April 24, 2006, was the first performance of The New York Philharmonic under the direction of John Williams in a program of selections from the conductor’s and Bernard Herrmann’s film scores. The Herrmann selections, hosted by Martin Scorsese, were played in the first half of the program, and the rest of the program was devoted to music by John Williams. Show Have you ever watched the old classic CBS series such as Have Gun Will Travel, Gunsmoke, Rawhide, Perry Mason, and Twilight Zone and ever wondered how much of Bernard Herrmann’s music you heard in various episodes? I remember when I was seven years old and watched Paladin on Saturday nights for its first season run. While I was still not cognizant at the time of whom Bernard Herrmann was by name, I recall the excitement I felt watching the show (westerns were big, so to speak, or very popular at that general period on American television). I particularly liked Paladin, and then Matt Dillon (Gunsmoke). I also associated the CBS series with pleasure because of the music heard. I did not know Herrmann’s name because no credits were given at the end of the episodes (since the music was a collection of so-called “stock music” cues from various composers edited into each episode). But even back at that young age I felt drawn to the music. Let’s focus first on the Have Gun Will Travel series since the first three seasons (as I write this paper) are now available on dvd. Now: Bernard Herrmann did indeed write an original score for the pilot episode of Have Gun Will Travel starring Richard Boone perfectly cast as Paladin (although I heard, true or not, that Randolph Scott was first offered the role). The pilot, titled “Three Bells To Perdido,” was aired September 14, 1957, Saturday evening at 9:30 p.m. (preceding Gunsmoke). However, at no place on the written score (located in Box 187 in the CBS Collection at UCLA Music Library Special Collections) do you see the pilot title–simply “HGWT.” The pilot score was recorded at the same general period as another CBS pilot (but not developed as a series) was recorded, Ethan Allen. Both scores were recorded virtually on the same reel placements (for example, CBS Library 8-46-C, 8-56-C). No dates are given on the written score as to its completion, as Herrmann normally inserts on his scores. I would surmise the music was recorded in mid or late spring of 1957. Proof of this is that music from HGWT was used in an episode of Gunsmoke from the second season (’56/’57) titled “The Man Who Would Be Marshall” (airdate June 15, 1957). If you have the Columbia House dvd (from subscription), go to Chapter 3 from :01-:50. The cue is called “Travel” from the HGWT pilot that Herrmann composed, Bars 18-24, and then Bars 41-45. The exact same sequence is played again in Chapter 4 from 3:08-3:58. Realize that this is the first instance of Herrmann CBS Music Library television music heard on a CBS series, and heard even before the HGWT pilot to be aired almost three months later that year! Sometime after the score was written, cue numbers were inserted in bold marker pen. The first cue number is #6122 for M-10 “Main Title I.” This numbering system (for this score) does not fit the CBS Log Books’ rendition of the recording of this music originally. HGWT and Ethan Allen were apparently special cases, being pilots during the very early years of the CBS Library, in not being given specific sequential cue numberings in line with the other CBS material used for both stock and restricted (as in HGWT) thematic material used only for the series, especially the Main and End Titles. I will be listing the music sequentially as it is given in the pilot show, not necessarily how it is written in its numbering system. There are some discrepancies and omissions, as I will point out. Incidentally, as a side note, perhaps you hadn’t noticed it before but the End Credits misspelled the composer’s name (“Hermann” instead of “Herrmann”). Herrmann Music in Have Gun Will Travel and Other Classic CBS Television Series Company/organization: CBS
Now: From here on I will delineate nearly all Herrmann music quotations used by music editors (principally Gene Feldman, credited by the third season); that is, I may not include very tiny quotations lasting only a few seconds, unless I feel motivated. Remember, Herrmann had no input after the pilot show. Gene Feldman (and others?) made the decisions as to where music was to be placed in each episode, and by which composer(s), utilizing the wealth of the CBS Music Library. Although I will overwhelmingly cite locations of Bernard Herrmann cues, I will occasionally cite cues from other composers (especially Rene Garriguenc) who tended to copy Herrmann’s style. This was also intended because in a series of cues (“Have Gun Series” in CBS IX Library), he composed cues partially based on the themes of Herrmann composed for HGWT (basically the famous HGWT fanfare). Fred Steiner also tended to “Herrmannize” his music style. This is particularly evident in several of his Gunsmoke scores such as “The Squaw” (airdate November 11, 1961), “Cale” (airdate May 5, 1962), and several others. There are no dvds yet available of these episodes, so I will not delineate on the music. However, I did discuss the music in portions of my Film Score Rundowns cite. The Garriguenc cues, therefore, are especially emphasized after the Herrmann cues (from the pilot, Police Force cues, etc.) because he was indeed commissioned to adapt the Herrmann score or style for the pilot. He went far beyond that of course. The music is quite good and also easily cut into the various episodes. For example, in the Library IX, Reel 58-D-Six” description sheets from CBS, the first cue is # 1035 titled “Emotional Pathetique” The composers credited are both B. Herrmann and R. Garriguenc although Garriguenc actually wrote the entire cue (somewhat adapting Herrmann). The cue runs 47 seconds described as: “Dark, emotional but subdued orchestral background; fragmentary; based on Have Gun theme; good cutting points (beginning to letter B on score).” An annotation on the sheet