):
Come on now, leave me be here.
Speaker 7 (04:44):
I'll ory you'll do what sir?
Speaker 8 (04:47):
All right?
Speaker 6 (04:47):
Boys?
Speaker 5 (04:48):
All right? You? Uh?
Speaker 8 (04:52):
You the red Gate boy, my name's Ben Redgate and
a man grown.
Speaker 4 (04:56):
Sure y'all got your pad lying across.
Speaker 7 (04:59):
The then, sure that's him?
Speaker 4 (05:03):
Well, then why don't you call it quits for now
and going home?
Speaker 5 (05:07):
Huh?
Speaker 8 (05:08):
You sound like my mam. She don't think I can
get along out of her sight.
Speaker 4 (05:13):
I don't think you're out of her sight right now?
What do you mean isn't that your ma standing there
at the dog looking?
Speaker 6 (05:19):
Then she's got no call to follow me?
Speaker 7 (05:23):
Maybe not, but you sure don't it?
Speaker 4 (05:27):
Well, I guess I guess I have to see it
to believe it. Come on home now, Ben, I.
Speaker 7 (05:35):
Ain't gonna go. I ain't gonna listen no more your lectures.
Speaker 4 (05:39):
This is no way for you.
Speaker 7 (05:40):
Ben.
Speaker 4 (05:41):
Come home now and we'll say no more about it.
Speaker 8 (05:43):
We'll see no more about it because I ain't coming
and I ain't gonna listen no more.
Speaker 4 (05:47):
Mind your tongue, Ben, it wasn't easy for me to
come into a place like this. Don't you cause me
trouble now?
Speaker 6 (05:54):
Then don't follow me? And if I'm gonna take a
drink out of this bottle.
Speaker 8 (05:57):
I'm gonna do it, not while I'm here.
Speaker 11 (06:00):
Stop you.
Speaker 4 (06:02):
You may be too big to whip then, but I
can still knock a bottle out of your hand.
Speaker 7 (06:06):
You can't bust all the balls in the saloon.
Speaker 11 (06:08):
I would if I could, right enough, I still ain't
coming mornu mana what you do?
Speaker 4 (06:12):
All right?
Speaker 6 (06:12):
Then?
Speaker 7 (06:13):
All right?
Speaker 12 (06:13):
I can't drag you, but I tell you this, if
it'd do, and you could, if it'd keep you from
turning out like your bod as soon as he every
saloon and can't just burn to the ground.
Speaker 11 (06:25):
N't even helped strike the matches, which is right?
Speaker 6 (06:37):
You're ma sure speech your mind? Boy? She said some
mean things there, mighty mean.
Speaker 10 (06:44):
She smashed that bottle full of whiskey just like it
was nothing.
Speaker 7 (06:49):
A terrible thing.
Speaker 8 (06:51):
Wasting whiskey like that is terrible. Can we buy your drink?
Speaker 5 (06:55):
Boy?
Speaker 8 (06:56):
Nah, I've had enough of this place.
Speaker 6 (07:00):
You go in home like she told. No, I ain't
going home.
Speaker 8 (07:04):
I'm gonna hunt up a place to get drunk where
more can't find me. The shoveling started at the little
town of Rome in New York State back in eighteen
hundred and seventeen, and on July fourth, nineteen hundred and
(07:26):
sixty seven, the Post Office released a special Sesqui Centennial
stamp there in honor of the big ditch they dug,
which it says on the stamp in my album here
was the Erie Canal now, in case you don't know,
that canal went all the way from Buffalo on Lake
Erie to the Hudson River, connecting the Great Lakes with
(07:48):
the Atlantic Ocean. The biggest waterway ever built in the
United States at the time, and it was done mostly
by the Irish, just over from the Old Country. Who
did that, digged with spit and muscle. Y made lots
of money for years on tolls, and the traffic and
freight and people through the canal was mainly responsible for
(08:09):
building up the Midwest and keeping business in the East
busy doing it well.
Speaker 2 (08:15):
Of course, the Erie.
Speaker 8 (08:16):
Canal ain't what she used to be, because the railroads
do most of the job now. But the big ditch
is still there, and so is all the history that
went through it.
Speaker 2 (08:41):
How about your excuse this time?
Speaker 3 (08:43):
Chester, Oh I just took all your men.
Speaker 2 (08:50):
The game's over.
Speaker 6 (08:51):
Oh well, no, I don't think.
Speaker 2 (08:57):
Doesn't matter. I can't you keep your eyes open?
Speaker 6 (09:00):
It ain't that.
Speaker 8 (09:02):
Some colors they get kind of bury, kind of hard
to tell their red and black?
Speaker 6 (09:06):
Did you ever know thee saying?
Speaker 5 (09:07):
That?
Speaker 2 (09:07):
Doesn't make much difference to me?
Speaker 3 (09:10):
How that I wind up with all the checkers anyway, whatever.
Speaker 2 (09:13):
Color they are.
Speaker 8 (09:16):
Put in, the world's going on.
Speaker 2 (09:18):
I don't know. Con look down in.
Speaker 6 (09:27):
The street their seat.
