gunsmoke the bad one
Gunsmoke Western TV
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The Bad One Full Episode – Gunsmoke, Season #08, Episode #20

In this tale, a young and beautiful farm woman is captivated by a potential robber, seeing promise in him despite his questionable path. Refusing to betray him, she shields his identity. This Gunsmoke episode, The Bad One, originally aired on January 26, 1963.

Explore the storyline and interesting trivia behind The Bad One, or watch the episodes below.

Table of Contents

Watch the Full Episode of Gunsmoke The Bad One

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Gunsmoke The Bad One Cast

Here’s the lineup of actors featured in the Gunsmoke episode titled The Bad One:

  • James Arness as Matt Dillon
  • Amanda Blake as Kitty
  • Burt Reynolds as Quint
  • Chris Robinson as Jett
  • Dolores Sutton s Jenny
  • Booth Colman as Gant
  • Dabbs Greer as Mr. Jonas
  • Michael T. Mikler as Cowpoke (as Michael Mikler)
  • Kenneth Konopka as Clancy (as Ken Kenopka)
  • Gil Lamb as Porter
  • Sue Casey as Saloon Gal
  • Glenn Strange as Sam
  • Bob Gravage as Telegrapher (as Robert Gravage)
  • John Breen as Townsman (uncredited)
  • George Ford as Townsman (uncredited)
  • Bert Madrid as Townsman (uncredited)
  • Fred McDougall as Barfly (uncredited)
  • Rex Moore as Barfly (uncredited)
  • Jimmy Noel as Barfly (uncredited)
  • Chick Sheridan as Townsman (uncredited)
  • Lucian Tiger as Barfly (uncredited)

Full Story Line for The Bad One

After spending time at a convent school back east, Jenny Parker (played by Dolores Sutton) goes to Dodge via stagecoach. She’s returning to her father, Gant (portrayed by Booth Colman), a stern man who has sheltered her from the outside world. However, before Jenny reaches Dodge, the stagecoach is held up by a young man named Will Jett (played by Chris Robinson). During the robbery, Will reveals his face and shares a kiss with Jenny, revealing her more profound attraction.

Upon their arrival in Dodge, conflicting descriptions of the robber surface from the stagecoach driver and shotgun man. Gant, fiercely protective of Jenny, swears to eliminate anyone who dares to harm her. Matt, the town’s sheriff, starts to suspect Will Jett, especially considering his father’s notorious outlaw reputation. However, when Jenny is brought in to identify Will, she denies recognition, leaving everyone puzzled about her true feelings.

Later, when Gant leaves the house, Will returns to speak with Jenny, revealing their mutual desire for freedom from their familial burdens. As tensions rise, Gant returns home and confronts Will, leading to a tense standoff where both parties yearn for liberation.

Full Script and Dialogue of The Bad One



You throw any lead, and
you'll get it right back in your gut.

Throw down your guns.

Both of you!

And the box.

It's empty, mister.

Throw it down.

Climb down.

Both of you, come on.

Come on, let's move!

What else you carrying?

Hey, you are carrying
something, ain't you?

Little silk, a little lace.

- (whimpering)
- Come on.

Leave her alone.

You want to get
your head blowed off?

Where's the lace?


- Now, please.
- Padding.

I bet underneath you're just
as scrawny as an old chicken.

I am not scrawny.

You ain't?

Well, how's a body to
know with all them trappings?

Now, please let us go, huh?

You gonna beg
me, huh? I like that.

What are you gonna
do for me if I let you go?


Kingdom come...
That's where you're going

if I have a mind to it.

Oh, now, please
don't kill him, mister.

Well, you and me, we're
gonna ride off to Santa Fe.

Someplace fancy, and
I'm gonna dress you all up

in lace, black lace,
with pink silk garters

and-and one of them corsets
that only tightens in the middle.

That's how you want it, huh?


- (screams)
- Oh, scrawny.

Please let us go.

Well, you all make me sick.


Are you all right, miss?

You sure you're all right?

(quietly): Yes.

Please just let's go.

Thank you.