states “contract July, 1957” for the Garriguenc name, whereas under Herrmann’s name, the annotation by hand states, “contract Jan 18, 1957.” Incidentally, to a lesser extent, it should be noted that Lucien Moraweck was also commissioned to write adapted music as well. For instance, cue # 1038 is titled “Buildup # 1 (HGWT)” that lasts 2:35, described as “Turgid, heavy motion builds to surges at 1:27 and 1:57; to tag.” The annotation under Moraweck’s name is: July, 1957.” In my opinion, however, Garriguenc’s music is far more impressive than Moraweck’s, and the objective proof seems to be that the music editor quoted his cues far more than Moraweck’s cues. By the way, I will indeed delineate later in this paper locations of Herrmann music in the half-hour Gunsmoke series that are available (or were available) in dvd format thru Columbia House subscription. Hopefully, as in the HGWT series, the seasons will be released “normally” for general public purchase. In fact, just recently the Gunsmoke: 50th Anniversary editions (two volumes) were released. I will discuss music by Herrmann in a few of these episodes available. Also I will briefly discuss the Perry Mason episodes with Herrmann music quotations, but since no general release of dvds of this show are released yet (except the old subscription dvds), I will not focus on the show very much. The same applies to the Rawhide episodes since (so far) no general release of this series on dvd have been made. Moreover I can only discuss the first three seasons of Have Gun Will Travel since so far (as I write this paper) the 4th season set of dvds have not yet been released. Besides, the overwhelming bulk of Herrmann music quotations will be found in the First and Second seasons. By the Third season, many episodes had original scores by various composers (Garriguenc, Fred Steiner, Murray, Hatch, etc.). I will, however, briefly discuss some of those original scores. One final note on my presentation: While I purchased Seasons 2 & 3 in the general release format, I did not purchase Season One. Reason: I had already purchased the subscription dvds a few years earlier (for about $25 a dvd for about six episodes each). I had much earlier also purchased the HGWT vhs videos (the entire collection). The timing alignments in even the vhs format appear to be exactly the same as the dvds, so I have confidence that the precise timings given for Season One will be exactly the same as the general release dvds. However, there were mistakes in labeling of the dvds. The “Gunshy” episode (March 29, 1958) is indicated on the disc but in actual fact the episode offered is “Death of a Gunfighter” (3-14-59), and that episode is repeated in the Season Two dvd set. So “Gunshy” is not in my Season One subscription set (although it was included in the vhs-video series), and I presume not in the general release dvd set. In the general release Season Two set, the episode titled “Treasure Trail” is not actually that episode but episode # 60 titled “Hunt The Man Down” (2-7-59). In the next disc, the episode titled “Hunt The Man Down” is actually “Treasure Trail.” Similar mistakes were made in the old vhs formats (that unfortunately offered random episodes from different seasons. Important: The following timing locations necessitate that you pick the individual episodes on the dvd. Do not remote click “Play All” because then the chapter numbers will be different. Instead click “Episode Selection.” Finally, if you wish to read my analysis of the actual written cues by Herrmann (Western Saga, Indian Suite, etc.), then go to my Film Score Rundowns site. I should have it completed and online in the next update sometime in mid- Spring 2006. It will be tentatively titled “Herrmann’s CBS Television Years.” That paper should be up before this paper on the HGWT music quotations location markings. This is a terrific episode for two main reasons: Charles Bronson stars, and we are treated with eye-catching locations (Alabama Hills just outside Lone Pine, CA). I really like this series because most of the time you enjoyed the episodes in pretty breath-taking locations.
This is a weak but fun episode, hardly the typical HGWT morality play! Incidentally, this is the first of many episodes of HGWT written by Gene Roddenberry (later of Star Trek fame).
This episode stars Anthony Caruso as Joseph Whitehorse. I’ve always enjoyed his roles in a lot of Warner Bros. “B” movies including The Boy From Oklahoma and Hell on Frisco Bay (both with terrific scores by Max Steiner) and also in guest appearances in Gunsmoke and other CBS series.
This is a dynamic, action-packed episode with lots of Herrmann music quoted (edited in). It also guest stars the lovely Angie Dickinson as Amy Bender just before she became a much bigger star (remember her in Rio Bravo with John Wayne?). It also stars Harold J. Stone as Holgate. He was the police detective in the Hitchcock-directed and Herrmann-scored movie, The Wrong Man. I liked Strother Martin in his small role as the incompetent lawyer, Fred Coombs. You’ll see him again later in the season.
This is one of my favorite episodes: refreshing outdoor scenes (Alabama Hills) and refreshing guest star, Marian Seldes, playing myopic Christie Smith (she’ll return as “The Teacher” towards the end of this season). Mike Connors also guest stars as Johnny Dart (remember him as Mannix?). Most of the tracked music is not by Herrmann, however.
This is one of the Top Three HGWT episodes, intelligently and cleverly written (by Ken Kolb), smoothly edited, a sort of film noir Western mystery! Bravo! If there ever had to be a HGWT episode put into a time capsule for permanent preservation, a perfect representation of the essence of the series, then this is the right episode. It stars Michael Pate as Miguel Rojas, a Mexican dignity, and June Vincent as his unhappy wife, Maria. This is not one of those predominantly location-shot episodes. Much of it is studio/set based but that enhanced the moodiness and atmosphere of the story. I would give this episode the very best A+ rating, or a five star ***** rating.