Speaker 1 (09:28):
Yeah, I don't think they're gonna put that one out either,
even please sure got a whole tall right past the
Solon Prairie Wagon that is I hope for that place.
It'll be enough of a job to keep the fire
from spreading.
Speaker 6 (09:41):
I'll go help with the buckets, and you don't.
Speaker 1 (09:42):
I got our back to say which way it is spreading?
Speaker 6 (09:50):
Far through? Why throw?
Speaker 5 (09:52):
Oh?
Speaker 7 (09:52):
What we got a Marshall caught a red handed I
don't know. He's done it, Marshall, just as plain as
can be.
Speaker 2 (10:00):
What's she done?
Speaker 1 (10:01):
Well, come on quick, mister, we got a fire to fight.
Speaker 6 (10:03):
That's just it, Marshall. She set for fire, this reggae
You no.
Speaker 4 (10:06):
Marshall, but you better go fight it before it expects you.
Speaker 12 (10:08):
The whole time.
Speaker 6 (10:09):
You can't let her go.
Speaker 11 (10:10):
I'm going anyplace. I'll wait for you.
Speaker 2 (10:12):
Marshall.
Speaker 7 (10:12):
Right here, No mar that, Miss Reggae. You can pass
empty buckets back all right.
Speaker 5 (10:16):
Joby, let's get to work.
Speaker 7 (10:34):
We was sure lucky.
Speaker 6 (10:35):
There wasn't no wind.
Speaker 2 (10:36):
Yeah, you sit here, Miss Regged.
Speaker 6 (10:42):
Thanks to her, the whole town didn't burn up. You
men got facts to back up on the shore, Marshall.
Speaker 10 (10:47):
Everybody heard her say she'd like to set a match
to every saloon in Kansas.
Speaker 6 (10:51):
Ain't that right, Jane?
Speaker 4 (10:52):
Sure is?
Speaker 5 (10:52):
She said it right there in the Long Branch just tonight.
Speaker 6 (10:56):
And there she was out back, watching the prairie wagon burn.
Speaker 4 (10:59):
I was watching, Marshall.
Speaker 2 (11:01):
Did you say those things? Miss Y good?
Speaker 4 (11:03):
I said, I'd like to see them burn? Marshall, And
I'm not sorry. This wasn't it either, But I.
Speaker 6 (11:07):
Didn't burn you. Gotta lock her up, Marshall.
Speaker 2 (11:10):
I'll take care of her.
Speaker 1 (11:11):
Oh, lock her up.
Speaker 6 (11:11):
She done it plain as day.
Speaker 2 (11:12):
I said, I'd take care of her. How you men
get out. I'll send for you tomorrow if I need you.
Speaker 6 (11:17):
But Marshall, we may get out.
Speaker 2 (11:31):
It's right, gad. I think maybe you better tell me
what you were doing out in the alley.
Speaker 4 (11:34):
I didn't set that fire.
Speaker 3 (11:36):
You were heard talking about burning saloons and the saloon burns.
Speaker 2 (11:40):
You were fine right out back. Now does that sound
very good to you?
Speaker 4 (11:44):
No, Marshal don't.
Speaker 2 (11:46):
And I'm gonna have to hold you to this thing.
Get straightened out.
Speaker 5 (11:49):
What you're doing.
Speaker 6 (11:50):
I oh, excuse me, that's.
Speaker 2 (11:53):
All right, Chester.
Speaker 8 (11:54):
Oh, mister Donat has fell out here, says he's got
to see you right now.
Speaker 2 (11:57):
I'll bring him in.
Speaker 5 (11:59):
H yes, you're but I I just thought maybe it
might be better for you to come out.
Speaker 6 (12:02):
You've seen him for just a minute, he tells him.
Speaker 2 (12:04):
Oh alright, alright, Chester, you stay here with us. Red Gate, Yes,
I want to see you my shoe. Oh it's you,
red Gate. What do you want?
Speaker 5 (12:22):
I come to do my duty?
Speaker 6 (12:24):
Is that?
Speaker 2 (12:25):
So that fire?
Speaker 5 (12:28):
That the terrible fire?
Speaker 2 (12:30):
Much? What about the fire?
Speaker 5 (12:33):
I know you know what. I know who done it?
Speaker 6 (12:38):
I know who burned down that new saloon.
Speaker 5 (12:42):
That's terrible.
Speaker 2 (12:43):
Please alright, tell me who does it. You won't believe
what you tell me anyway.
Speaker 5 (12:47):
Huh. You're a hero of a woman too good for
her own good.
Speaker 2 (12:53):
Oh, come on, right Gate, tell me you're good for
her own girl.
Speaker 5 (12:57):
Redgate was that same Marshall, Ruvinia red Gate.
Speaker 2 (13:04):
He was saying that she set that fire. I seen her, Marshall,
I seen her. You tell me that you saw your
wife start that fire, sure surely shooting. Then why didn't
you just stop her? I said, why didn't you just
stop her?
Speaker 7 (13:21):
Well?
Speaker 2 (13:21):
By, I couldn't.
Speaker 5 (13:26):
I couldn't get there in time. I was. I was
still across the street when I seen.
Speaker 2 (13:34):
Her across the street.