That boy was crazy, coot crazy.

Yeah, like to scare the
gal half into her grave.

Poor little thing.

Whoa, get.





What's the matter, Mr. Jonas?


Admiring your work.

Well, I wasn't sure I
would finish that job or not.

I'm a farrier, not
an ironmonger.

Well, whatever you are,
you do fine work, Quint.

Thank you.

How much I owe you?

A dollar would be enough.

That all?

Well, that's all I'd
charge anybody else.

Well, I kind of envy you.

How's that?

Well, you're not
beholden to nobody.

You've got a knack for living.

Does that make sense?


Well, what I mean is,
you-you get restless,

you hang up your apron,
set a sign on the door,

you're long gone.

Well, it's not as
easy as all that.

Well, what I mean is, you...
you got the need bad enough,

you can do it; it's...

Now, me, I'm stuck like a
bull calf at spring roundup.

Customers bothering me
about hats from Chicago,

dresses from St. Louis
that ain't arrived yet.

You make it sound kind of bad.

Oh, I guess it ain't all
that bad, but... (sighs)

what I wouldn't give for a
little freedom now and then

just to get shut of that store.

Oh, my.


You, uh, get kind
of restless, do you?

Something fierce,
Quint, something fierce.

(horses approaching)

How do, Mr. Parker?

Is that one of your customers?

Gant Parker?

Matter of fact, he is. Why?

Well, he didn't
seem too friendly.

Well, he's not known
for it, I'll admit that.

I wonder what he's
doing in town again.

He got his supplies last week.

You know, for a man
who's tired of customers

and all the problems they bring,

you seem mighty
concerned about that fella.

Now, look, young fella,
don't you get smart at me.

Blacksmith or no,
I'm still man enough

to whip your pants.

You know, I think you are.

I'm also smart
enough not to try.

So long, Quint.

So long, Mr. Jonas.

(horses approaching)



Jenny Ann?

You grew.

Yes, Papa.

Oh, Papa,

I missed you so much.

How'd you get your dress tore?

Should've seen him when he come

- on us, Marshal.
- He was a bad one. He was mean.

- He was tall, mean, young.
- He was short, but he was...

Well, wait a minute now; you
say he's short, you say he's tall.

Well, he weren't as
big as you, Marshal.

Weren't no bigger than him.

He were, too.

He was a young buck
with a chest that broad.

- Oh, now, you was asleep.
- And you was scared.

Oh, you'd been
scared, too, Marshal.

Them eyes of his,
mean; they was mean.

- Make no mistake.
- All right,

how old would you say he was?

Young, real young.

Young, black hair.

Black hair?

How in tarnation
did you get that idea?

His hair was light, almost red.

And mean, real mean, Marshal.

Yep, a bad one.

Ripped the skirt
clean off the girl.

Fair scared her half to
death when he kissed her.

- What girl?
- The one on the stage.

That's her, Marshal.

Oh, hello, Gant.

You know this girl?

My daughter.

Your daughter?

How do, Miss Parker?

How do you do?

You know, the stage
was held up on the way in.

Yeah, she told me.

Miss, could you, uh...

could you possibly
identify that gunman?

- I...
- She don't know nothing about it.

She does, too, Marshal.
That holdup man kissed her.

GANT: Did he kiss
you, Jenny Ann?

Did you let an outlaw kiss you?

I didn't let him, Papa.

I couldn't stop him.

Miss, uh, might you
describe this man for me?

- Well, I...
- You want his description,

by Jude, you'll come
out to the farm to get it.

It ain't right to put this girl
through nothing more right now.


Jenny Ann.

I was just looking
at the people, Papa.

Your dress.



Hi, Kitty.

Hey, do you know who that was?

That's Gant Parker's
daughter, isn't it?

Yeah. I never even
knew he had a daughter.

She must be about 29 now.

I believe she's been
back east in a convent

for about the last 22 years,
ever since her mother died.

As I understand it,

Gant didn't want her associating
with the scum of the West.

(chuckles) Well,
it sure beats me

how you women keep
up with all this information.