This episode stars Strother Martin as the self-doubting acrobatic Dooley Delaware. Strother was a guest star just three episodes earlier. You will see several guest stars showing up many times in the series, including Harry Carey, Jr and Denver Pyle. This is an ok episode, not particularly interesting or of great depth and meaning!
Once again this is merely an “ok” or passable episode but it has the credit of several good Police Force cues, several in their entirety.
This is a fairly interesting episode about a wealthy cattleman holding Paladin and two other men (James Best and William Schallert) on the trail, threatening to hang them all until one of them admits to his wife’s murder. It’s one of those mini-morality plays that the series was famous for, a message story about some segment of the human dilemma (namely, Man’s imperfections and especially Man’s “inhumanity” towards others).
This is an ok story, not particularly distinctive. June Vincent is a guest star, almost freshly jumping in this role after her role as a Mexican dignitary in “Strange Vendetta” just four episodes earlier. Here she is the blonde wife of the Colonel (Robert Simon). Denver Pyle also stars, his first of many guest appearances in the series. Robert J. Stevenson plays “Steve,” a very sad-looking guy. He appears in a tight morality play in the Third Season episode titled “The Night the Town Died” (2-6-60). He was really sad-looking then!
This is a highly distinctive episode because it stars June Lockhart as Dr. Phyllis Thackeray, a serious heart-interest for Paladin. She reappears in the same role later in the season (“Return of Dr. Thackeray”) and the tenderness demonstrated between the two then is especially obvious (with even talk of marriage!). In a sense, they were “soul mates” but both could not commit yet to each other under the circumstances of their respective work. He was a womanizer for sure, and he had “chemistry” for certain other ladies in future episodes, but this relationship with Phyllis was truly special. There is also a great deal of tracked Herrmann music in this episode.
Although this is a minor story line (no morality play here), I enjoyed this episode if only because of Tom Helmore’s performance as Englishman James Brunswick who hires Paladin to take him to Montana to a ranch he inherited as half-share. Remember Tom in his role as scheming Gavin Elster in Vertigo? I also liked Alix T as the Englishman’s cousin, Felicia Carson, playing a strong (and pretty) pioneer woman type. She had a role in the 1956 version of The Man Who Knew Too Much.
This is a decent episode written by Gene Roddenberry. I liked seeing Warren Stevens (remember him in Forbidden Planet?) in the lead role as Major Wilson. It’s simple, good story-telling.
Wow! This is quite a distinctive and indeed unique episode. Normally at the start of each show, you see the same “generic” shot of Paladin in side silhouette that then becomes close up to the gun. You see the hand and the drawn gun pointing to the audience. Paladin then gives a few lines from the episode. This is an excellent, dramatic tease to lure the viewer to keep watching the show (instead of changing the channel back then to the Lawrence Welk show perhaps!). However, what makes this particular episode unique is that Richard Boone filmed a new intro just for “The Hanging Cross.” In a sense, it’s “live” and personal, just for Christmas! Here he actually takes off his belt and holster and looks at the camera, saying: “With this gun I could’ve stopped murder tonight. And I’ve taken it off. That’s my present to you…”[Note: Once again, this was the Christmas show, and the episode took place on Christmas Eve]… “In all life I’ve only seen a dozen real killers, but I’ve seen ten thousand people that would stand by and let it happen. Which is the greater evil?” With the HGWT Main Title music playing, Paladin then puts his gun and holster up on a clothing peg and the words “Richard Boone” that soon fades, and then “Have Gun” appears followed by “Have Travel.” The story, incidentally, was written by Gene Roddenberry. Another distinction in this Christmas show drama is that the music editor decided to include most of a very impressive “religious material” cue during Paladin’s “sermon” in the church on Christmas Eve to the townspeople. That cue is “Religious Procession No. 1” (cue # 253), CBS 8-34-D, located in Box # 2 at UCLA in the CBS Collection. The music was not composed by Bernard Herrmann, however (although it has some rather Herrmannesque qualities). Rather, it was penned by Rene Garriguenc. CBS Library VIII Reel 34-D description sheets identify the music as “Neutral, legato religioso background for strings and woodwinds; breaks at :47, 3:06.” Duration is 3:35. The cue’s companion piece is titled “Religious Procession No. 2” (cue # 254). It was substantially aired on a Perry Mason episode about a killer loose in a religious retreat (I forgot the title as I’m writing this). The episode itself is a definite “message” story, quite fitting for Christmas. It’s initially a heavy drama but not a tragic one because it ends quite well. Edward Binns plays the hardened Nathaniel Beecher (his tough-guy persona made complete by his very bushy eyebrows!). Abraham Sofarer plays the Pawnee Indian chief, Cah-la-te. Young Johnny Crawford (just before his Rifleman role) plays Robbie.
After the previous interesting episode, this episode that follows is quite boring (surprising since it too was written by Roddenberry). Basically it’s a “comic relief” story after a long string of strongly dramatic stories, but a very poor one. If your time is very limited after buying this dvd set, then you can safely skip this episode! I give it a “D” rating, maybe just one star out of five. Besides, there is very little Herrmann music here except, notably, the full nine bars of Lead-In A. The episode stars Harold J. Stone once again (remember him from the 5th episode, “A Matter of Ethics”?).