Speaker 5 (13:35):
That's it, that's it. I was across there when I
seen her standing in front of the.
Speaker 3 (13:43):
Saloon with a big torch, great big torch, did you say,
in front of the saloon.
Speaker 5 (13:49):
That's right, Marshall. And and she throw the torch?
Speaker 2 (13:55):
Then why didn't she do?
Speaker 6 (13:57):
Was she? Well?
Speaker 5 (13:58):
She just stood there, watch right there. And I want
you to go get her, Marshall, arrest her. He's too
good for her own good. I don't have to arrest her, reckon,
you don't. Why not just tell me why not.
Speaker 2 (14:14):
She's already in my office.
Speaker 5 (14:16):
Movie in the jail house. Oh that's good, Marshall, Lie,
that's good. I want to see that, Marshall.
Speaker 2 (14:27):
I want to go inside. And I think maybe you'd
better come on.
Speaker 8 (14:55):
Hometowns in America have a lot in common, yet they're
each one of a kind. Take for example, Pulaski, Virginia.
Every day is another day of sawdust in the air
at Pulaski, but it's clean and fine and white. And besides,
the Pulaski and Coleman furniture companies are mostly what make
Pulaski go. If you're driving down from Washington on US
(15:18):
Highway eleven, you'll pass right through Pulaski and you can
stop at Don Easter's Gap restaurant, all that good Virginia
country Ham slice thick fair Weather finds Piedmont air Lines
touching down at New River Valley Airport nearly two hours
closer than the old Roanoke terminal. If you're in Pulaski
(15:38):
at the right time, you can catch a ball game
between Pulaski and Dublin, or if you're staying longer, a
season ticket to the concerts in Blacksburg at v m
Ier just the thing, and those Civil War cannons still
need a nice sized park. But if your hometown is Pulaski,
you already know this. We only wanted to remind you.
Speaker 2 (16:00):
It's doing.
Speaker 5 (16:23):
What she locked up with all Marsham she's just sitting there.
Where's Ben going?
Speaker 6 (16:30):
Now?
Speaker 5 (16:30):
Marshall, Lock her up?
Speaker 2 (16:32):
Lock her up, her set on redgates, sit down.
Speaker 5 (16:36):
I just wanted to see her locked up.
Speaker 2 (16:39):
I don't think that's gonna be necessary. Why not, Marshall?
Speaker 12 (16:42):
She done it?
Speaker 6 (16:44):
She said she was going to I see her.
Speaker 2 (16:46):
I'm not so sure.
Speaker 5 (16:47):
About anybody will tell you. She said that she did.
Soon see all the saloons burn. She'll tell you herself,
won't you?
Speaker 2 (16:56):
Won't you leave?
Speaker 4 (16:56):
What have you done with Ben?
Speaker 6 (16:58):
You?
Speaker 5 (16:59):
You're in a fixed We're sure, ain't you?
Speaker 2 (17:01):
Levy?
Speaker 5 (17:01):
Your boys run off?
Speaker 6 (17:03):
Ain't he because you didn't want him to see his Paul?
Speaker 4 (17:06):
Send him home, Horas, You'll give him a chance to
go up.
Speaker 5 (17:09):
You you've been out looking for him, ink you?
Speaker 6 (17:11):
Livy?
Speaker 5 (17:12):
You couldn't sit there at home and wait for him,
could you?
Speaker 4 (17:15):
Yes, I've been looking.
Speaker 2 (17:18):
Is that what you were doing in the allem as reggae?
Speaker 4 (17:21):
Yes, Martial Eye, I'm ashamed to tell you it was.
I was feared someone and tell him if they saw him.
He out front, So I was going along the back way.
I got my hindsight now I can see it was wrong.
Speaker 5 (17:34):
Yeah, hear that? Marshoe if any red Gator admits she
was wrong, lock up, Marshall, lock her up, let her sit.
Speaker 6 (17:42):
There a spell and repent.
Speaker 3 (17:43):
You got it backwards reggae. What's that the other one
who's gonna sit.
Speaker 2 (17:47):
There and repent?
Speaker 3 (17:49):
Well, your wife never was out on front street? Two
witness is saw around the back here. Storry doesn't make
any sense at.
Speaker 6 (17:55):
All, Marshall, I swear, don't bother.
Speaker 2 (18:01):
You sure wanted to get at her, didn't you. Oh no,
we mean i'd watch what I was saying if I were.
You say, yeah, talk what is?
Speaker 6 (18:13):
Oh? Well, I'll come back later.
Speaker 2 (18:17):
No, it's alright. Sorry what was on your mind?
Speaker 6 (18:20):
Wow, it'd be.
Speaker 5 (18:21):
Better if I came back?
Speaker 2 (18:22):
Just speak up, doc.
Speaker 7 (18:24):
Well, mat it's uh, it's about that fire.
Speaker 2 (18:27):
Somebody hurt, somebody's dead.
Speaker 5 (18:31):
Oh was it?
Speaker 2 (18:34):
Well?
Speaker 5 (18:35):
Wow, dog.
Speaker 4 (18:39):
It's Ben, isn't it?