Well, it sure beats me
how you men can talk,

'cause all we
have to do is listen.

Come on, I'll let you
buy me a cup of coffee.

All right.

Did you ever know
Gant Parker's wife?


She was a beautiful woman.

From what I hear,

it almost killed
Gant when she died.

He blamed himself for bringing
her to this part of the country.

That's the reason
he sent Jenny Ann

back east to the convent.

She's a pretty girl, isn't she?

She sure is.

You know, I... I feel
kind of sorry for her

now that she's home again.

I don't know why, Kitty.

Gant makes a good
living out on that ranch.

He'll give her
everything she needs.

Well, clothes and food, yeah,

but that's not what
I'm talking about.

You know, Gant's
pretty set in his ways,

and she's still a youngster.

Well, he's a little headstrong,
I'll have to admit that,

but he's still a
good man, Kitty.

I think, once they get
used to each other,

they'll get along fine.


A girl that age can
be an awful handful

if you use too tight a rein.

Now, what are you talking about?

Uh, girls or colts?

Let's just forget
about the Parkers.

It was coffee we were
after, wasn't it, Marshal?

(chuckles) Okay, come on.

(lively piano music
playing, laughter)

(men laughing)

- Give me whiskey.
- Be right with you.

I want it now.

I said I'll be right with you.

Give me that bottle.

DILLON: Hold on there.

Put your gun away.

Who do you think
you're talking to?

What's your name?

Jett. Willie Jett.

Make you feel any
better, Marshal?

You just ride into Dodge?

That's right.

Where'd you ride in from?

From a tea party with a
lady on a lace tablecloth.

Hold on a minute.

I'm not through talking to you.

What's your business in Dodge?

It's a pretty crummy town.

I been in better... lots of 'em.

I asked you a question.

I said, "What's your
business in Dodge?"

I ain't made up my
mind yet, Marshal.

You better make
it up pretty fast,

and you better be pretty
choosy about it when you do, boy.

Don't you call me "boy."

Think I'll go somewhere
where the air's a little fresh.


How about a drink?

No. No, thanks, Kitty.

You thinking maybe he's the one?

I don't know.

The description they
had was pretty poor,

but, you know, this is
just the kind of a brash kid

that'd be fool enough
to try a holdup.

Well, maybe he's just
flexing his muscles.


I got to keep an eye on him.

I'll take him out to
Parker's tomorrow,

see if that girl
can identify him.



(door opens)

Oh, Papa, I'm so
glad you're home.

I got your supper
all ready, Papa.

I got fresh baked bread.

Doesn't that smell good?

And I got chicken. I
simmered it all afternoon.

And dumplings...

What's this?

That's my petticoat, Pa.

I was just sewing some lace
on it to cover where it tore.

If I ever lay eyes on him...

Papa, it's over.

Now, can't we forget it?

Where'd them come from?

Oh. Out beyond the back pasture.

I told you I didn't want
you leaving the place.

I told you that.

I just went for a
walk a little ways.



I wish I had a pretty
dish to put them in.

When you go to town next,

couldn't I just ride
along with you,

and maybe we could buy one?


Why, that's beautiful.


It was your ma's.

She was pretty once,
too, when she was young.

The wind and the
dust, having nothing...

You ain't growing old and ugly
and dying off afore your time.

Well, uh, couldn't I just
go to town with you once?

We could eat in a restaurant,
maybe walk in a store.

We could...

You ain't rubbing
shoulders with no riffraff.

- But I...
- Not as long as I'm alive.

But, Papa, I...

(horses approaching)

- Why, it's...
- Who?

The marshal.

Who's that with him?

You go on and get in
the next room, Jenny Ann.

- Oh, Papa, couldn't I just...?
- Get, I said!

- Oh, no, no. Now, please...
- Go on.

- Hello, Gant.
- Marshal.

No need for the rifle.

Maybe and maybe not.

We come in?

All right.

Let's go.

Is he the one?

Well, it's hard to
say. I don't know yet.

He's a drifter. He
just got into Dodge.

His name's Willie Jett.