Well, Gene Roddenberry wrote this episode as well. While it is a rather weak or relatively unsubstantial story (despite the “My Fair Lady” plot line of trying to making a lady out of a loud and foul-mouth female sharpshooter), it is definitely not as boring as “Helen of Abajinian.” Norma Crane does a fine job portraying Ella West (she appears in several other episodes, by the way).You also get to see Mike Mazurki as “Breed.” Remember him as a henchman of Spats in Some Like It Hot? As a minor side-note, Paladin mentions to Ella a line from La Belle Dan San Merci. Herrmann, incidentally, adapted it as a “melodram” back in the Thirties.
This episode is good, standard fare for the series. As a saying might go: It’s not a great episode but it’s a good one. You might recognize the Frank Gault character played by Adam Williams. He would soon after this episode play a henchman named “Valerian” in the Hitchcock classic, North By Northwest. You will get to hear a fair amount of Herrmann in this episode, so be a “reasonable man” and be sure to watch it!
This is an excellent episode, one not to be missed! It stars Bob Steele, Robert Wilke (in the first of many HGWT roles), and Susan Cabot about a crooked land mine deal. I particularly enjoyed the “steely” intensity of Bob Steele’s tough performance as “The Jockey.” I remember him in Big Sleep, as Matt Jennings in the entertaining “B” western, The Lion and the Horse, Cheyenne, South of St. Louis, and other Warner Bros. films (all of the ones just mentioned were scored by legendary Max Steiner). Mr. Steele is of course predominantly associated with the Westerns genre. Of course Robert J. Wilke was often cast as the “bad man” as well!
This episode is okay, middle-of-the-road standard fare. Its primary distinction is the guest star Stuart Whitman (remember him as the lead star in Cimarron Strip?) as ranch owner Gil Borden. Murray Hamilton (very fine actor) also stars as trouble-maker Ed McKay. Peter Whitney plays the large, obedient buffoon, Judd.
This episode stars Harry Townes as a rather displaced Bostonian out in the West, and Constance Ford as his wife, Gloria. She is noted for various roles, but I think one of the most memorable beyond her many television stints was as the bossy and critical Helen Jorgenson in A Summer Place. This episode has almost no Herrmann clips but there is indeed interesting music (primarily Rene Garriguenc) and accompanying scenes. For example, in Chapter 1 from 18:14 to 18:47 (end of chapter), we have the scene where Paladin is welcomed by Gloria into her ranch home. It’s a dynamic scene; interesting, not static. The direction (Andrew McLaglen) is intelligent and well-conceived. You see Gloria in moderate close up with her eyes looking slowly up at Paladin (unseen in the shot) from holstered leg to face, and then the scene cuts to Paladin with the camera slowly panning up Paladin’s leg and sets on a close up of his face (apparently mimicking what Gloria was doing!). And the accompanying music by Garriguenc is very interesting (adapting Herrmann’s HGWT fanfare). I have to seek out the exact title of the cue. I believe I hand-copied it but have to look for it. Although there is a virtual lack of Herrmann quotations, the Garriguenc music more than makes up for it. Moreover, I liked the pointed dialog between Gloria and Paladin in Chapter 3 starting around 1:24 in which he basically tells her off! This short dialog is worth the time spent on this episode, and worth the price of the set perhaps. Very good dialog lines and very good acting. I’d give this episode a B+ but not quite a slightly upgraded A-) rating.
I strongly recommend watching this episode. Not only is it fun episode and excellently written (Ken Kolb and even Sam Peckinpah), there is lots of Herrmann music to enjoy, particularly a rarely heard Police Force cue titled “Rundown” (although you will hear it a few more times in later episodes). You can also enjoy the acting of young Richard Long (later of The Big Valley fame) as Rod Blakely, and Denver Pyle (his second appearance so far on HGWT) as rancher Pete Hollister. I give the episode an “A” rating or at least four out of five stars (“Strange Vendetta” would definitely deserve 5 stars or an A+ rating). Remember that it is not one of those frequent heavy drama episodes, but light entertainment (not light, however, in quality).
In this episode, we witness another of Paladin’s many acquired talents: wine connoisseur. It gets a “C” rating by me, even though it was written by Ken Kolb (who wrote the excellent “Strange Vendetta”), and the print is not very good. If your time is limited and you cannot watch every episode, then you can safely skip this one (but it’s still better than “Helen of Abajinian”!). Below I may not indicate every tiny fragment of Herrmann music used.
I like this episode (written by Ken Kolb) a lot, perhaps putting it in my Top Ten list (certainly Top Twenty). There’s a certain atmosphere that appeals to me, especially in that lonely church scene at night (see Chapter 1 from 8:57 thru Chapter 2 at 1:55). One scene I like to look at in freeze-frame format is in the beginning of Chapter 2 (for example, go to 0:09). It’s a real nice composition with the window and shadows, Paladin facing Isabel. Isabel is played by the beautiful Betsy Von Furstenberg (Broadway star who also did many television shows). She’s a definite plus in watching this episode! However, while I think she is elegant and lovely to watch, I am even more drawn to the beauty of Paula Raymond in the episode titled “Lady With A Gun (4-9-60). Perhaps you remember her best in Harryhausen’s Beast From 20,000 Fathoms.
