GUNSMOKE COMPILATION

A compilation of two episodes
"Billy The Kid" and "Young Man with a Gun"

Written by

John F. Barber

CC BY-NC-ND 4.0
(https://creativecommons.org/licenses/by-nc-nd/4.0/)
Creative Commons Attribution-Non-Commercial-NoDerivs 4.0 International

Re-Imagined Radio
Season 12, Episode 02, February 19, 2024

Final draft

GUNSMOKE

Two gunslingers. Two classic stories. One new adventure.

Re-Imagined Radio
Season 12, Episode 2
Final Draft

Premier broadcast: February 19, 2024

Written, produced, hosted by John F. Barber

Sound design, Music composition, Post-production by Marc Rose

Graphics by Holly Slocum

Synopsis
Re-Imagined Radio presents a compilation from two episodes of Gunsmoke, "Billy The Kid" and "Young Man with a Gun." Two young men aspire to be gun fighters. Both meet U.S. Marshall Matt Dillon (William Conrad) in Dodge City, Kansas, late 1870s. One changes his dream. The other lives it, and dies by it as "Billy The Kid."

Credits
Samples from "Billy The Kid." Episode #1, S1E1, April 26, 1952. Written by Walter B. Newman

Samples from "Young Man with a Gun." Episode #123, S2E52, August 23, 1954. Written by John Meston
Roy Rowan Announcer

Don Diamond, Harry Bartell, with Richard Beals, Paul DuBov, and Mary Lansing, Vivi Janiss

The entire nine-season run of Gunsmoke was produced by Norman Macdonnell

Music composed and conducted by Rex Koury

Characters
William Conrad as Matt DILLON
ANNOUNCER
Mr. HIGHTOWER
Parley Baer as CHESTER Wesley Proudfoot
Peter ZIEGLER
Georgia Ellis as Kitty
Howard McNear as DOC Charles Adams 
BOY (12 years old)
ADAM Richards
FRANCINE Richards
Larry Dobkin as Sam Kertcher
Sam Edwards as Peyt Kertcher
Mrs. Jonas
John Dehner as Rynning
MRS. BONNEY

Color Code
Yellow highlighted text = sound effect(s), either pre-recorded or created for episode. Pre-recorded audio is used as content in this episode.

Magenta highlighted text with strike through = text deleted for episode timing

MUSIC = pre-recorded

MUSIC = bespoke, created for this episode

TEXT = breaks

TEXT = content from "Young Man With a Gun"

TEXT = content from "Billy The Kid"

References
Norman McDonnell's Stock Company on Gunsmoke
http://www.mwotrc.com/rr2016_12/Gunsmoke.htm