If your daughter's
here, I'd like to have her

take a look at him.
Maybe she can identify him.

If he's the one
touched my Jenny...

If your daughter's here, I
suggest you bring her out.

Jenny Ann?

Yes, Papa?

Marshal here wants to ask
you a question, Jenny Ann.

Yes, Papa.

This the man that held
up the stagecoach, Jenny?

I've never seen
him before, Marshal.

You're absolutely sure of that?

Yes, sir.

Huh. Thank you.

All right, Jenny Ann,
go back in the room now.

Yes, Papa.

Sorry to have
bothered you, Gant.

You got me out of a
poker game for this?

Let's go.


We got, uh, supper laid out.

What I mean is, I'd
be obliged if you'd stay.

Thanks, Gant, but
some other time.

But, Marshal...

I'd be beholden to you.

The fact is, I got need for you.

Well, all right.

You go on back to town.

Try to stay out of trouble
when you get there.

Now, how about some more of
Jenny Ann's fresh baked bread?

No, I'm afraid I couldn't,
Gant. Thank you.

You don't see many
girls Jenny Ann's age

that can bake a
batch of bread like that.

Well, that's the truth.

Jenny Ann, it was
a real good supper.

Thank you.

Gant, what was it you
wanted to talk to me about?

Yes, sir, ain't hardly a
thing Jenny Ann can't cook.

But they taught her lots
more than just farm chores

back at the convent.

Jenny Ann's educated, Marshal.

Now, say something in Latin
for Marshal Dillon, Jenny Ann.


The marshal would
like to hear some Latin.

Wouldn't you, Mr. Dillon?

Well, not unless
she wants to, Gant.

Oh, she wants to.


Munda cor meum, ac labia mea.

Munda cor meum, ac labia mea...

omnipotens Deus,

quit labia Isaiae Prophetae
calculo mundasti ignito.

Well, that's... that's,
uh, fine, Jenny Ann.

How about some more coffee?

(Gant chuckles)

Thank you.

You know, not
that Latin's useful,

but maybe a man's snowed
in with his wife of a winter,

she might amuse
him, well, talking Latin.

Well, yeah, I suppose she could.

What was it you wanted
to talk to me about?

Of course, them
sisters at the convent,

they taught her lots of things.

You show the marshal some of
your embroidering, Jenny Ann.

Papa, the marshal...

That needle sewing you done.

Gant, I hope you're
not leading up

to what I think
you're leading up to.

Yes, I am, Marshal,
leading straight to it.

The only sure way to protect
her is to get her married off.

And there ain't a man around

make a better husband
for her than you.

- Gant...
- (door opens)

Oh, yes.

Well, that's very nice, Jenny.

Now, what do you call
this here stuff on the edge?

- Crochet.
- Crochet.

She can do that, too.

Very nice.

Well, I've got to be
getting back to town.

Now, I know what
the marshal would like.

Some of them tomato
preserves you put up yesterday.

Out in the storehouse.

Yes, as a matter of fact,

I would like a jar
of those preserves

if it isn't too much
trouble, Jenny Ann.

Oh, it's no bother.

Gant, you raised a
real fine daughter there.

Now, why don't
you take my advice

and let her marry
who she wants to?

Well, there ain't nobody could
protect her better than you.

There's more to it than just
protecting her, you know?

Well, what's she to do,
marry some dirt farmer like me

and end up in an early grave?

Or worse, tie up with
one of them bad ones

like was here today?

I'm old enough to be
the girl's father, Gant.

There ain't no better
basis for marriage.

She needs somebody her own age.

I chose you 'cause you're

the most upstanding
man in the territory.

There ain't no man
more upstanding than you.

Well, thank you very much,
Gant, but it just wouldn't work.

Don't you understand that?

I'm offering you my daughter.

You turning me down?

Yes, I'm turning you down.

Now, what's to become of her?

Well, I don't know. I...

I'd like to be able to help
you with that, but I can't.

I sure wish she could've
identified that boy today.

I'm glad she didn't.

I wouldn't wanted the likes of
him putting his hands on her.