This is a highly notable episode, and not only for its solid storyline and many Herrmann quotations. The star is Victor McLaglen, the Oscar-winning character actor for The Informer, and a favorite actor of John Ford’s. He was captivating in his role for the HGWT episode, very likeable and “strong.” It was directed, incidentally, by his son, Andrew McLaglen, who directed I believe 116 episodes of the series. Andrew was called “Big A” because he was 6’7” (Victor was 6’3”). John Doucette also stars in this episode (of course as a “bad” guy!). Refreshing Christine White plays Myra Ritchie. She’ll appear in another excellent episode titled “Road To Wickenburg.”
This is an okay episode, maybe deserving a B- rating (or a C+). There are no distinctive stars per se, although I liked the performance of James Craig as Ralph Cole.
This is a fine episode with a rather “homey” atmosphere. The print is not particularly sharp, however, unlike many episodes such as, say, “The Naked Gun.” It seems a little washed out, “old.” I enjoyed seeing Marian Seldes once again playing “The Teacher,” Mollie Stanton. I really enjoyed her performance in the 6th episode titled “The Bride.” Due to a different type of clothing, less feminine-enhancing makeup and conservative hair style, she has a rather maidenly, prim-&-proper look—perfect look for being a “schoolmarm.” The episode also stars the impressive Andrew Duggan. I remember him in his role in Seven Days in May. Also starring is Peter Breck and Jack Albertson. I will not below detail the timing location of the few Herrmann “bits and pieces” in this episode. These include the “Middle Tag D” fragment at the end of Chapter 2, a few bars of “The Rocks” and so forth.
There’s very little Herrmann music in this interesting but somewhat standard story that has roses as the focus point in this drama about $30,000 lost after a past bank robbery. It stars Barbara Baxley as the bank robber’s widow, and R.G Armstrong as the Marshall.
Once again, this episode is not included in the dvd set, although it is listed as such. Actually the episode provided is “Death of a Gunfighter” from the next season! I am referring to my subscription set but I believe the same applies to the general release dvd set of Season I. Fortunately I have the old vhs format of the entire series and watched it last week. Curiously, in the old vhs set of four episodes per tape, “Gunshy” was the first titled followed by “Death of a Gunfighter,” then “Siege” (Garriguenc music, airdate April 1, 1961), and then “Bird of Time” (dated October 20, 1962, music by Van Cleave). “Gunshy” co-starred (very briefly) Dan Blocker, later of Bonanza fame. The story centers around a stolen jaded chess set. Jeanette Nolan is terrific as Ma Warren. No wonder Boone wanted her in his short-lived series, The Richard Boone Show right after his Paladin stint. Too bad “Gunshy” was not included. I would’ve preferred “Helen of Abajinian” to have been missing!
Although Ken Kolb wrote the story, it’s pretty mediocre, not a very memorable episode at all. You won’t be missing anything important if you skip this episode (and if your time is limited).
This is a good episode (but not a great one). It’s noted for having Pernell Roberts (later of Bonanza fame) as the “bad guy,” Travis, boss of a Chinese railroad gang in Utah. Hey Boy’s brother was killed due to him, so Paladin goes off to the rescue. I really enjoyed the look of disgust in Paladin’s face when he had to deal with the hotel clerk (Olan Soule, who could’ve easily played Don Knotts brother in The Andy Griffith Show!) at the Carlton. With Hey Boy’s absence, everything was fouled up for Paladin. He then investigates the matter in China Town in San Francisco to find out exactly what happened to Hey Boy.
Tall (6’3”) blond actor James Olson (remember him as Dr. Mark Hall in The Andromeda Strain?) plays Sheriff Owen Deaver who thinks he can run his wild West town as a town in Philadelphia. Paladin eventually teaches him the error of his ways. Olson was about age 28 when he did this part. It’s a decent, standard episode but not particularly noteworthy.
Old and soon-to-die Leadhead Kane has a thing for Annette (played by Lita Milan). Paladin arranged for the singer to visit Leadhead for a most enjoyable evening. He wills his estate (basically a silver mine) to her but others (especially Whit Bissell) contest it in court. The episode is okay but not very memorable. However, you will derive the benefit of at least two cues nearly in their entirety.
This is a bit of a ho-hum episode although I liked seeing Warren Oates and Kevin Hagen as John and Ed Bosworth, two bad sons vying to kill dear old dad to prevent good son, Rupe (newly married), from getting part of the farm. There is basically no Herrmann music here not already heard a couple dozen times already. You can safely skip this episode, if you wish.
Now this is an impressive and unusual episode in the sense that you see Paladin quite genuinely affectionate towards a woman (his “soul mate,” Dr. Thackeray, played by June Lockhart). There is even reference made to marriage! Grant Withers returns as a guest star. Remember that he played the righteous wagon train boss, Mulrooney, in the “No Visitors” episode (but here plays Sam Barton afraid of smallpox contagion at his ranch). Of course Dr. Thackeray was introduced in that episode as well. In a sense, this episode is a sort of “soul-mate” companion episode to “No Visitors” since the similarities and guest stars are closely aligned. I also like seeing John Anderson as volatile Fred Cooley. He’s the one who hits Dr. Thackeray after which Paladin nearly beats him to a pulp! He had a terrific role in the Gunsmoke episode “Buffalo Man” (co-starring Jack Klugman). There’s also terrific Herrmann music tracked in that episode as well (as I’ll discuss much later). I like the dialog in this HGWT episode, especially when Paladin puts Mr. Barton in his place in regard to his treatment of his son (Charles Aidman). Don’t miss this episode.