Speaker 2 (18:43):
Yes, sir missus, Yeah, it's Ben.
Speaker 4 (18:48):
I had a feeling about tonight.
Speaker 7 (18:51):
I had a feeling.
Speaker 4 (18:52):
That's why I kept going after him, looking for him, m.
Speaker 2 (19:01):
You saying, and my boy wishing that soon? Yes, uh,
I show you. He musta been.
Speaker 6 (19:12):
Uh asleep back of the bar.
Speaker 2 (19:15):
I'm sorry, I'm real sorry.
Speaker 6 (19:18):
Oh huh being dead.
Speaker 2 (19:23):
Why. I didn't mean nothing like this.
Speaker 6 (19:29):
I didn't mean to hurt nobody just to get living
in a fixed were there too?
Speaker 2 (19:38):
You set the fire to the shoe, yes, Musha, I said.
Speaker 6 (19:46):
W h I I I didn't mean to burn my boy.
Speaker 3 (19:55):
Trust him, take him back and lock him up, and
s I'm sorry, miss Reggae. And let's say it was
something I could do to make it easier for you. Uh,
if you like, ma'am, I'll have Chester take you home.
Speaker 6 (20:19):
Home.
Speaker 5 (20:22):
I drove then away from home.
Speaker 4 (20:27):
What did I do wrong, Marshall? I only wanted him
to be a good boy. What did I do wrong?
Speaker 5 (20:39):
Uh?
Speaker 2 (20:39):
Maybe it's not what you're dead wrong, mis Reggaeton. Maybe
you just tried too hard to do right.
Speaker 8 (21:05):
But when it comes to political terminology, I guess that
old character Elijah Cuddlestone is used it all for instance, And.
Speaker 6 (21:14):
I say that all of them.
Speaker 8 (21:15):
If you, if you every man Jack and nominated a
run against me, he is cast in the same mold,
poured out of the same bottle, chips off of the
same political stump.
Speaker 6 (21:25):
If you're dia mean, there's no choice among them?
Speaker 2 (21:27):
That is fact?
Speaker 6 (21:28):
Is I say, that's a fact that you'll see.
Speaker 8 (21:31):
Them ring in a dark horse candidate A dark horse,
that is, because they can't make up their minds otherwise
what I mean, well, dark horse in the political sense
in which Elijah used it means pretty much as he
explained it, an unexpected nominee brought in to break a
deadlocked balloting for a candidate from among the leading nominees.
(21:52):
Presidents Polpe, Pierce, Garfield, and Harding were dark horses. Originally,
dark horse was a racing term for a horse whose
abilities were kept in the dark until displayed in the race. Gunsmoke,
(22:44):
produced and directed by Norman McDonald, stars William Conrad as
Matt Dylan US Marshall. Featured in the cast were Parley
Bear as Chester, Howard mcneer as Doc, and Georgia Ellis
as Kiddy George Walt Speaking. Join us again next week
for another specially transcribed story on gun Smoke. This is
(23:09):
the United States Armed Forces Radio and Television Service.
Around Dodge City and in the territory on West, there
is just one way to handle the killers and the spoilers.
And that's where the US Marshal and the Smell of
Guns Smoke Gun Will Spoke, starring William Conrad, The story
(00:42):
of the violence that moved west with young America and
the story of a man.
Speaker 2 (00:46):
Who moved with it.
Speaker 3 (00:47):
I'm that man, Matt Dillon, United States Marshal, the first
man they look for and the less they want to meet.
It's a chancy job, and it makes a man watchful
and a little lonely.
Speaker 4 (01:19):
Well, that's elastic of wood, Ben Ben wood, holler and
maw here you well, if I'm gonna keep this stove
going on in tomorrow wood.
Speaker 5 (01:30):
There's some in the wood box.
Speaker 4 (01:31):
No, you didn't fetch any today. Now going out the
wood jet and bring me something, Maw.
Speaker 5 (01:37):
I was just fixing to leave for town.
Speaker 4 (01:39):
Then Redgate, you fill my wood box and there'll be
no going to town tonight.
Speaker 6 (01:45):
Ma.
Speaker 7 (01:46):
You can't keep me here like a tethered.
Speaker 4 (01:48):
Calf while you're living in my house. You'll do as
I say.
Speaker 6 (01:51):
I'm a man grown, Ma, Paul says.
Speaker 4 (01:54):
I says, you want to go to town, so you
can be like your paw, Ben, Ben, it's going to town.
That's turned him the way he is.
Speaker 6 (02:04):
He's still my Paul.
Speaker 4 (02:06):
Well you're not going to town. That's the end of it.
One man in this family hanging around saloons is enough.
Speaker 5 (02:12):
Where's the horses?
Speaker 8 (02:15):
And thought?
Speaker 2 (02:16):
I told you to get the horses.
Speaker 7 (02:18):
Ben Mars says I can't go.
Speaker 5 (02:21):
And I say you can't go on now, get the horses.
Speaker 4 (02:26):
The boy isn't going, Horacio.
Speaker 5 (02:27):
No dog stand in the way, Livy. He's big enough
to go to town with his Paul.
Speaker 6 (02:33):
Ain't you be now sure?