COLD OPEN
SFX: HOOFBEATS FADE IN AND CONTINUE FOR A FEW SECONDS
SFX: SINGLE GUNSHOT
MUSIC: THEME BEGINS, PLAYS FOR SEVERAL SECONDS, THEN DUCKS UNDER.
ANNOUNCER
Around Dodge City, and the territory out West, there's just one way to handle the killers and spoilers and that's with a U.S. Marshal and the smell of . . . Gunsmoke!
MUSIC: THEME UP, THEN UNDER FOR
ANNOUNCER
Gunsmoke! Starring William Conrad. The transcribed story of the violence that moved west with young America, and the story of a man who moved with it.
DILLON
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 chancey job, and it makes a man watchful . . . and, a little lonely.
THEME AND ANNOUNCER
MUSIC: RIR THEME
ANNOUNCER
Welcome to Re-Imagined Radio, a program about radio storytelling. I’m Jack Armstrong. With each episode we combine dialogue, sound effects, and music to engage your listening imagination. This episode is no different, and here to tell you about it is John Barber, producer and host.
HOST OPEN
HOST
Hello everyone. Thanks for joining us.
This episode of Re-Imagined Radio celebrates the radio drama series Gunsmoke with a compilation from two episodes.
Heard on the Columbia Broadcasting System 1952 to 1961, Gunsmoke was one of the longest running radio dramas, a defining radio drama in the Western genre, and arguably, radio's last great dramatic series. 480 episodes were offered.
We use two in this compilation: "Billy The Kid" (Episode #1, broadcast April 26, 1952) and "Young Man with a Gun" (Episode #123, broadcast August 23, 1954).
In both, a young man seeks to mark his life with gun violence. One wants to revenge the killing of his brother. The other embraces killing as a form of notoriety. Both meet U.S. Marshal Matt Dillon with different outcomes.
Listen now as Re-Imagined Radio presents our Gunsmoke compilation.
MUSIC: GUNSMOKE THEME FOR TRANSITION
ACT 1: ROBBERY, GAMBLING, A RUNAWAY KID
DILLON
Wanted for murder . . .
SFX: PENCIL WRITING UNDER THIS DIALOGUE
HIGHTOWER
(Repeating after Dillon) Wanted for Murder . . .
DILLON
Clay Richards . . .
HIGHTOWER
Clay Richards
DILLON
Age 31 . . .
HIGHTOWER
31 . . .
DILLON
Height six feet, eyes brown, hair red . . .
HIGHTOWER
Eyes brown, hair red. Hey, how'd like me to print his picture on these notices? I got a woodcut . . . let me show ya. (Calling) Ernie! Fetch the Marshal a copy of that front page. Interviewing Clay's wife yesterday I noticed a tin-type on the mantle. Their weddin' photograph. So, first thing ya know I snitched it.
DILLON
Very thoughtful.
SFX: FOOTSTEPS COME IN
HIGHTOWER
Yeah. Ah, I'll take it, Ernie. And then I propped it up in front of me and carved me this woodcut. Ain't she prime? Ain't she just elegant?
DILLON
(Sarcastically) Real elegant
HIGHTOWER
A good likeness don't ya think? Of course he was 7 or 8 years younger on the tin-type.
DILLON
Yeah, it's a good likeness.
HIGHTOWER
Hair was shorter.
DILLON
(Speaking to audience) Yeah, it's a good likeness. Doesn't show what makes a law-abidin' man like him try to rob a bank. Doesn't look like a man who murdered an old cashier and a Chinese cook who just happened to be there. But, it's a good likeness.
HIGHTOWER
A picture like this sure dresses up the front page, don't it?
DILLON
Yes, it's a little masterpiece, Mr. Hightower. A notable contribution to the culture of Dodge City.
HIGHTOWER
Well, thank you, Marshal. Does fetch the eye, don't it? I'm printing an extra 500 copies of the weekly and I bet I sell 'em all. Too bad the cashier's shot went wild. If he'd managed to kill Clay, or even wing him, why I bet I could sell a thousand extra copies.
DILLON
We must be thankful for the blessin's we do receive, Mr. Hightower.
HIGHTOWER
Oh, I am Marshal, I am. Why just afore it happened yesterday afternoon I didn't know what I was gonna fill my columns with and then, like manna from heaven two murders and a bank robbery . . .
DILLON
(Quick to correct) Attempted bank robbery, Mr. Hightower. He turned and ran before he got his hands on so much as a dollar.
SFX: DOOR OPENS
CHESTER
(Way off by the door) Mr. Dillon.
DILLON
(Firmly) I'm talkin' business! (Pause) (Softly) What is it, Chester.
SFX: DURING LAST LINE, FOOT STEPS SLOWLY ENTER
CHESTER
(Meekly) Well, it can wait, I guess, Mr. Dillon.
DILLON
Yeah, print Clay's picture on those notices, Mr. Hightower. Now, where were we?
HIGHTOWER
Ah, eyes brown, hair red.
SFX: PENCIL SCRATCHINGS THROUGHOUT NEXT THREE LINES.
DILLON
Oh, yeah. Also known as Red, Brick Top and Sorrel. (Pause while Hightower writes) He didn't answer to no other nicknames, did he?
HIGHTOWER
No. That's what they called him.
DILLON
Alright then, in big letters, $400 dollars reward (PAUSE) dead or alive. And at the bottom, apply Matt Dillon, Marshal, Dodge City.
HIGHTOWER
Mmm, hmm.
DILLON
Print 200 copies. How soon can I send Chester over for 'em?
HIGHTOWER
Ah, this afternoon.
DILLON
Good mornin', Mr. Hightower.
SFX: FOOTSTEPS BEGIN AND CONTINUE
DILLON
Chester.
SFX: A FEW MORE FOOTSTEPS, THEN DOOR OPENS AND CLOSES. FOOTSTEPS FROM WOOD TO GRAVEL.
CHESTER
Think those posters'll do any good? Richards is probably over the line into Oklahoma or Colorado by now. That strawberry roan of his is the fastest in the county.
DILLON
He has no money. He panicked and ran out of the bank before he got a penny. I think he'll try to get help from his wife, or brother, or friend the first chance he has. Maybe tonight. I say he's around here somewhere.
SFX: FOOTSTEPS CONTINUE
DILLON
I, ah, I'm sorry I turned on ya like that, Chester.
CHESTER
Why, that's alright, Mr. Dillon. Out all night with a posse, no sleep, a man's bound to get touchy.
DILLON
Nah, it's not that. It's the way . . .  it'sthe way people use a thing like this. The men riding posse last night, they enjoyed it as though they were huntin' fox, or 'possum. Hightower back there, he acts like it was a birthday treat specially gotten up for him. Everybody finds a way to use it.
SFX: FOOTSTEPS CHANGE BACK TO WOOD.
DILLON
What, what was it you wanted to tell me?
CHESTER
Hmm? Oh . . . I got a kid. A little boy locked up in a cell. He run away from home back in Cottonwood. Ed Slade turned him over to me when he come through on the stagecoach just now. Kid about 12 years old.
DILLON
Who's is he?
CHESTER
Widder woman. Mrs. Bonney. She runs a boardin' house in Cottonwood. Ed says the kid is always runnin' away. A little wild I guess. He flagged Ed for the ride on the road half-way between there and here. Soon as Ed seen him standin' there with his bundle on his shoulder he knowed what he was up to. He told the kid he'd help him, but then turned him over to us when he got here.
SFX: FOOTSTEPS FINALLY STOP
DILLON
Alright, we'll send a telegram to the mother to come and fetch him.
CHESTER
You headed to the Depot?
DILLON
Ah, no I'm not, Chester. I'm looking for a cup of coffee. Thought I'd go into Delmonico's here. You wanna join me?
CHESTER
Well, sir, I'd like to but maybe I better go on down to the Depot.
DILLON
Oh? What for?
CHESTER
The mail. I never got there at noon. That's why I thought you was goin' now.
DILLON
Oh, I don't care about the mail, Chester. Ah, but come to think of it, you did start out at noon, didn't you? (LAUGHS) What happened?
CHESTER
I got robbed.
DILLON
Got robbed?
CHESTER
Yes sir. Over at the Alafraganza.
DILLON
Oh . . . you've been gambling all afternoon, uh?
CHESTER
Not all afternoon, Mr. Dillon. I watched the game for about an hour before I sat in.
DILLON
You should have gone on watching it.