I like this episode if only because Jacqueline Scott guest stars as a Mennonite farmer whose clan has a crop free of blight. I always liked her strong presence, especially in the hour black & white Gunsmoke 1964 episode titled, “Kitty Cornered.” Jacqueline plays outspoken and beautiful Stella Damon who competes against Kitty in the saloon business. Other familiar guest stars are in this HGWT episode such as Hank Patterson and Karl Swenson. Good casting here, particularly Morris Ankrum as the non-violent head Mennonite, Mr. Bruckner.
Compared to so many fine episodes, this one is somewhat substandard. In fact this is the first of the final three episodes of Season One, and they are all rather weak. I believe the writers and stars all desperately needed a vacation because the stories and acting appeared rather tired. “Silver Convoy” was written by Ken Kolb but it lacks both substance and a sense of fun. Paladin goes to Monterey to investigate the disappearance of a man who was rumored to have been a prisoner of a silver mine owned by Don Francisco. The only interesting segment is the use of “The Chase” cue from Police Force.
The only distinction in this episode is the primary guest star, James Franciscus as town lawyer Tom Nelson. R.G. Armstrong also returns as a guest star in the role as Mayor Lovett. I liked the episode better than “Silver Convoy,” however. It has more energy.
John Carradine stars as Father Bartolome, and Simon Oakland as Sancho Fernandez. This is good casting but the story is something I am not too enthusiastic about. Come to think of it, Simon Oakland is rather miscast here as the Mexican bandit type (although I like Simon Oakland). He was better cast in the Gunsmoke episode titled “Overland Express” (May 31, 1958) as the American bandit, Jim Nation. Moreover, unlike the previous episode, it is practically devoid of interesting music. You can skip this adios episode of Season One.
The second season starts off in terrific form in this intense drama. It’s good to see the only HGWT appearance of Martin Balsam as Charlie Dawes, intent to revenge the death of one of his brothers, and Paladin’s death will be his satisfaction! Joseph Calleia is well cast as the old sheriff, Sam Truett. There’s Herrmann music in this strong episode but far more Garriguenc music. I will identify several of the clips.
If you like rocky terrain, you’ll love this episode. It’s strewn with massive rocks because the episode was filmed in Alabama Hills in the rustic Lone Pine area. Many westerns were filmed here, both feature film and television. This is a fine story starring, once again, Hank Patterson. He plays an old bank robber that Paladin is after (as well as $50,000 robbed from a bank in Merced). Two young partners of Pappy’s are also after him and the money! The opening music (Chapter 1 starting at :46 as Paladin rides across the rocky terrain) is I believe by Rene Garriguenc but I cannot identify it at this moment. The only thing that somewhat mars the episode is the ending when Pappy dies, and Paladin overdoes the saying of “words” over him. He quotes Ecclesiastes 9:12 (reference to “an evil time”). It’s just a little too much.
Season Two is still going gangbusters with this engaging, intelligent story with a humorous touch. It’s a fun, entertaining episode. There are several excellent stars, including the return of Charles Bronson as direct but verbally stumbling Chris Sorenson who hires Paladin to teach him how to effectively approach a neighboring ranch woman, Senorita Maria de Castro. Harry Carey Jr. plays Bud, Chris’s ranch boss. Celia Lovsky is well cast as the Senorita’s aunt. Remember her? She later plays T’pau, the Vulcan high priestess in Star Trek.
This episode is okay but definitely not of the same quality as the previous three episodes, and certainly not as good as the companion piece coming up in May, “The Return of Roy Carter” (although both written by Gene Roddenberry), with a different star (Clu Gulager) as Roy Carter. However, I like John Larch as Chaplain Robert April.
This is a story about dueling beaus for the hand of marriage of blond Belle. It’s a tale you can safely pass up! Hank Patterson returns in a minor guest role. He plays a plainsman type townsman named “Hank.”
This is a very good story about Paladin taking on a protégé (later to his regret). Young Peter Breck is the ambitious wannabe gunfighter. His newfound powers soon go to his head.
This is a fun episode writer by Gene Roddenberry. Harry Carey Jr. plays Sheriff Jack Goodfellow. Roddenberry probably had fun picking that name since good ole Jack is not such a good fellow after all, let alone a good sheriff! Christine White returns to play refreshing saloon girl , Susan, desperate to get out of this corrupt town.
This is an interesting episode about deception, shirking of duty, differing views of justice, mercy and various other issues. Of course Paladin is the catalyst of the entire mix. It stars Virginia Gregg as the town matriarch, and Karl Swenson as the town Sheriff. Guess who’s really in charge? At any rate, it may be interesting trivia to note that both stars were together a year later in the Gary Cooper western produced by Warner Bros., The Hanging Tree. They played Tom and Edna Flaunce.
Scene: Benedict, Wyoming. Reason for travel there: To settle a water/land dispute. Reason to watch episode: Plenty of good Herrmann (and Garriguenc) music.
If you like Indian type music (such as warpath music!) then you’ll like this episode. Otherwise I am not too impressed with the story, partially because the Diana Coulter character (played by Patricia Medina) is a rather difficult lady to like. Paladin shouldn’t have taken an Indian arrow for her!
This is an okay episode about two mining partners with the threat of death. But by whom? Harry Morgan stars as miner Fred, later to be a regular cast member of The Richard Boone Show.