Speaker 8 (02:34):
I am Paul.
Speaker 4 (02:35):
He's not to go. You're not to take him in
here and start.
Speaker 5 (02:39):
Him on the road you took it will now, Ben,
don't think it's at your bad road out of wager.
Speaker 8 (02:46):
Sure?
Speaker 7 (02:46):
Not all them sights I never seen.
Speaker 5 (02:52):
Time you saw him?
Speaker 4 (02:53):
Boy, I mean what I say, Horatio, Ben is not
to go. I can't stop you from going. It's too
late for you anyhow. The whiskey hasn't been off your
breath for five years or month.
Speaker 6 (03:04):
No concern in your It's.
Speaker 4 (03:06):
My concern that I had to keep this place going.
So my boy and i'd have a roof over ey Oh.
Speaker 9 (03:11):
E't you had it hard though, I've done what had
to be done, and I'm not gonna have you coming
back whenever the spirit moves your string up things, filling the.
Speaker 5 (03:22):
Boy with wild tas he's my son to.
Speaker 4 (03:25):
He's your son like I'm your wife. It hasn't meant
much for a long time. You can't come back now
and start taking over the boy's life.
Speaker 5 (03:33):
I should have known you ain't stop reading me out
since the last time. I don't know why I keep
coming back.
Speaker 4 (03:40):
Well, whether you come or go means nothing to me,
but mark my words, you leave that boy alone.
Speaker 5 (03:50):
You mind you said that, Livy, you will have cause
to rue this day, Paul where you're going, any son
of mine can find me, and Dodd I won't be hiding.
Speaker 7 (04:16):
He sure don't favor his daddy's standing there doing.
Speaker 10 (04:19):
Oh, Sir Horacio Redgate never spells the drunk.
Speaker 8 (04:25):
Why he'd let it right up off from the barn
bad to don't you leave me be?
Speaker 5 (04:30):
Why? Sonny?
Speaker 7 (04:31):
We figure you need somebody to look after you, and
that's all.
Speaker 6 (04:34):
Ain't that right?
Speaker 10 (04:35):
That's right way I get it? His model like come
out of her sight. Somebody's gotta watch over.
Speaker 8 (04:42):
Come on now, leave me be here.
Speaker 7 (04:44):
I'll ory you'll do what sir?
Speaker 8 (04:47):
All right?
Speaker 6 (04:47):
Boys?
Speaker 5 (04:48):
All right? You? Uh?
Speaker 8 (04:52):
You the red Gate boy, my name's Ben Redgate and
a man grown.
Speaker 4 (04:56):
Sure y'all got your pad lying across.
Speaker 7 (04:59):
The then, sure that's him?
Speaker 4 (05:03):
Well, then why don't you call it quits for now
and going home?
Speaker 5 (05:07):
Huh?
Speaker 8 (05:08):
You sound like my mam. She don't think I can
get along out of her sight.
Speaker 4 (05:13):
I don't think you're out of her sight right now?
What do you mean isn't that your ma standing there
at the dog looking?
Speaker 6 (05:19):
Then she's got no call to follow me?
Speaker 7 (05:23):
Maybe not, but you sure don't it?
Speaker 4 (05:27):
Well, I guess I guess I have to see it
to believe it. Come on home now, Ben, I.
Speaker 7 (05:35):
Ain't gonna go. I ain't gonna listen no more your lectures.
Speaker 4 (05:39):
This is no way for you.
Speaker 7 (05:40):
Ben.
Speaker 4 (05:41):
Come home now and we'll say no more about it.
Speaker 8 (05:43):
We'll see no more about it because I ain't coming
and I ain't gonna listen no more.
Speaker 4 (05:47):
Mind your tongue, Ben, it wasn't easy for me to
come into a place like this. Don't you cause me
trouble now?
Speaker 6 (05:54):
Then don't follow me? And if I'm gonna take a
drink out of this bottle.
Speaker 8 (05:57):
I'm gonna do it, not while I'm here.
Speaker 11 (06:00):
Stop you.
Speaker 4 (06:02):
You may be too big to whip then, but I
can still knock a bottle out of your hand.
Speaker 7 (06:06):
You can't bust all the balls in the saloon.
Speaker 11 (06:08):
I would if I could, right enough, I still ain't
coming mornu mana what you do?
Speaker 4 (06:12):
All right?
Speaker 6 (06:12):
Then?
Speaker 7 (06:13):
All right?
Speaker 12 (06:13):
I can't drag you, but I tell you this, if
it'd do, and you could, if it'd keep you from
turning out like your bod as soon as he every
saloon and can't just burn to the ground.
Speaker 11 (06:25):
N't even helped strike the matches, which is right?
Speaker 6 (06:37):
You're ma sure speech your mind? Boy? She said some
mean things there, mighty mean.
Speaker 10 (06:44):
She smashed that bottle full of whiskey just like it
was nothing.
Speaker 7 (06:49):
A terrible thing.
Speaker 8 (06:51):
Wasting whiskey like that is terrible. Can we buy your drink?
Speaker 5 (06:55):
Boy?
Speaker 8 (06:56):
Nah, I've had enough of this place.