If a bad one like
him ever touched her,

by Jude, I'd kill him.

GANT: Jenny Ann?

Jenny Ann!

Them preserves.

(lively piano music playing)

Hello, Matt.


Well, what brings
you out in the night air?

I was just dogging around
town, I saw your light on.

When did you get back?

Oh, about an hour
ago. Want some coffee?

No, I was just going over to the
Long Branch and have a beer.

Want to join me?

Well, maybe I will
later after I finish these.

Did, uh... did the girl
identify that Jett fella?

Nope, claimed she
never saw him before.

Oh. Where do you look now?

I don't know. I'm still
suspicious of that boy.

I'm going to finish looking
through these just in case.

Yeah. Well, I'll, uh...

I'll see you over at the
Long Branch later on.

All right, good.

You sure you've
never heard of my pa?

He was an outlaw.

One of the meanest, scared
of nothing, killed lots of men.

Once I seen him plug a
fella right between the eyes.

Spun him around and knocked
him right against the bar.


You was with me, remember?

I'm with anybody
who buys a drink.

Let go of me.

Well, I bought you a drink.

He pestering you?

He sure is.

You should move on, cowboy.

Now, just where do
you want me to move?

Other side of the room.

Or better yet,
out in the street.

Why, sure, I'll move.

Stop it! Let go of me.

You turn her loose

or I'll ram this right
down your throat.

Are you threatening me, boy?

Don't you call me boy!

Drop the bottle, cowboy.

Drop it!

Now, get out of here.

Well, he's the one
who ought to get.

Go on, get.

Now it's your turn to leave.

Why should I leave?

He's the one that started it.

He's right, Miss Kitty.

Probably just start another
fight out in the streets, Sam.

All right, but you watch your
manners while you're in here.

You better go take
it easy for a while.

Thanks, Miss Kitty.

Can I buy you a
drink, Miss Kitty?

No, thanks.

You're prettier than the
one we was fighting for.

- It's still no.
- You're still prettier

than she is, and I'd
sure like to buy you that...

I'm busy.

How are you tonight, Quint?


Always this quiet in here?

Well, except on Saturday
nights, it's even quieter.

If I get somebody to wait on
me, I'll, uh, buy you a drink.

I'll tell you what,
I'll buy you one.

Well, what's the occasion?

Might stir up some excitement,
me buying an Indian a drink.

You're bound to regret it.

Comanches can get
real wild, you know.

Oh, I'll chance it.

What do you want?

I'll have a beer.

Sam, can we have
a couple of beers?

Yes, ma'am.

That the boy that was, uh,

causing all the ruckus?

Mm-hmm, Willie Jett.

Yeah, Matt was
telling me about him.

Thinks he's kind of a
hard case, doesn't he?

Oh, he's not as tough
as he tries to make out.

- There you are.
- Thanks, Sam.

Well, here's to luck.



It means, "Health, happiness

and death to enemy spirits."

Uh, nah...?

- Nah-own-nay.
- Nah-own-nay.


I can't forget you
saying you was too busy

to have a drink with me.

That's what I said.

And what kind of
place you running here?

Kowtowing to a dirty half-breed.

You better get out of here.

Oh, you're giving
orders, too, huh?

Well, that makes sense...
You're two of a kind.

Half-breed and a cheap bar...

MAN: Uh-oh.

All right, now, get out of
here while you still can.

I'm not wearing a gun.

And you better get one, mister.

Somebody get him a gun.

(woman screams)


MAN: That's it. Get him.

Come on, one more.

(men laughing)

What's going on?

Quint's just teaching the
boy a lesson in manners.

Looks like he did
a pretty good job.

Jett, you're through in Dodge.

You got till tomorrow
morning to get out of town.

I'll, uh, say good
night now, Miss Kitty.

Why don't you come on
in and finish your beer?

No, I'm not thirsty anymore.

Sorry if I busted up your place.

It was worth it.

Good night, Matt.

Good night, Quint.

(birds chirping)




Well, you shouldn't
have come back.

I shouldn't do most
of the things I do.

Why did you?

Don't you know?