Cute but uninspired tale about Oscar Wilde’s plight in San Diego.
This is a fine action adventure episode involving a $600,000 winning lottery ticket held by a cavalryman out doing his job (fighting overpowering Indians at Apache Wells). Paladin risks his life to inform the winner of his good fortune –that is, if that cavalry corporeal can get out alive! He has only three days to notify New Orleans. There is a good deal of Herrmann music here, primarily from the Indian Suite.
This is a better print than the just previous episode, and that’s a great help because there is lovely location shots here somewhere in the mountains (perhaps in the Big Bear area?). John Anderson returns to HGWT, this time playing the bad man, Martin Wheeler. The principal guest star (with the biggest part) is Rayford Barnes playing Harleigh Preston, a blond toothy man with a penchant to drink too much! There is some Herrmann music here but probably more Garriguenc quotations.
Even though Vincent Price and Morey Amsterdam star in this tale about two Shakespearean actors acting in the West (specifically in San Diego during a round up), the story is not that engaging. Richard Shannon plays the “bad man” in a weak role here but he plays a far more interesting role next season as “Cass” in the excellent episode titled “The Ledge.” It’s nice seeing Paladin wearing that streamlined tie again in this episode.
This is quite an excellent episode, in my opinion. I definitely give it a top rating for this season, just shying from an A plus. It stars Jacqueline Scott again, a big plus because she has a strong (albeit secondary) role as the “woman” of a deadly gambler, Sid Morgan (played by Denver Pyle). Another big plus is the location shot in the Lone Pine area though mainly in the flats area (usually not within the rocks of Alabama Hills). The Sierras are easily seen in the distance. I really enjoyed that little allegory lesson Paladin gave to gunfighter Gorman out in the rocks (Gorman liked the number 13, seen by him as lucky): “Gorman, about that lucky thirteen. There’s a legend that when the world began, there were 13 gods. Only 12 of them were acquainted with one another. So to learn the stranger’s identity they invited him to a banquet. And to their everlasting sorrow he came. The thirteenth god was death.” Gorman laughs but that would probably be his last laugh because he would be dead from Paladin’s gun the next day. By the way, Paladin does not have that trademark tie this time.
Norma Crane co-stars in this standard Paladin tale. You may remember her in the far more bravado role as Ella West in the 1st season. Edward Platt plays “The Chief” in a certain sense (but not as in Get Smart). He wants to be the big chief in Colton, Wyoming.
This is a highly distinctive episode if only because of the captivating beauty and figure (but not quite so captivating acting) of Dolores Vitina as Apache princess Della White Cloud, the educated daughter of chief White Cloud. John Doucette plays the raspy stagecoach robber who is also captivated of the princess.
Remember that this video is not located at the end of Disc Three, even though it says that it is. In actual fact, the episode is really “Hunt the Man Down” starring James Drury (February 7 episode). The episode indicated in Disc Four as “Hunt the Man Down” is actually “Treasure Trail.” Now: “Treasure Trail” is absolutely terrific, in my opinion. I will give it the highest rating of not only five stars but also an A plus. It would rate as being at least in the Top Ten list, probably more like the Top Five (may even Top Three). “Strange Vendetta,” remember, would be a Top Three candidate. It stars Bruce Gordon and Harry Dean Stanton perfectly cast as Decker and Stoneman, respectively. They seek the bounty located in a treasure map that Paladin won from Mr. Wilson in a poker game back in San Francisco. The opening cues in Chapter 2 are by Rene Garriguenc. Later on you get the treat of hearing rarely used Desert Suite cues (unreleased by Cerberus/Prometheus).
This is an okay episode, not particularly distinctive although it was written by Gene Roddenberry.
Standard story about the conflict between a cattleman and a rancher/farmer, except that here they happen to be brothers. One (the “good guy”) is played by James Drury (later of The Virginian fame) and the other (the “bad guy”) is stereotypically played by Robert Wilke.
This story has an interesting plot twist regarding the man (Robert Ceilbleu) who hires Paladin to try to save his father (played by Lon Chaney, Jr.).
I was not very impressed with this forgettable episode, but if you are a fan of Patricia Medina, then you’ll welcome her return in this episode reprising the role of Diana Coulter. I at least did like, however, that night shoot (is it a painting?) of B.G.’s house or plantation-style home in Texas. To see it go to Chapter 2 at about 3:07 and freeze frame it. It has a nice moody or atmospheric feel to it. [Note: No Herrmann cues in this episode] This is an atmospheric and sufficiently entertaining tale (written by Gene Roddenberry) best told on Halloween perhaps. It’s more tease than substance, more fun than scare, but I think it deserves a good rating, especially with some Herrmann music thrown in to help create a moodier atmosphere. Paladin investigates the “monster” of Moon Ridge, Colorado. The sheriff’s posse combed the mountains and found large prints of a strange nature, and a girl “bewitched” by some apparition. That night street scene in Moon Ridge is a bit spooky. Go to Chapter 2 at 1:40 and freeze frame it. I cannot at the moment identify the music that accompanies it. It plays again at the start of Chapter 3 when Paladin rides out (still night) to Dan Bella’s cabin in the mountains (played excellently by Barney Phillips with his fitting deep voice for this spooky episode). [Postscript dated April 13th: There is nice spooky music by Lucien Moraweck as well, titled “Furtive Visitor # 2.” This I believe is the music I couldn’t identify in the above paragraph.]