CHESTER
Oh, yessir, you're right. Absolutely right. Cost me my last ten dollars. But I thought sure I'd win this time.
DILLON
Oh, why?
CHESTER
'Cause it was my last ten dollars for the month. I had to.
DILLON
Well, that's about as good a reason for winning as any, I guess.
CHESTER
Yes sir. You know, there's just too much month for my pay, Mr. Dillon. Anyway, I might've won if I hadn't got cheated.
DILLON
Ah, was a crooked game.
CHESTER
The fella dealing was crooked. I know he was. But I sure didn't want to start an argument with him . . . no sir . . . not him.
DILLON
Well why? Who was he?
CHESTER
I don't know. Some stranger . . . calls h'self Sam Kertcher.
DILLON
What?
CHESTER
Sam Kertcher. Do you know him?
DILLON
I've heard of him.
CHESTER
Who is he?
DILLON
He's a gunman, Chester.
CHESTER
Oh, ho. I recognized that. That's why I didn't make as fuss about his crooked dealing.
DILLON
You were smart. Kertcher's the kind of man who enjoys killing. He's got a big reputation for it out in Arizona.
CHESTER
Well what's he doing here, I wonder?
DILLON
I don't know, Chester, but let's go find out. 
ACT 2: SAM KERTCHER, GUNSLINGER
MUSIC: TRANSITION
SFX: SALOON DOOR OPENS, NOISE, CONVERSATION, GAMBLING
CHESTER
That's him, Mr. Dillon . . . just getting up from the table over there. I guess the game's finished.
DILLON
Funny he'd tell you his name, Chester. A man like that usually doesn't talk so much.
CHESTER
No sir . . . but I didn't think nothing about it at the time. He's coming over here to the bar Mr. Dillon.
DILLON
Yeah.
KERTCHER
(FADING IN, COMING UP TO THE BAR) Glass of whiskey, bartender.
DILLON
Hello, Kertcher.
KERTCHER
Where you been, Dillon?
DILLON
What?
KERTCHER
Took you long enough to get here. It's been a half hour since I cheated your friend here out of his money.
CHESTER
Cheated me! You see! I told you he did. (BEAT) But how'd you know I was a friend of Mr. Dillon's?
KERTCHER
l asked. Smart of me, wasn't it?
CHESTER
What'd you ask for? What difference does it make?
DILLON
Never mind, Chester. What're you doing in Dodge, Kertcher?
KERTCHER
I got tired of Arizona.
DILLON
Why?
KERTCHER
Nobody left worth bothering about there.
DILLON
You mean there's nobody left worth your killing, is that it?
KERTCHER
A man can get rusty facing down bums and greenhorns, Dillon.
DILLON
What's the matter with Tombstone? Wyatt Earp wrote me it's a lively town these days.
KERTCHER
Oh, too many of them Earps. And they got Doc Holliday with them too. A man'd be a fool to ride into that camp.
DILLON
Well, you draw a line somewhere, don't you?
KERTCHER
One man at a time's good enough for me, Dillon. I ain't greedy.
DILLON
You're kind'a greedy about money.
KERTCHER
What do you mean?
DILLON
You admitted cheatin' Chester out of his ten dollars.
KERTCHER
I had a reason for that, Dillon.
DILLON
Oh, did ya?
KERTCHER
Yeah. He was hanging around watching the game, and I found out who he was, so when he sat down I took him. I can deal faster'n that. I wanted him to know and run tell you about it.
DILLON
Why?
KERTCHER
I wanted to meet you, Dillon. Always like to get to know the leading citizens of a place.
DILLON
You've got your own way of going about it.
KERTCHER
You objecting?
DILLON
Ordinarily I object to cheating at cards yeah . . . but with you, I don't think it matters much. Now, what're you doing in Dodge, Kertcher?
KERTCHER
I was nearby . . . up in Colorado. I heard about you there, Dillon. You've got quite a reputation.
DILLON
I'm a lawman, Kertcher . . . not a gunman. I don't care about my "reputation."
KERTCHER
I do. Yeah.
DILLON
You came here to kill me, huh?
KERTCHER
That's what I came for, Dillon.
DILLON
Kertcher, I'm gonna tell you something
KERTCHER
What?
DILLON
Men like you are as useless as wolves. I hate every one of your kind.
KERTCHER
Why that'll make it easier for you to fight me, Dillon. I'll meet you out in the plaza. . . sundown tomorrow.
MUSIC: FOR A TRANSITION
HOST
You're listening to Re-Imagined Radio. Our Gunsmoke compilation where we combine two episodes from the Gunsmoke radio series, "Billy the Kid" and "Young Man with a Gun."
Dodge City, Kansas, in the late 1870s was a volatile mix of cowboys, drifters, criminals, and psychopaths. U.S. Deputy Marshal Wyatt Earp (1848-1929), Sheriff Bat Masterson (1856-1921), and other lawmen worked to keep Dodge City under control until civilization could take hold.
Marshal Matt Dillon (voiced by William Conrad) is modeled after these lawmen. He's hard as worn saddle leather. A loner. Isolated.
As the U.S. Marshal in Dodge City, Kansas, Matt Dillon is all that stands between civilization and frontier violence. The violence he encounters daily must be met with violence and this is destroying his soul.
In our story, Marshal Dillon's day is not half finished and already, he's involved with attempted bank robbery, two murders, a runaway young boy, and now a gunfighter has challenged him to a duel.
Sounds fantastic, but that's the nature of Gunsmoke, an adult Western radio drama series based on the hard, and violent realities in and around Dodge City, Kansas, in the 1870s. Let's continue listening . . .
ACT 3: A MOB GATHERS
MUSIC: SAMPLE FOR TRANSITION, FADE OUT AT END, BEFORE THE SAMPLE ENDS COLD.
SFX: DOOR OPENS
DILLON
Well, come on in, Chester, and shut the door.
CHESTER
Mr. Dillon
DILLON
You're lettin' in every horsefly in Kansas.
CHESTER 
Mr. Dillon, I think you better cancel the order for them notices.
DILLON
What?
CHESTER
The Dutchman's comin' up the street and he's leadin' a strawberry roan and Clay Richards is draped across his back.
SFX: A FEW FOOTSTEPS AS DILLON STEPS OUTSIDE.
DILLON
(Speaking to audience) Like a sack of wheat across the saddle.
SFX: CROWD NOISES BEGIN, SOFTLY AT FIRST–THEY ARE FOLLOWING THE HORSE WITH THE BODY.
DILLON
(Speaking to audience) Last time I saw him, two days ago. He was standin' at the bar laughin' his head off. A sack of wheat across the saddle. And followed by half the saloon bums and loafers in town. 
SFX: CROWD NOISE GROWING.
DILLON
Alright Chester, make 'em keep back.
CHESTER
(Shouting over the crowd) All right, stand back you fellas. Go on now . . . back. Stand back.
CAST
Crowd noises continue in background
DILLON
Ziegler! How'd it happen Ziegler?
ZIEGLER
My goat, my old billy goat, he pushes open the tent last night and runs away.
DILLON
Forget your goat. What about Clay?
ZIEGLER
I tell you. This morning I go to look for the goat. I walk here, there, and near the river I see Clay. He sits there. I said, "Hello, Clay. Good day." And that's when . . .
VOICE
(Off) Dirty Dutchman. Ya no good dog. Clay was your best friend. He helped ya buy your farm so you killed him for the reward.
SFX: EXCITED NOISES DROWN OUT THE VOICE.
DILLON
Alright! All of you. Keep back everybody.
ZIEGLER
Kill Clay? Me? Oh, no. My brothers he was like. We was in the war together.
VOICE
You killed him for the reward.
SFX: AGAIN, VOICES DROWN OUT DIALOG.
ZIEGLER
(Louder) Not so! I killed nobody. Not since Gettysburg. Clay is dead already when I find him. I don't even own a pistol.
SFX: CROWD VERY AGITATED NOW.
DILLON
(All said loudly over the crowd noise.) Ziegler . . . inside, quick. Chester, give me a hand with Clay's body. Alright all of ya. Listen! SHUT UP!
SFX: NOISES STOP.
DILLON
I will not tolerate a disturbance. You know me.
SFX: FOOTSTEPS BEGIN
DILLON
(Struggling with the body.) I've got him Chester. Take his legs.
SFX: SUBDUED NOISE.
DILLON AND CHESTER
(Lots of grunting over footsteps as they take body inside the office.)