You're gonna get in trouble.

Bad trouble.

That don't scare me none.

Why didn't you tell them it
was me that held up the stage?

Well, I wasn't
sure it was you...

You were sure.

Well, my papa
would've killed you...

Now, that ain't the reason.

Why did you come back after
the marshal told you to go...?

And kissed you?

Trust me, if my
papa had seen you,

he would've killed you for sure.

Oh, for sure, if he'd known
how much you liked it.

I... I brung you something.


Well, ain't you never
seen garters before?

Well, uh,

I wouldn't wear
those things, uh...

The women who wear those are...

Well, why don't you try them on?

I wouldn't wear those...

- Oh, come on, please.
- Hussy things!

You probably wouldn't
look good in them anyway.

You're too scrawny.

I am not scrawny.

You get out of here.

Well, go on.

Get out.

Fine. I'll go.

- Good.
- Who needs you?

Willie, please don't go.

Willie, why do you
like to hurt people?

Why do you want me to stay?

It's lonesome here, Willie.

You got your pa.


Yeah, he's here.

I cook for him,
and I sew for him,

and I clean for him, and then...

at nights, I listen
to him snore.


(clicks tongue)

I think the nights
are the worst.

Aren't they?

I like the nights.

At least you got the stars.

I like the stars, too, Willie.


you can't see them
from a convent window.

I do most of my
talking to the stars.

You're not really bad, Willie.

Of course I'm bad.

My pa's bad. I'm gonna be worse.


Well, what makes
you think I ain't bad

when everybody else knows it?

Oh, Willie, Willie, why
do you talk so mean

when... when you really aren't?

Because that's the way it is...
That's the way it's got to be.

I come in here and I treat you
decent, and what do you do?

You don't even act scared of me!

Now, you're here alone,
and there ain't nothing

I couldn't do and not get
away with it... you hear that?

Are you scared of me?

You better be scared of me.

I am scared of you, Willie.

I'm scared of the
way you mix me up.

Mix you up?

What do you know about that?

I know.

I know how you feel, Willie.

How do you know how I feel?

Well, I got a pa, too.

Not like my pa!

Oh, Willie.

There's all kinds, but
inside it's the same.

You know something?

Sometimes, when I was
at the convent, I'd think,

"Today I'm gonna be mean.

"I'm just gonna be mean.

"Maybe they'll send me home,
and maybe I'll see my papa,

maybe he'll talk to me."

Well, all that went
away, that mean feeling.

And even if I was hateful...

You know, sometimes
I wouldn't do my work

or I'd make a face...

Well, they wouldn't
let me be bad.

Don't you see, Willie?

When people keep
seeing good in you,

well, pretty soon
it gets to be there.

What kind of preaching is this?

What do you think I am,
a choir boy or something?

Just because your pa's bad,
that don't mean you have to be...

Look, I'm going to make my
pa's record look like nothing.

What hurts you so bad, Willie?

What makes you want
to hurt back so bad?


Oh, Willie, don't, please.






(door bangs open)

Jenny Ann!


Papa, it's... it's not
what you think, Papa.

I mean, I only
tried on the garter

because it was pretty, Papa.

Nothing happened.

You do believe me,
don't you, Papa?

Papa, he just sat
down in the kitchen,

and-and I gave him
some coffee, and...

Oh, but he's not bad,
he's really not bad.

He's-he's, uh...

scared and-and lonesome.

Like me, Papa.

Oh, Papa, please, let's
go back to the house.

I'll stay on the farm, Papa.

I'll never ask to go to town.

I'll never ask to see any...

Papa, I'll do anything you say.

Oh, Papa... Papa, please.

Don't hurt him, Papa.

Talk to me.

Papa, please, talk to me.


Matt? Matt?

Oh, hello, Kitty.


Are you of a mind to take a
poor working girl to breakfast?


Why, it's almost noon.

I had mine hours ago.

Don't lecture me.

Oh, I wouldn't think of that.

And don't try to put
me off with coffee,

because I'm starved.

Well, all right, I'll
go along with you.

I got to make
a little stop first.