Speaker 6 (07:00):
You go in home like she told. No, I ain't
going home.
Speaker 8 (07:04):
I'm gonna hunt up a place to get drunk where
more can't find me. The shoveling started at the little
town of Rome in New York State back in eighteen
hundred and seventeen, and on July fourth, nineteen hundred and
(07:26):
sixty seven, the Post Office released a special Sesqui Centennial
stamp there in honor of the big ditch they dug,
which it says on the stamp in my album here
was the Erie Canal now, in case you don't know,
that canal went all the way from Buffalo on Lake
Erie to the Hudson River, connecting the Great Lakes with
(07:48):
the Atlantic Ocean. The biggest waterway ever built in the
United States at the time, and it was done mostly
by the Irish, just over from the Old Country. Who
did that, digged with spit and muscle. Y made lots
of money for years on tolls, and the traffic and
freight and people through the canal was mainly responsible for
(08:09):
building up the Midwest and keeping business in the East
busy doing it well.
Speaker 2 (08:15):
Of course, the Erie.
Speaker 8 (08:16):
Canal ain't what she used to be, because the railroads
do most of the job now. But the big ditch
is still there, and so is all the history that
went through it.
Speaker 2 (08:41):
How about your excuse this time?
Speaker 3 (08:43):
Chester, Oh I just took all your men.
Speaker 2 (08:50):
The game's over.
Speaker 6 (08:51):
Oh well, no, I don't think.
Speaker 2 (08:57):
Doesn't matter. I can't you keep your eyes open?
Speaker 6 (09:00):
It ain't that.
Speaker 8 (09:02):
Some colors they get kind of bury, kind of hard
to tell their red and black?
Speaker 6 (09:06):
Did you ever know thee saying?
Speaker 5 (09:07):
That?
Speaker 2 (09:07):
Doesn't make much difference to me?
Speaker 3 (09:10):
How that I wind up with all the checkers anyway, whatever.
Speaker 2 (09:13):
Color they are.
Speaker 8 (09:16):
Put in, the world's going on.
Speaker 2 (09:18):
I don't know. Con look down in.
Speaker 6 (09:27):
The street their seat.
Speaker 1 (09:28):
Yeah, I don't think they're gonna put that one out either,
even please sure got a whole tall right past the
Solon Prairie Wagon that is I hope for that place.
It'll be enough of a job to keep the fire
from spreading.
Speaker 6 (09:41):
I'll go help with the buckets, and you don't.
Speaker 1 (09:42):
I got our back to say which way it is spreading?
Speaker 6 (09:50):
Far through? Why throw?
Speaker 5 (09:52):
Oh?
Speaker 7 (09:52):
What we got a Marshall caught a red handed I
don't know. He's done it, Marshall, just as plain as
can be.
Speaker 2 (10:00):
What's she done?
Speaker 1 (10:01):
Well, come on quick, mister, we got a fire to fight.
Speaker 6 (10:03):
That's just it, Marshall. She set for fire, this reggae
You no.
Speaker 4 (10:06):
Marshall, but you better go fight it before it expects you.
Speaker 12 (10:08):
The whole time.
Speaker 6 (10:09):
You can't let her go.
Speaker 11 (10:10):
I'm going anyplace. I'll wait for you.
Speaker 2 (10:12):
Marshall.
Speaker 7 (10:12):
Right here, No mar that, Miss Reggae. You can pass
empty buckets back all right.
Speaker 5 (10:16):
Joby, let's get to work.
Speaker 7 (10:34):
We was sure lucky.
Speaker 6 (10:35):
There wasn't no wind.
Speaker 2 (10:36):
Yeah, you sit here, Miss Regged.
Speaker 6 (10:42):
Thanks to her, the whole town didn't burn up. You
men got facts to back up on the shore, Marshall.
Speaker 10 (10:47):
Everybody heard her say she'd like to set a match
to every saloon in Kansas.
Speaker 6 (10:51):
Ain't that right, Jane?
Speaker 4 (10:52):
Sure is?
Speaker 5 (10:52):
She said it right there in the Long Branch just tonight.
Speaker 6 (10:56):
And there she was out back, watching the prairie wagon burn.
Speaker 4 (10:59):
I was watching, Marshall.
Speaker 2 (11:01):
Did you say those things? Miss Y good?
Speaker 4 (11:03):
I said, I'd like to see them burn? Marshall, And
I'm not sorry. This wasn't it either, But I.
Speaker 6 (11:07):
Didn't burn you. Gotta lock her up, Marshall.
Speaker 2 (11:10):
I'll take care of her.
Speaker 1 (11:11):
Oh, lock her up.
Speaker 6 (11:11):
She done it plain as day.
Speaker 2 (11:12):
I said, I'd take care of her. How you men
get out. I'll send for you tomorrow if I need you.
Speaker 6 (11:17):
But Marshall, we may get out.
Speaker 2 (11:31):
It's right, gad. I think maybe you better tell me
what you were doing out in the alley.
Speaker 4 (11:34):
I didn't set that fire.
Speaker 3 (11:36):
You were heard talking about burning saloons and the saloon burns.
Speaker 2 (11:40):
You were fine right out back. Now does that sound
very good to you?