DILLON
Alright, kick the door shut.
SFX: DOORS SLAMS SHUT.
SFX: NOISES STOP.
ZIEGLER
Marshal, I don't kill Clay.
DILLON
On this table, Chester.
SFX: MORE GRUNTING NOISES AS THEY PUT DOWN THE BODY.
DILLON
What did you do with Clay's gun? His holster's empty.
ZIEGLER
Gun? Clay's? I ain't got it. I don't even own one.
DILLON
Chester, see if it slipped off when we were . . .
CHESTER
His holster was empty comin' up the street.
DILLON
Ziegler, where is it that you met Clay on the river?
ZIEGLER
By the ford. This side by the ford.
DILLON
Ride out there Chester and see if you can find Clay's gun. Maybe he dropped it when he was shot.
ZIEGLER
I did not shoot Clay.
DILLON
Sure.
ZIEGLER
(Protesting louder with each sentence.) I did not! I had no reason to. I did not! I did not!
DILLON
You listen to me. Maybe you think Dodge has got so big I don't know about everything that goes on here. Well, if you do, you're wrong. If you think I don't know about the bank having an overdue mortgage on your farm, you're wrong. $400 is reason enough for a struggling farmer like you.
ZIEGLER
No! I would not do such a thing. I am a human being.
DILLON
To a Peace Officer, Ziegler, that's enough grounds for suspicion. But whether you did it or not will be decided at your trial. In the meantime you just stop yammerin' about it.
ZIEGLER
Trial? Me?
DILLON
Even when I shoot somebody I stand trial. If they find it's justifiable homicide, and they probably will, Clay being a wanted man, then they'll let you off. And if not . . .
ZIEGLER
Please, I am permitted to go, now?
DILLON
Go? Are you crazy?
ZIEGLER
My farm, the stock, I must look after it.
DILLON
You sit right down. You wanna be lynched? You trying to get yourself murdered? Have you forgotten about Clay's brother, Adam?
ZIEGLER
Adam would not believe I shot . . .
DILLON
What difference does it make whether he believes it or not? His brother's been killed and everybody's lookin' to him to do something about it and he knows it. You want me to guess where he is right this minute? He's in one of them saloons lappin' up enough courage to come here and ask me to give you to him for a present. You wanna know who's with him? Every loafer, every bum, every slob in town slapping him on the back and telling him what shame it is. Egging him on to kill ya so they can have some excitement and some fun. Maybe you deserve killing. But it's my job to uphold the law and I'm not lettin' you out of here.
ZIEGLER
But, I, I . . .
DILLON
You might spend your time trying to think up a better story. That is, if you intend to stay in this town. (PAUSE) Alright, now think back, didn't Clay go for his gun before you shot him?
ZIEGLER
I tell you, I didn't. If I'm not under arrest you have no right to keep me here. I have to look after my farm. I go.
DILLON
Alright Chester, lock him up.
CHESTER
Yes sir, Mr. Dillon.
SFX: FOOTSTEPS
CHESTER
Come on, Ziegler.
ZIEGLER
I didn't do it. I didn't do it. (Fading as they move away.)
CHESTER
Step out, sonny. This cage is bespoke.
DILLON
Who's in there, Chester?
CHESTER
That little ole' runaway from Cottonwood.
DILLON
(Remembering) Oh! Come over here, son. Come over here to me.
SFX: FOOTSTEPS ENTERING FROM ANOTHER ROOM
BOY
I know who you are.
DILLON
You do, do ya.
BOY
You bet. You're Matt Dillon.
DILLON
He he. Guilty.
BOY
I knowed ya right off. You was pointed out to me one day back home. Feller said you were the fastest gun thrower in Kansas.
DILLON
Wyatt Earp wouldn't be awful interested to hear that, I'm afraid.
BOY
Feller said you were faster than old Earp, faster than Wild Bill Hickok, Bat Masterson or any of 'em. How many fellers have you killed?
DILLON
You don't keep score, son. It's something you try to forget.
BOY
Not me. Someday I'll be famous like you and for every fella I kill I'll put a notch on my gun. People'll see those notches and they'll know they better not try.
DILLON
Why'd ya runaway from home, bub? Don't you know your mother's likely to worry about ya?
BOY
Ah, she won't worry. She's too busy workin'. You ain't gonna make me go back, are ya? Ya wouldn't do that, would ya?
DILLON
Well . . .
BOY
Because it wouldn't stop me for long. I'd only run away again.
DILLON
Where are ya off to in such a sweat?
BOY
Ah, Texas, California, Mexico. A feller can accomplish things there. Not like livin' in old Cottonwood. If ya let me go, someday when I'm famous you can tell people you helped get me started.
DILLON
Well, that's a pretty strong inducement. Hmm, I'll have to think about it for awhile. And, ah, look, while I'm making up my mind I want ya to give me your word, the word of a man who'll be famous some day, that ya won't try to run away from me. Otherwise I'll have to have Chester lock ya up again.
BOY
I'll shake on that.
DILLON
Good. Good. Ah, Chester, I want ya to go look for Clay's gun.
CHESTER
Yes, Mr. Dillon.
DILLON
And on the way stop off and send that telegram. Ya know?
CHESTER
Hmm? Oh, THAT telegram. Yes, sir, Mr. Dillon. I'll get on . . .
SFX: DOOR OPENS
ADAM
Where's Ziegler?
DILLON
It's alright, Chester. Go ahead.
CHESTER
Yes, sir, Mr. Dillon.
SFX: BOOTSTEPS ON WOODEN FLOOR
ADAM
Where's that murderin' dog? Oh, there you are, you . . .
DILLON
(LOUDLY) Not a single step further, Adam.
ADAM
I want him, Dillon. He murdered Clay. Shot him down without giving him a chance.
DILLON
How do you know?
ADAM
Because Clay wouldn't have let anyone catch him off-guard except a friend. (PAUSE) A friend. Now Dillon, give me that Dutchman!
DILLON
Try to take him.
ADAM
It's like that?
DILLON
It's like that.
ADAM
Ah, it's true what the fellas say . . . ya made a deal with The Dutchman to give him the reward and protect him if he killed Clay for ya.
DILLON
That was the deal, was it?
ADAM
Yeah!
DILLON
The fellas say why I'd make such a deal?
ADAM
Dillon, it ain't no longer a secret around town that you and Francine want each other. But Clay was in the way. Ya had him killed so you can get his wife. Do you deny it?
DILLON
No. No. It serves as well as any other crazy story to work you up.
ADAM
You think you're safe behind that star, don'tcha. Well Clay had friends. Lots of 'em. I'm comin' back with them friends and we'll get The Dutchman and you and anyone else who tries to stop us.
DILLON
Alright, Adam. I'll be waitin'
ADAM
Yeah. You wait.
SFX: FOOTSTEPS, FOLLOWED BY DOOR OPENING AND SLAMMING.
(PAUSE)
BOY
Whew. I almost seen something pretty just then, didn't I Mr. Dillon?
DILLON
Yeah. Almost. About another pint of whiskey oughta do it.
MUSIC: RIR THEME
THE FUSEBOX BREAK
HOST
This is Re-Imagined Radio. I'm John Barber, producer and host. We'll return to our Gunsmoke compilation in just a moment. But first, let me introduce you to The Fusebox Show. This podcast, produced by Marc Rose, offers a different kind of radio storytelling with its commentary and quick wit about current day events and news. Here's a sample.
SFX: THE FUSEBOX SHOW TEASER 
HOST 
Learn more, and subscribe to the podcast at The Fusebox Show website, thefuseboxshow dot com.
MUSIC: RIR THEME
ACT 4: THE SHOOT OUT
HOST
This is Re-Imagined Radio. Our episode is an original compilation of two episodes from the Gunsmoke radio series, "Billy The Kid," and "Young Man with a Gun."
So far, U.S. Marshal Matt Dillon--given life through the unmistakable voice of William Conrad--has faced down the violence in Dodge City, Kansas. But, every day brings new challenges, and new dangers. Each day could be his last. Let's continue listening to our Gunsmoke compilation.