I guess you wouldn't
mind, would you?

Uh-uh. I guess I
can hold off that long.

Where are we going?

Well, I got to stop at
the telegraph office.

I sent off a few wires
yesterday about Jett.

I should have some
answers by now.

Let's go.


Papa, let's go home, please.

You wait here.

Oh, hello, Gant.






Is something wrong, Jenny?



Morning, Miss Kitty.

- Good morning.
- Marshal.

Hi. You got any answers
to those telegrams

I sent yesterday, George?

Sure have, Marshal.

Oh, thank you.



Willie, you got to be careful.

My papa's looking for you.

Well, let him look.

No, Willie, you
don't understand...

Hey, uh, you wearing my garters?

Willie, please.

Go away. Just go away.

Willie, he saw
you leave the farm.

He saw... the garters, Willie.

I... I was putting them on,

and he came in and he saw.

You was?

Willie, he's going
to kill you for sure.

He's over at the hotel
right now, looking for you.

Are you telling me it
matters what happens to me?

I don't want anybody
getting hurt, Willie.

You don't want him hurt,
or you don't want me hurt?

Boy have a record?

No, but he sure was right
about his pa being a bad one.

They hanged him.

Willie Jett...

I'm counting to ten.

Your hard luck, you do.

Better draw.

Papa, no!

GANT: One.


Look, mister, I got
no fight with you.


No, please, mister, I don't
want to have to kill you.

Don't make me do it.

GANT: Four.


Wait. Mister, please.

GANT: Six.



Mister, please, I-I
don't want to kill you.


- Papa, no!
- Ten!


(bystanders murmuring)

MAN: He was gunned
right down by that kid,

right in front of me.

- MAN 2: Somebody call the doctor.
- Papa?


I lied, Marshal.

He was the one who
held up the stage.

Now he's... killed my papa.


Where'd he go?

JONAS: He ran that way,
towards the blacksmith shop.

Matt, it wasn't his
fault. Now, I saw it.

The boy didn't want to shoot.

He begged Parker
not to make him draw.

It wasn't his fault, now.

All right.

Jett, come on out of there.

JETT: You take one more step,

and I'll blow your
head off, Marshal.

I already killed me one man,
I might as well kill another.

All you're guilty of so far
is holding up a stagecoach.

Who'd believe that? The
whole town says I'm bad.

I'm warning you, stand back!

Now, Jett, I got a
witness out there.

He saw the whole thing,

and he claims it
wasn't your fault.

Now, be smart and
give yourself up.

You may stand trial,

and you may even have
to serve a term in prison.

But you kill me, you'll hang.

That what you want?

Wind up on the end of a
rope just like your pa did?

Is it?


Then come on out of there.

I don't know how
you found out...

but it's true.

It's true, I found him
hanging from a tree

where they'd left him.

I cut him down.

I tried to keep him from
falling, but I couldn't.

You don't have to
tell me about it, Jett.

Yes, I do, Marshal.

I got to tell somebody.

He fell like a sack of meal.

He wasn't big anymore...

and he wasn't tough.

He was just alone.

Come on.


I didn't want to kill him.

I never wanted to kill nobody.

All I wanted...



Behind the Scenes of The Bad One

Booth Colman, who portrayed the father of Dolores Sutton’s character, was only four years older than Sutton herself.

If you keep an eye out as Matt and Kitty exit the telegraph office, you might spot the shadow of the boom mic dropping, clearly visible on the wall over Matt’s right shoulder.

Interestingly, James Arness, who humorously describes himself as “old enough to be her father,” was only four years older than Dolores Sutton (both Arness and Colman were born in 1923).

In this episode, Burt Reynolds engages in a convincing fistfight, demonstrating that it’s not a stuntman acting.

Looking for More Gunsmoke Episodes?

A bowl of popcorn with the Gunsmoke series is a perfect pair with family or friends. It is an American Western television series in the U.S. It has 20 seasons and aired from 1955 to 1975. The Bad One is the 20th episode of Season 8.

You can find more about any of the Gunsmoke episodes here.

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