Speaker 4 (11:44):
No, Marshal don't.
Speaker 2 (11:46):
And I'm gonna have to hold you to this thing.
Get straightened out.
Speaker 5 (11:49):
What you're doing.
Speaker 6 (11:50):
I oh, excuse me, that's.
Speaker 2 (11:53):
All right, Chester.
Speaker 8 (11:54):
Oh, mister Donat has fell out here, says he's got
to see you right now.
Speaker 2 (11:57):
I'll bring him in.
Speaker 5 (11:59):
H yes, you're but I I just thought maybe it
might be better for you to come out.
Speaker 6 (12:02):
You've seen him for just a minute, he tells him.
Speaker 2 (12:04):
Oh alright, alright, Chester, you stay here with us. Red Gate, Yes,
I want to see you my shoe. Oh it's you,
red Gate. What do you want?
Speaker 5 (12:22):
I come to do my duty?
Speaker 6 (12:24):
Is that?
Speaker 2 (12:25):
So that fire?
Speaker 5 (12:28):
That the terrible fire?
Speaker 2 (12:30):
Much? What about the fire?
Speaker 5 (12:33):
I know you know what. I know who done it?
Speaker 6 (12:38):
I know who burned down that new saloon.
Speaker 5 (12:42):
That's terrible.
Speaker 2 (12:43):
Please alright, tell me who does it. You won't believe
what you tell me anyway.
Speaker 5 (12:47):
Huh. You're a hero of a woman too good for
her own good.
Speaker 2 (12:53):
Oh, come on, right Gate, tell me you're good for
her own girl.
Speaker 5 (12:57):
Redgate was that same Marshall, Ruvinia red Gate.
Speaker 2 (13:04):
He was saying that she set that fire. I seen her, Marshall,
I seen her. You tell me that you saw your
wife start that fire, sure surely shooting. Then why didn't
you just stop her? I said, why didn't you just
stop her?
Speaker 7 (13:21):
Well?
Speaker 2 (13:21):
By, I couldn't.
Speaker 5 (13:26):
I couldn't get there in time. I was. I was
still across the street when I seen.
Speaker 2 (13:34):
Her across the street.
Speaker 5 (13:35):
That's it, that's it. I was across there when I
seen her standing in front of the.
Speaker 3 (13:43):
Saloon with a big torch, great big torch, did you say,
in front of the saloon.
Speaker 5 (13:49):
That's right, Marshall. And and she throw the torch?
Speaker 2 (13:55):
Then why didn't she do?
Speaker 6 (13:57):
Was she? Well?
Speaker 5 (13:58):
She just stood there, watch right there. And I want
you to go get her, Marshall, arrest her. He's too
good for her own good. I don't have to arrest her, reckon,
you don't. Why not just tell me why not.
Speaker 2 (14:14):
She's already in my office.
Speaker 5 (14:16):
Movie in the jail house. Oh that's good, Marshall, Lie,
that's good. I want to see that, Marshall.
Speaker 2 (14:27):
I want to go inside. And I think maybe you'd
better come on.
Speaker 8 (14:55):
Hometowns in America have a lot in common, yet they're
each one of a kind. Take for example, Pulaski, Virginia.
Every day is another day of sawdust in the air
at Pulaski, but it's clean and fine and white. And besides,
the Pulaski and Coleman furniture companies are mostly what make
Pulaski go. If you're driving down from Washington on US
(15:18):
Highway eleven, you'll pass right through Pulaski and you can
stop at Don Easter's Gap restaurant, all that good Virginia
country Ham slice thick fair Weather finds Piedmont air Lines
touching down at New River Valley Airport nearly two hours
closer than the old Roanoke terminal. If you're in Pulaski
(15:38):
at the right time, you can catch a ball game
between Pulaski and Dublin, or if you're staying longer, a
season ticket to the concerts in Blacksburg at v m
Ier just the thing, and those Civil War cannons still
need a nice sized park. But if your hometown is Pulaski,
you already know this. We only wanted to remind you.
Speaker 2 (16:00):
It's doing.
Speaker 5 (16:23):
What she locked up with all Marsham she's just sitting there.
Where's Ben going?
Speaker 6 (16:30):
Now?
Speaker 5 (16:30):
Marshall, Lock her up?
Speaker 2 (16:32):
Lock her up, her set on redgates, sit down.
Speaker 5 (16:36):
I just wanted to see her locked up.
Speaker 2 (16:39):
I don't think that's gonna be necessary. Why not, Marshall?
Speaker 12 (16:42):
She done it?
Speaker 6 (16:44):
She said she was going to I see her.
Speaker 2 (16:46):
I'm not so sure.
Speaker 5 (16:47):
About anybody will tell you. She said that she did.
Soon see all the saloons burn. She'll tell you herself,
won't you?
Speaker 2 (16:56):
Won't you leave?
Speaker 4 (16:56):
What have you done with Ben?
Speaker 6 (16:58):
You?
Speaker 5 (16:59):
You're in a fixed We're sure, ain't you?
Speaker 2 (17:01):
Levy?
Speaker 5 (17:01):
Your boys run off?