MUSIC: FOR TRANSITION
SFX: DOOR OPENS, CLOSES.
CHESTER
It's just me, Mr. Dillon.
SFX: FOOTSTEPS COME INTO ROOM.
DILLON
Oh, any luck, Chester?
CHESTER
No, sir. Not any. I went to the store first and asked Mr. Denton what kind of ammunition Clay Richards used to buy and he told me Clay had a double-action .44. I scoured that river bank a half-mile each way from the ford and not a sign of it.
DILLON
Hmm.
CHESTER
I got that telegram off. You-know-who oughta be here pretty soon. It's only seven or eight miles from . . .
SFX: CHURCH BELL WAY OFF IN DISTANCE
DILLON
Is there a fire in town?
CHESTER
Funeral services for Mr. Grinnel, the cashier.
DILLON
So soon?
CHESTER
It's awful hot weather.
DILLON
Yeah.
CHESTER
Mr. Dillon. I been thinkin' about sundown all day long. I feel terrible about this.
DILLON
Oh, why? It isn't your trouble.
CHESTER
Yes, sir, I know . . . but if I hadn't sat in that game yesterday things might be different.
DILLON
Ah, Sam Kertcher'd have found me soon enough. That's what he said he came here for.
CHESTER
I heard him, but I still feel guilty.
DILLON
What's the matter Chester? You're afraid he'll kill me?
CHESTER
Is he really good?
DILLON
Well, he's beat a lot of men.
CHESTER
You're going to fight him, ain't you?
DILLON
Ahh, that's the worst part of this job, Chester . . . having men like Sam Kertcher come around looking for another notch on his gun. There's nothing I can do about it.
CHESTER
Well you don't have to fight him, Mr. Dillon.
DILLON
No, I don't. I could avoid it.
CHESTER
How?
DILLON
Run away.
CHESTER
Oh. (WALKS TO WINDOW) Look out the window here, Mr. Dillon. The plaza's plumb deserted.
DILLON
Sure.
CHESTER
I guess the word's got around. (BEAT) Mr. Dillon . . .
DILLON
Yeah . . . what?
CHESTER
He's coming. Sam Kertcher . . . walking across the Plaza.
DILLON
Well . . . must be . . . sundown now.
CHESTER
Yes sir. It is.
SFX: FOOTSTEPS TO DOOR . . . DOOR OPENS
DILLON
Ah, don't come out the door, Chester, or you'll be behind me. I'm only going as far as the boardwalk.
CHESTER
(OFF) I won't . . . I'll stay right here.  But if anything happens .  . . . then I'm coming out, by golly . . .
DILLON
Don't be a fool.
SFX: MATT STEPS OUT ONTO BOARDWALK AND STOPS. WIND IS HEARD IN THE BACKGROUND.
KERTCHER
(OFF) Come on out in the street, Dillon  . . . what're you standing there for? (PAUSE) The matter with you . . . you scared? (PAUSE) Why don't you come down here, Dillon. (PAUSE) There's a lot of people hid out watching us. Been a long time since a Marshal was killed in Dodge.
DILLON
I don't want to hear your talk, Kertcher. Let's get this over with . . .
SFX: MATT DRAWS AND FIRES ONCE . . . KERTCHER REACTS BUT FIRES ONCE . . . MATT TWICE MORE. CROSS FADE TO
SFX: CROWD NOISE, FOOTSTEPS
CHESTER
You did it, Mr. Dillon. Why he didn't hardly have his gun out before you hit him the first time. I was watchin' him.
DILLON
I didn't wait for him, I drew first.
CHESTER
You did?
DILLON
Giving a man a chance to be arrested is one thing. Shooting down a killer is another.
CHESTER
Yes sir.
DILLON
This is nothing but slaughter . . . brainless slaughter. Like I said, it's the worst part of this miserable job.
MUSIC: IN AND UNDER
ACT 5: ANOTHER YOUNG GUNSLINGER
DILLON
(SPEAKING TO AUDIENCE) I guess it helped  . . . ridding the country of a man like Sam Kertcher . .  . shootin' him down, killin' him. But the trouble was that it made you feel like a part of his own senselessness when you did it. And everybody congratulatin' you afterwards, and lookin' up to you, that didn't help any. That's one thing that got men like Kertcher started off wrong in the first place . . . all the talk . . . all the admiration for gunfighters. Like with a kid I met at the Texas Trail one night a couple of months later. He was sitting with Kitty when I came in.
SFX: SALOON BACKGROUND, MATT WALKS UP TO A TABLE.
KITTY
(FADES IN) Evening, Matt. Sitdown.
DILLON
(SITS) Thanks, Kitty.
KITTY
This is Marshal Dillon, Peyt.
PEYT
I know. I've seen him.
DILLON
Peyt, huh? I never saw you around here before, Peyt.
KITTY
He rode in yesterday, Matt. It's his first time. Good thing, too -- he's only sixteen.
DILLON
Ehh, that's young. Especially for a town like Dodge. Where're you from, Peyt?
PEYT
On West of here.
DILLON
Ah. . . cowboy?
PEYT
I was.
KITTY
That's what I've been arguing with him about, Matt. He says he's through being a cowboy.
DILLON
Oh, is that so? Why?
PEYT
I got other things to do.
DILLON
Like what?
PEYT
I'm going buy me a gun, Marshal.
DILLON
A gun?
PEYT
Sure. And I'm going to learn to use it, too. A man's no good without a gun.
DILLON
Oh . . .?
KITTY
Peyt, you start carrying a gun and you get handy with it, and you'll grow up to be a U.S. Marshal or something.
DILLON
Now Kitty . . .
KITTY
I mean it. I never saw a man start using a gun yet that that he didn't have to go on using it . . . the rest of his life. However long that is.
DILLON
Tell me something, Peyt . . . what . . . ahh . . . gave you this idea?
PEYT
What's wrong with it. Everybody carries a gun. Course everybody can't use them real good. But I'll learn . . . I'll get good . . . good as you are, Marshal.
DILLON
Oh . . .
PEYT
Sure . . . maybe even better . . . who knows.
KITTY
That's what I mean. It all leads to nothing but getting killed. Who cares how good you are with a gun? There's always somebody better.
DILLON
She's right, Peyt. Ahh . . . why don't you forget about this and go find yourself a job out in the country somewhere and go to work . . . huh?
PEYT
I'm going to have to, Marshal. I'm plumb broke right now.
DILLON
Well good . . . that's fine. You know anybody around here?
PEYT
No.
DILLON
Well look, I'll tell you. Emmett Bowers is due in town tomorrow. He runs a big outfit and he can always use an extra hand. You meet me in the lobby of the Dodge House tomorrow morning, and well, we'll have a talk with him.
PEYT
Okay.(GETS UP)I better be going now. I got to find me a place to sleep.
DILLON
Oh Peyt. Ah . . . Here . . .  Here's a dollar, Peyt. You can pay me back later.
PEYT
No . . . no, I couldn't take it. No thanks. Goodnight. Goodnight, Kitty.
KITTY
So long, Peyt.
DILLON
Good night.
SFX: PEYT WALKS AWAY
KITTY
He's got a lot of pride, that kid.
DILLON
Yea. But it's mostly the wrong kid.
KITTY
Huhmm. Maybe. But he'll probably forget about this gunfightin' business once he's back out in the country where he belongs.
DILLON
Well, I hope so. There're enough gunmen around already.
KITTY
Ahh, Peyt's all right. Don't worry about him.
DILLON
No, I won't, Kitty. Unless he comes back someday.
MUSIC: FOR TRANSITION
DILLON
(SPEAKING to AUDIENCE) Peyt was at the Dodge House the next morning and we found Emmett Bowers there and got him a job right off. They rode out of town together that evening and I watched them go, hoping that a lot of hard work would give Peyt something to think about besides becoming a gunfighter. Anyway, I'd done what I could, and I forgot about it 'til a couple of months later when I happened to go into Jonas General Store.
SFX: DOOR OPENS, FOOTSTEPS IN, DOOR CLOSES, FOOTSTEPS FADE ON
DILLON
Well, hello, Peyt . . . How are you.
PEYT
I'm okay.
DILLON
Oh, Peyt, you know Mrs. Jonas here?
PEYT
Ma'am.
MRS. JONAS
Hello, Peyt.
PEYT
Ma'am . . . 
DILLON
And Doc Adams.
DOC ADAMS
Emmhh . . . Howdy do.
PEYT
Doc.
DILLON
Well, whatcha doin' in town? You come in with Emmett?
PEYT
Nope. I come in alone.
DILLON
Oh . . . you . . . ahh . . . didn't quit did ya?
PEYT
I quit. I drew my time last night.
