Lots of interesting things in this episode, but alas, it's further proof that Gunsmoke's stellar team of writer Hite and director Harris was only human (just like Matt Dillon).
The entire "Dillon must be Invulnerable" thing is pretty contrived, with too much time spent on the wearisome, repetitive dialogue between Warren Stevens and his chunky, booze-chuggin' pal James Westerfield. After a while, this business just seemed to go nowhere-- ESPECIALLY at the end, when one of them inexplicably escapes justice (they had, after all, conspired to kill a U.S. Marshall).
In the middle of it all is Milton Selzer ("Painter"), whose story is definitely more interesting; however, the two conspiratorial thugs, with their incessant "there's GOTTA be a way to kill that Marshall" routine keep intruding, resulting in a 50-minute drama that seems unbalanced....AND unfulfilling.
And even though the show's plot would have been much more predictable, it would have been MUCH MORE EFFECTIVE if Matt's ride out to meet the lame young lady had been the FINAL SCENE, thereby making the oddball character of Painter and his "mission"-- to use the money for a noble cause at the inevitable cost of his own life---the main focus; this would have assigned the two screwball characters to secondary importance. But Painter's altruistic motif with the money is essentially tossed aside in the plot.
It just doesn't feel right...as if we're watching the first/rough draft of Ms. Hite's script.
A few more observations:
1.) The highly-praised "Woman's Perspective" of writer Kathleen Hite comes on with a vengeance in the early scene with Matt and Kitty; JEEEESH, ladies; back off a bit! Talk about frustration...
2.) In a dark, moody show like this, one must question the decision to cast Howard McNear when he was currently EMBLAZONED in the consciousness of TV America as Mayberry's resident tonsorial nut-case (ie: The Andy Griffith Show).
3.) Yes, lots of Bernard Herrmann's brooding musical cues from Twilight Zone's "Where Is Everybody".
4.) Nice change of pace at the end, as Matt doesn't exactly ride off into the sunset---but instead slogs off on foot in a soaking rainstorm (with no musical underscore). -- Hey, Matt--why not at least walk on the sidewalk platform, under the wooden awnings? Next thing you know, you'll catch a nasty cold, and Miss Kitty will be CHEWIN' YER A____ OFF AGAIN.
LR