Speaker 6 (17:03):
Ain't he because you didn't want him to see his Paul?
Speaker 4 (17:06):
Send him home, Horas, You'll give him a chance to
go up.
Speaker 5 (17:09):
You you've been out looking for him, ink you?
Speaker 6 (17:11):
Livy?
Speaker 5 (17:12):
You couldn't sit there at home and wait for him,
could you?
Speaker 4 (17:15):
Yes, I've been looking.
Speaker 2 (17:18):
Is that what you were doing in the allem as reggae?
Speaker 4 (17:21):
Yes, Martial Eye, I'm ashamed to tell you it was.
I was feared someone and tell him if they saw him.
He out front, So I was going along the back way.
I got my hindsight now I can see it was wrong.
Speaker 5 (17:34):
Yeah, hear that? Marshoe if any red Gator admits she
was wrong, lock up, Marshall, lock her up, let her sit.
Speaker 6 (17:42):
There a spell and repent.
Speaker 3 (17:43):
You got it backwards reggae. What's that the other one
who's gonna sit.
Speaker 2 (17:47):
There and repent?
Speaker 3 (17:49):
Well, your wife never was out on front street? Two
witness is saw around the back here. Storry doesn't make
any sense at.
Speaker 6 (17:55):
All, Marshall, I swear, don't bother.
Speaker 2 (18:01):
You sure wanted to get at her, didn't you. Oh no,
we mean i'd watch what I was saying if I were.
You say, yeah, talk what is?
Speaker 6 (18:13):
Oh? Well, I'll come back later.
Speaker 2 (18:17):
No, it's alright. Sorry what was on your mind?
Speaker 6 (18:20):
Wow, it'd be.
Speaker 5 (18:21):
Better if I came back?
Speaker 2 (18:22):
Just speak up, doc.
Speaker 7 (18:24):
Well, mat it's uh, it's about that fire.
Speaker 2 (18:27):
Somebody hurt, somebody's dead.
Speaker 5 (18:31):
Oh was it?
Speaker 2 (18:34):
Well?
Speaker 5 (18:35):
Wow, dog.
Speaker 4 (18:39):
It's Ben, isn't it?
Speaker 2 (18:43):
Yes, sir missus, Yeah, it's Ben.
Speaker 4 (18:48):
I had a feeling about tonight.
Speaker 7 (18:51):
I had a feeling.
Speaker 4 (18:52):
That's why I kept going after him, looking for him, m.
Speaker 2 (19:01):
You saying, and my boy wishing that soon? Yes, uh,
I show you. He musta been.
Speaker 6 (19:12):
Uh asleep back of the bar.
Speaker 2 (19:15):
I'm sorry, I'm real sorry.
Speaker 6 (19:18):
Oh huh being dead.
Speaker 2 (19:23):
Why. I didn't mean nothing like this.
Speaker 6 (19:29):
I didn't mean to hurt nobody just to get living
in a fixed were there too?
Speaker 2 (19:38):
You set the fire to the shoe, yes, Musha, I said.
Speaker 6 (19:46):
W h I I I didn't mean to burn my boy.
Speaker 3 (19:55):
Trust him, take him back and lock him up, and
s I'm sorry, miss Reggae. And let's say it was
something I could do to make it easier for you. Uh,
if you like, ma'am, I'll have Chester take you home.
Speaker 6 (20:19):
Home.
Speaker 5 (20:22):
I drove then away from home.
Speaker 4 (20:27):
What did I do wrong, Marshall? I only wanted him
to be a good boy. What did I do wrong?
Speaker 5 (20:39):
Uh?
Speaker 2 (20:39):
Maybe it's not what you're dead wrong, mis Reggaeton. Maybe
you just tried too hard to do right.
Speaker 8 (21:05):
But when it comes to political terminology, I guess that
old character Elijah Cuddlestone is used it all for instance, And.
Speaker 6 (21:14):
I say that all of them.
Speaker 8 (21:15):
If you, if you every man Jack and nominated a
run against me, he is cast in the same mold,
poured out of the same bottle, chips off of the
same political stump.
Speaker 6 (21:25):
If you're dia mean, there's no choice among them?
Speaker 2 (21:27):
That is fact?
Speaker 6 (21:28):
Is I say, that's a fact that you'll see.
Speaker 8 (21:31):
Them ring in a dark horse candidate A dark horse,
that is, because they can't make up their minds otherwise
what I mean, well, dark horse in the political sense
in which Elijah used it means pretty much as he
explained it, an unexpected nominee brought in to break a
deadlocked balloting for a candidate from among the leading nominees.
(21:52):
Presidents Polpe, Pierce, Garfield, and Harding were dark horses. Originally,
dark horse was a racing term for a horse whose
abilities were kept in the dark until displayed in the race. Gunsmoke,
(22:44):
produced and directed by Norman McDonald, stars William Conrad as
Matt Dylan US Marshall. Featured in the cast were Parley
Bear as Chester, Howard mcneer as Doc, and Georgia Ellis
as Kiddy George Walt Speaking. Join us again next week
for another specially transcribed story on gun Smoke. This is
(23:09):
the United States Armed Forces Radio and Television Service.
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