DILLON
Ehh . . . I was afraid so.
SFX: BOOTSTEPS TO STORE COUNTER
PEYT
Ma'am.
MRS. JONAS
Uhmm . . . humn.
PEYT
I want me a six gun and a holster and a belt. And all the ammunition the rest of my money'11 buy.
MRS. JONAS
Well, now, son . . . ain't you a little young to be carrying a gun?
PEYT
I'm sixteen. And if I'm old enough to do a man's work I guess I'm old enough to live like a man.
DOC
Live like a man? . . . bah. You mean die like one, don't you, young fella?
PEYT
I ain't afraid to die.
DOC
Emhh, I don't know . . . I've dug bullets out of all kinds of men . . . young and old. And no matter how they talk, every one of them's been afraid.
PEYT
I get good enough, I'll do the killing. If I'm given a decent chance . . .
DILLON
Peyt, tell me somethin'. How'd you get started on all this in the first place?
PEYT
I don't mind telling you Marshal, now.
DILLON
Now?
PEYT
Now I got money for a gun and I can start practicing.
DILLON
Now wait a minute. Is there some particular man you're after? Is that it?
PEYT
Yeah . . . that's it, Marshal.
DILLON
Well . . . who is he?
PEYT
You.
DILLON
Me?
PEYT
I'm gonna to fight you, Marshal. And I'm goina to kill you if I can.
DILLON
Well, why? I never saw you before in my life 'til you came here.
PEYT
Peyt's my first name, Marshal.
DILLON
So?
PEYT
My last name's Kertcher. I heard about how you shot my brother. So I come here to take his place.
DILLON
Peyt . . . Sam Kertcher was nothing but a killer. He was no good.
PEYT
You drew first on him.
DILLON
What difference does it make? Your brother came after me for only one reason . . . to kill me so's he could be a big man. You think I'm gonna to take a chance being killed for anything as brainless as that?
PEYT
There's rules to gun fighting, Marshal. He wasn't ready to draw . . .
DILLON
Where'd you get all these crazy ideas, kid? Who taught you that killing people is a game of some sort?
PEYT
My brother told me all about it a long time ago.
DILLON
Yeah, sure. Well for him it was a game. That's what was wrong with him.
PEYT
He'd of beat you, if he'd been ready.
DILLON
Peyt, do you wait for a mad dog to bite you before you try to stop him? And you're brother WAS ready . . . he rode into Dodge ready.
PEYT
Well, I'll be ready for you. In a few weeks, I will.
DILLON
You will, huh? Look Peyt, I've been handling a gun for years. What makes you think you can go against me in a few weeks? Unless you're planning something else.
PEYT
No Marshal. I'll never shoot anybody in the back. Not even you.
DILLON
You're not bad, Peyt. But you've sure got everything mixed up.
PEYT
Why? Cause I'm only sixteen? You'll see what I can do, Marshal, you'll see.
DILLON
Well what if I won't draw on you?
PEYT
I'll kill you anyway. Like you say, what difference does it make . . .
SFX: TWO STEPS
DILLON
All right. If you're going to act like your brother, I'll treat you like your brother. And when you come gunning for me, I'll shoot you down as fast as I did him. So go ahead and practice . . . practice all you like. But when you face me, I'll have three bullets in you before you clear your holster. I don't care how old you are!
MUSIC: TRANSITION
DILLON
(SPEAKING TO AUDIENCE) If I thought gettin' mad would scare some sense into Peyt Kertcher, I was wrong. He went ahead and bought his six gun, and every day he spent hours down by the Arkansas practicing with it. . . . One evening I was sitting on the porch not far from the Texas Trail, watching the crowd push up and down Front Street.
SFX: STREET BACKGROUND
KITTY
(FADES ON) Matt . . . Matt . . .
DILLON
Oh hello Kitty.
KITTY
Matt, Chester's in the Trail there, and he asked me to come and find you.
DILLON
(GETS UP) Oh, why? What's the trouble?
KITTY
You know Jack Rynning?
DILLON
Yeah, I know him.
KITTY
Well, he's at the bar and he's making fun of young Peyt. Chester isn't sure how much Peyt's going to take from him.
DILLON
Rynning's more than just a bully, Kitty . . . he's dangerous. You better wait out her, Kitty.
KITTY
I aim too.
SFX: MATT WALKS THROUGH THE SWINGING DOORS AND A FEW STEPS INTO THE SALOON.
CHESTER
(OFF) Leave the kid alone, Rynning . . . he ain't bothering you none.
RYNNING
(OFF) Get out of the way Chester. Everybody else get out of the way, too. (BEAT) I'm giving you one more chance, Peyt . . . you throw that gun away or you start using it.
PEYT
(OFF) Go ahead and draw, Rynning . . . I ain't afraid of ya.
RYNNING
Okay . . . I will.
CHESTER
No ... don't do it, Rynning ... No. . .
SFX: MATT DRAWS AND FIRES ONE SHOT . . . RYNNING YELLS AND DROPS HIS GUN . . . MATT WALKS UP TO THEM AS PEOPLE SPEAK, "DID THAT?" . . . "IT'S MARSHAL DILLON" . . . "HIT HIM IN THE HAND," ETC.
DILLON
Alright, shut up, everybody. (CROWD QUIETS).
RYNNING
My hand . . . 
DILLON
Shut up.
RYNNING
You busted my hand, Marshal . . . what'd you do that for? . . . this ain't your fight . . . it's like shooting a man in the back . . . you've ruined my hand.
DILLON
You were about to murder this boy, Rynning. I should've shot you in the bead. No go on over to Doc's, if your hand bothers you . . .
RYNNING
(FADES) I'm going . . . You've ruined me, that's what you've done. We'll see about this . . .
CHESTER
Well, he'd of killed him sure, Mr. Dillon. Peyt never even got his gun out.
PEYT
That's true . . . I didn't. I kinda froze. I don't know why.
DILLON
Pyet . . . Jack Rynning's the same kind of man your brother was. Always looking to kill somebody. And if you still think it's a game of some kind, go ON wearing that gun. And when the time comes, I'll see you're buried with it. But that's all I'll do for you. All right, come on, Chester . . . let's get out of here.
CHESTER
Yes sir.
SFX: MATT STARTS FOR DOOR . . . CHESTER FOLLOWS.
PEYT
(OFF ..UP) Marshal . .. Marshal, wait a minute.
SFX: THEY STOP. PEYT FADES ON AND STOPS.
PEYT
Marshal . . .
DILLON
Yeah . . .
PEYT
Well, you, you could've let him kill me and then I wouldn't be after you no more, would I?
DILLON
Not dead, you wouldn't.
PEYT
But you saved the life of a man who's sworn to kill you, Marshal.
DILLON
Yeah, that's right.
PEYT
Well, why'd you do it?
DILLON
Because you didn't have a chance with him, Peyt, not a chance.
PEYT
Marshal . . . I always could think better when I'm ridin' a horse. I'm goin' back to my job.
DILLON
Good. I'm glad to hear that, Peyt.
PEYT
Would you do me a favor?
DILLON
Why, sure.
PEYT
Well, punching cows'11 keep me so busy I won't have time to practice much. Would you hold on to my gun for me?
DILLON
What?
PEYT
Here . . . (HANDS IT OVER)
DILLON
(TAKES IT) Yeah. Sure I will, Peyt. Sure I will. I'll keep it for you . . . (LAUGHS) . . . for a long time I hope.
MUSIC: RIR THEME FOR BREAK
THE RIR BREAK
MUSIC: RIR THEME. ESTABLISH, THEN FADE OUT UNDER THE FOLLOWING.
HOST
You're listening to Re-Imagined Radio. I'm John Barber, producer and host. Re-Imagined Radio explores radio storytelling, its use of voice, sound effects, and music, and provides backstories and additional information about each episode. Here are some examples . . .
SFX: RE-IMAGINED RADIO AUDIO TRAILER
HOST
More information and listening opportunities are available at our website--reimaginedradio DOT FM.
Re-Imagined Radio is available as radio broadcasts, live and on demand streaming, and companion podcasts. Subscribe, listen, like, and review wherever you get your podcasts, or, from our website--reimaginedradio DOT FM.
MUSIC: RIR THEME, RETURN. FADES OUT AT ENDING.
HOST
This episode of Re-Imagined Radio is an original compilation from two episodes of Gunsmoke.
So far in our story, U.S. Marshal Matt Dillon, voiced by William Conrad, has dealt with two gunfighters, each intent to make a mark for themselves with their guns. Frontier violence must be met with violence and there's another violent confrontation waiting. Marshal Dillon has been challenged by Adam Richards. Let's continue listening to our story, and hear what happens . . .
MUSIC: FOR TRANSITION
ACT 6: ANOTHER SHOOT OUT
DILLON
Son.
BOY
(Off) You say something, Mr. Dillon?
DILLON
Uhh . . . Yeah. Open that drawer in front of you there. You'll find a small bottle of   in there. No. No. The one to the right. Yeah, that's it. Now bring the little brush, too.
SFX: FOOTSTEPS
BOY
Here it is.
DILLON
Thanks, bub.
BOY
That's a right nice gun ya have there.
DILLON
It's not bad, but a little stiff. Just a little stiff.
BOY
Don't it have a trigger? I never seen no gun without a trigger before.
DILLON
Oh, you remove the trigger, or tie it back against the guard. All you have to do is thumb the hammer.
SFX: GUN BEING COCKED.
DILLON
There. Like that. It's faster. Yeah. That's better now.
BOY
(Thoughtful) Remove the trigger. I'll remember that.
DILLON
What in the world for?
BOY
Oh, I remember everything you told me. About the Texas holster and the spring holster and the double roll and filing off the sight.
SFX: DOOR OPENS. CHURCH BELLS HEARD IN THE DISTANCE.
DILLON
Umm, any of your guns need oiling, Chester?
CHESTER
I don't think so.
DILLON
You sure? When Adam left he said he'd be coming back with some friends.
CHESTER
I know. I stopped at the Alfraganza just now to rinse out my mouth. Adam was there talking mighty ugly and MIGHTY big. He's got a sizeable following.
DILLON
Ehh. WHEN, do you think?
CHESTER
Any minute, now, Mr. Dillon. Want me to take Bub outta here, to one of the hotels, maybe?
BOY
I wanna see it . . .
DILLON
No. I think he'll be safer here, Chester, behind stone walls than dodgin' about the streets rubber-neckin'.
CHESTER
You keep your head down, sonny, ya hear?
SFX: DOOR OPENS (IT DOES NOT CLOSE) FOOTSTEPS ENTER DURING FOLLOWING LINE
FRANCINE
(ENTERING) Matt. Matt, I gotta talk to you.
DILLON
(Quietly to audience) She oughta be in mourning if she cared for Clay at all anymore, she oughta be in black.
FRANCINE
Matt!
DILLON
(Still quietly aside) Oh, lord, I find her more beautiful all the time.
FRANCINE
Matt! Have you heard what they're sayin'?
DILLON
What are they sayin', Francine?
FRANCINE
That you and me . . . that you made Peyt Ziegler kill him because . . .
DILLON
I'm sorry that got back to you, Francine.
FRANCINE
It's all over Dodge. Adam almost strangled me before they dragged him off.
ZIEGLER
(Off–from cell) Francine, I didn't shoot Clay. I beg you believe me.
DILLON
Shut up, Ziegler! Shut up or I'll plug you to death!
DILLON
Francine, it's just one of those crazy stories. They needed one and they made one up.
FRANCINE
But, Matt, everyone believes it. On my way over here people were pointing, whispering, old women clucking their tongues at me. They believe it!
DILLON
They'll forget it. And soon as this is over they'll remember that even if we once did go with each other, it was finished and done with even before the war ended. Before you even met Clay.
SFX: FOOTSTEPS ENTER.
FRANCINE
No, they won't forget it. For the rest of my life, as long as I stay here . . .
DILLON
Hold it, Francie. Yeah, Doc, what is it?
DOC
Oh, ah, am I interrupting?
DILLON
What is it, Doc?
DOC
The autopsy's finished. I examined his liver and . . .
DILLON
This is Mrs. Richards, Doc.
DOC
Oh, I beg your pardon, ma'am. I'm sure I meant no disrespect for the departed.
DILLON
Well?
DOC
Clay was shot, alright. But from the nature of the wound and the coagulation of the blood, I'd say it happened sometime yesterday. I'd say the cashier's bullet didn't go wild after all?
DILLON
How could a dead man gallop away?
DOC
Well, that wound wasn't what killed Clay. The bullet hit the rib cage and bounced off. .22 caliber, it was. What did kill him was the stab in the back. Right through the spine. Inflicted sometime this morning. Near as I can tell by a small blade, maybe two or three inches long. It could have been a Barlow knife.
DILLON
Thanks, Doc.
DOC
Please accept my condolences, Mrs. Richards.
SFX: FOOTSTEPS FADE OFF DURING NEXT LINE
DOC
You call the inquest anytime you're ready, Marshal.
DILLON
Chester, close the door.
SFX: DOOR CLOSES
ZIEGLER
(OFF, FROM CELL) You see! You see, I didn't do it. I didn't shoot him.
DILLON
Alright, so you stabbed him, maybe. You said you never carried a gun. (PAUSE) Look, Francine, go home and give matters a chance to simmer down.
FRANCINE
Matt, I, ah, I'm going to have you ask something.
DILLON
Yeah.
FRANCINE
Turn Pete Ziegler out into the street.
DILLON
What? Francine, they're itching to get their hands on him.
FRANCINE
Let 'em have him. It'll prove that story is a lie. That you didn't make a deal with him. Please, Matt, I have to live here. Clear me. I have to live here! (PAUSE) Matt? Matt? Don't look at me like that
DILLON
(PAUSE) Go home, Francine. Go home, or leave town, or hang yourself, or anything you like. Just go away!
FRANCINE
Matt . . .
DILLON
Away! Right now.
SFX: FOOTSTEPS EXITING HURRIEDLY. DOOR OPENS AND CLOSES
CHESTER
I bought me a bottle at the Alafraganza, Mr. Dillon. Would you care for a drink?
DILLON
No.
CHESTER
Umm. I guess the funeral's over.
DILLON
There'll be others.
CHESTER
Funny. Now I miss that bell. Awful quiet, ain't it? It just . . .
SFX: CROWD NOISES FADE IN FROM OUTSIDE BUILDING. THEY BUILD IN INTENSITY AND CONTINUE THROUGH THIS SCENE.
DILLON
Just about on schedule. Are you ready, Chester?
CHESTER
Yes, sir, Mr. Dillon.
DILLON
I'd use a shotgun if I were you. It's more effective when there's a mob to be dealt with.
CHESTER
Oh yes, sir. I aim to.
DILLON
Ziegler! You, too, son. If problems start, lie down flat on the floor and keep your head down all the time. Don't gawk to see what's happening. You understand me?
BOY
Yes, sir, Mr. Dillon.
DILLON
Alright.
ADAM
(From outside) Dillon! Dillon! Come out, Dillon!
DILLON
Chester, I want you stand here in the doorway after I go out where you can cover the back door and me at the same time.
CHESTER
Yes, sir, Mr. Dillon.
DILLON
Alright, Chester, open the door.
SFX: DOOR OPENS. CROWD NOISE IMMEDIATELY INCREASES.
SFX: FOOTSTEPS AS DILLON GOES OUTSIDE
SFX: CROWD NOISES DIMINISH CONSIDERABLY
DILLON
(OFF) It's my duty to warn all of you that you are in the breach of the peace.
SFX: CROWD–NEGATIVE REACTION
DILLON
I'm sworn to uphold the law. I've killed men in order to do it and I'm prepared to do so again.
ADAM
Give us the Dutchman, Dillon.
SFX: CROWD IS IN AGREEMENT
DILLON
(SHOUTING) Men!
SFX: CROWD QUIETS DOWN
DILLON
I asked you to be sensible and leave quietly. But if you refuse to listen to reason, if you insist upon being fools, if you've already decided to act like wolves instead humans, then there's nothing I can say to make you change your minds.
SFX: CROWD NOISES UP
DILLON
Alright! You want Peter Ziegler? Well, he's not more than 20 feet behind me so come on and get him, any of ya. One at a time or all at once. Come on! Which one of you wants to die first? You? (PAUSE) You? (PAUSE) You, Adam? Well, what do you say, Adam? You led 'em here. Don't let this star on my coat stop you. Come on.
SFX: DROPS BADGE ON FLOOR. CROWD IS VERY SILENT
DILLON
There, I'm not wearing it now. Well come on, draw, Adam, draw!
SFX: GUNSHOTS.
SFX: CROWD IS AGITATED
CHESTER
You alright, Mr. Dillon?
DILLON
Yeah. Get his gun.
CHESTER
Man alive, I couldn't even see your hand move.
SFX: FOOTSTEPS RUNNING UP
DOC
Marshal, Marshal. Oh, don't tell me, don't tell me.
DILLON
Doc, you make one single funny remark and I'll knock you down. You just take him to your office and get to work.
DOC
Well, I, I never do mean to offend, Marshal. In my line of work, well, bodies, they're just so much lumber.
DILLON
Make all the jokes about him you please, but not to me and not in my hearin'. In my line of work there's nothing humorous about death. Give him a hand, Chester.
DOC ADAMS
No, no. I can handle it Marshal. Thank you, (STRUGGLES WITH THE WEIGHT OF THE BODY) thank you just the same.
SFX: CROWD GRUMBLES AND MOVES AWAY.
SFX: FOOTSTEPS AWAY.
ACT 7: THE RUNAWAY KID BECOMES A LEGEND
MRS. BONNEY
(COMING UP IN A BUGGY) Can you direct me to the Marshal’s office?
DILLON
Ah, yes, ma'am. Right here. I'm Marshal Dillon.
MRS. BONNEY
I left Cottonwood as soon as I got your telegram. I'm Mrs. Bonney. Where's my boy?
DILLON
Oh, we have him ma'am, safe and sound. Here, let me help you down. Hitch that horse, Chester. Right this way, ma'am.
SFX: FOOTSTEPS
MRS. BONNEY
I'm sorry he put you to all that trouble, Marshal. Truth of the matter is he's a wild one. And no mistakes, takes after his Father. One scrape after another.
DILLON
He was no trouble at all. I enjoy children. I like to have 'em around. Bub? Bub, your ma's here. Son?! Chester, where's the boy? Did you let him slip past ya?
CHESTER
No, sir, Mr. Dillon. He never got past me. Look, the back door is open. He seen me and he hightailed it, the devil!
DILLON
He-he. We'll round him up for you, ma'am, don't worry.
MRS. BONNEY
Oh, I don't know why I bother hauling him back. If he's runaway once he's runaway a thousand times. This time he ran because I wouldn't buy him a gun. He wanted a real one. That boy's just gun crazy, I swear. I got him a nice Barlow knife, instead.
DILLON
Barlow knife?
MRS. BONNEY
I reckon it didn't signify and off he runs.
DILLON
Barlow knife? A kid. Chester, find that kid.
MRS. BONNEY
Marshal, has he done something bad with it? I told him to use it careful. He promised he'd use it careful.
DILLON
Never mind, Chester. He's got Clay's strawberry roan. We'd never catch up to him.
MRS. BONNEY
(SOBBING) I try to bring him up right. I tell him to be good. But he don't listen. He just don't listen . . .
DILLON
Now calm yourself, ma'am. Just calm yourself.
CHESTER
Here's his little bundle, Mr. Dillon.
DILLON
What? Here, give it to me. It's pretty heavy. (STRUGGLES WITH KNOT) Here . . . you're better at knots than I am. Open it, will ya?
MRS. BONNEY
The moment he was born he's been nothin' but tribulation to me.
DILLON
Now please, ma'am.
DILLON
What's he got in it, Chester?
CHESTER
Hmm . . . a shirt, stockings, piece of sausage, and this . . .
DILLON
.44 double action.
CHESTER
Yes, sir, Mr. Dillon. That's Clay's gun. He didn't manage to keep it long, did he.
DILLON
Well, if he wants a gun that bad, he's bound to get hold of another one somewhere, somehow. Chester, call Mr. Hightower over.
SFX: FOOTSTEPS AS CHESTER GOES TO THE DOOR
CHESTER
(Shouting down the street) Hey! Hey, Mr. Hightower.
HIGHTOWER
Huh . . .
CHESTER
Come on over, Mr. Dillon wants you.
ZIELGER
Marshal, could I have a drink of water.
DILLON
What? Oh, Ziegler. I forgot all about you. Ah, Chester, where are the keys?
CHESTER
Right there on the desk.
SFX: FOOTSTEPS. CELL DOOR BEING UNLOCKED
DILLON
Uh, there we are. It will be safe for you to go home now.
ZIEGLER
I can go back by the farm?
DILLON
Yeah. That's right. I'll send for you for the trial.
ZIEGLER
Thank you. Thank you. Excuse me.
SFX: FOOTSTEPS RUNNING OFF, COLLIDES WITH HIGHTOWER ENTERING
HIGHTOWER
Watch where you're goin' ya dumb . . .
ZIEGLER
Excuse . . . Excuse me. Bitter. Bitter. (RUNS OUT)
SFX: SLOW FOOTSTEPS INTO OFFICE
HIGHTOWER
Yes Marshal.
DILLON
Mr. Hightower . . . It appears that we can do business after all. Get some paper and a pencil. I want some notices printed.
HIGHTOWER
Fire away!
DILLON
Wanted for murder . . .
HIGHTOWER
(Writing) Wanted for murder . . .
DILLON
Ah, what's the boy's name? 
MRS. BONNEY
(Crying a bit) Bonney. William Bonney.
DILLON
William Bonney.
HIGHTOWER
William Bonney.
DILLON
Age, 12. Height about five feet.
HIGHTOWER
(Mumbling as he writes) Five feet.
DILLON
Hair light, eyes blue. I don't suppose he's known by any other name.
MRS. BONNEY
No. Everybody just called him Billy. Or, The Kid.
DILLON
Also known as Billy, The Kid.
MUSIC: UP AND PLAY TO END
HOST CONCLUSION
HOST
You just heard the Re-Imagined Radio Gunsmoke compilation, featuring content from two Gunsmoke episodes, "Billy The Kid" and "Young Man with a Gun."
"Billy The Kid" was written by Walter Newman.
"Young Man with a Gun" was written by John Meston.
Both episodes were produced and directed by Norman MacDonnell, and featured music composed and conducted by Rex Koury.
MUSIC: SAMPLE FROM GUNSMOKE THEME FOR TRANSITION
HOST
Gunsmoke was created in 1952 by producer Norman Macdonnell and writer John Meston. They wanted to create a Western series that would deal realistically with the hard realities of life in and around Dodge City, Kansas Territory, in the late 1870s.
As conceptualized by Macdonnell and Meston, Gunsmoke was for adults, with a level of realism and historical accuracy seldom achieved on radio. 
Macdonnell and Meston also wanted to overturn Western fiction stereotypes. So, Marshal Matt Dillon often deals with violent human dilemmas, trying to prevent lawlessness from overtaking the city. Sometimes he finds solutions. Sometimes he does not. Criminals are not always caught. Episodes end unhappily. And people are treated badly.
In this Gunsmoke compilation you heard . . .
William Conrad as U.S. Marshal Matt Dillon.
Parley Baer as Deputy Chester Wesley Proudfoot.
Georgia Ellis as Francine Richards and Kitty Russell.
Howard McNear as Charles "Doc" Adams.
Lawrence Dobkin as Sam Kertcher.
Sam Edwards as Peyt Kertcher.
John Dehner as Rynning.
Harry Bartell as Mr. Hightower.
as well as Don Diamond, Richard Beals, Paul Dubov, Mary Lansing, Sam Edwards, and Vivi Janiss.
HOST CREDITS/CLOSE
MUSIC: RIR THEME, KEEP UNDER THE FOLLOWING
HOST
This episode of Re-Imagined Radio was written by John Barber.
Sound Design, music composition, and post-production by Marc Rose.
Graphic design by Holly Slocum and Sydney Nguyen.
We produce and broadcast Re-Imagined Radio with support from community radio stations KXRW-FM (Vancouver, Washington) and KXRY-FM (Portland, Oregon). Your contributions to either are much appreciated. They're also tax deductible.
Along with more information and backstories, we archive episodes of Re-Imagined Radio as companion podcasts at our website, reimaginedradio DOT FM. You can listen or subscribe there. Our podcasts are also available at the major distribution platforms.
This is John Barber, producer and host. Thank you for listening.
MUSIC: RIR THEME UP, THEN DUCK UNDER THE FOLLOWING
ANNOUNCER CLOSE
ANNOUNCER
This is a production of Re-Imagined Radio. Our radio broadcasts are heard on local, regional, and international community radio stations.
For on demand streaming and podcastsza, point your browsers to our website, reimaginedradio (all one word, no punctuation) DOT FM. 
Thank you so much for listening, and please join us again for another episode of Re-Imagined Radio where we will continue our exploration of radio storytelling.
MUSIC: RIR THEME UP, AND TO END.