I liked this episode for various reasons: the nice mountain location by a lake (probably Mammoth area or somewhere in that area of the Sierras, although the story is set in New Mexico mountains); Anthony Caruso returns in a nice role as Jose, the Indian guide; its moody drama, etc.
This story by Gene Roddenberry is rather cozy, light fare but I wouldn’t need to watch it again. Paladin is bushwhacked near the O’ Bannion ranch. Even his trademark black trail clothes are stolen, so he temporarily hires on until he can find the bushwhackers.
This is a decent mystery/suspense story where you need to figure out who the “bad guy” is within a posse looking for an alleged bank robber/killer. Paul Richards plays Reck. He was excellent in a Gunsmoke episode (“Joe Phy”) where he played a fake Marshall.
Richard Shannon co-stars in this scenic tale about a dog sled race to win land rights in Alaska. He plays a heavy in this one but he will soon play a more interesting role in “The Ledge.” Karl Swenson has an appealing “accented” role as “Boris.”
Ida Lupino directs this standard tale. It’s a decent, moody drama but not a particularly impressive one. Nice dust storm, however! Jack Elam co-stars in the last act of the drama.
This is quite an excellent episode with a stern no-nonsense Paladin “persuading” Roy Carter (now admirably played by Clu Gulager) to help him rescue Chaplain Robert April in blizzard-hit Bald Mountain. The story was written by Gene Roddenberry who really hit the mark this time. The rugged winter location shooting really helps with the dramatic impact of the story. The many music quotations of Herrmann and Garriguenc also help immeasurably as well. This episode is in my Top Ten list.
This is a minor story (where Frank Gorshin makes a minor appearance) about a young man’s unwise adulation of an older brother (who happens to be a killer!). Wesley Lau plays the black sheep brother. Incidentally, Wesley in a few years will play the detective in Perry Mason named Andy who pretty much takes over the role of ailing Ray Collins (Lt. Tragg).
This is a fairly interesting episode with a twist or surprise ending, a not-what-you-expected ending (unless you were paying attention to some clues).
[Note: There are no Herrmann quotations in this episode] This is a somewhat mediocre tale about a wrongly convicted young man named Ed Stacy (Ed Nelson playing the role).
Escaped prisoner Bert Talman (played by imposing Leo Gordon) kills four men at Yucca Bend. “Further killings are feared.” This is one of the few episodes where the year of events in the show are given. Go to Chapter 3 at about the :56 point. You’ll see the gravesite (headstone, though it appears to be made of wood) of “Ed Slater Yucca County Sheriff murdered by Bert Talman.” Also provided there was 1826-1875 under Ed Slater’s name. So the year is 1875. In “Comanche,” the date was circa late June 1876. Anyway, while I would not give this fine episode a top A rating, it probably would rate in the top 25 list, especially with the nice editing of music. You will get to hear more of “Sandstorm” than probably in any other episode.
Manuel Garcia, a Mexican bandit, wants his son back from a San Diego family who adopted the boy. Most episodes are better than this.
This episode is only a bit more interesting than the one just discussed. Paladin investigates the problems at the Howard Lumber Company up north. It’s a story of deception. My wife and I liked the very end of the episode where Paladin quotes Richard Brensley Sheridan: “Through all the drama, whether damned or not, love gilds the scene, and women guide the plot.” Most of the music is Garriguenc’s. Remember that Garriguenc was commissioned to write “Have Gun Series” music cues so it is only logical to assume that the music editor(s) would gravitate towards these Garriguenc cues for music spotting.
The Second Season seems to have ended in a wimper compared to the good loud wail of the opening episode. The story is about a rather crazy old man and his concerned son worried about their mine and threatening claim jumpers. What they find at the end of the story is worth far more than gold.
The best seasons as a whole were the first and second seasons. The quality of the episodes starts slowly to lessen somewhat but not too appreciably. The appearance of Richard Boone as Paladin starts to deteriorate a bit as well: he looks older, heavier, a bit more tired, and dresses a bit sloppily. He no longer wears that characteristic tie that makes him look streamlined. He is not aging well, and too fast (and he’s only in his early Forties!). I’ve noticed that stunt men are doing more scenes for him—some such wild stunts as well that it’s laughable! His physical peak appearance matured around the time he did Beneath the Twelve Mile Reef thru the first season of HGWT. The Third Season is admirably noted, however, for being the first HGWT season to use original scores (starting with Wilbur Hatch) and including interesting scores by Lyn Murray (such as “Hatchet Man”) and, in later seasons, Fred Steiner, etc. Unfortunately, Herrmann never did another original score for the series. Now if he had then that would indeed have been quite fascinating! I wonder if he was ever approached to do another original score but declined? He did three Gunsmoke scores, incidentally. This is another moody episode directed by Ida Lupino in a rather stage style. It’s a mystery piece with Paladin wondering who Fred Horn is in Mordain, Wyoming. If you like an intense, very serious drama, then you should like this episode.
Here’s another heavy drama but mellowed out due to the involvement of a wife and child in the plot. Paladin arrives Laredo, Texas during a night downpour, given an even more inhospitable welcome by a minor gunman under orders by Sam Tuttle to reserve the whole hotel only to him. Gene Lyons does a great job as Sam Tuttle, a major gunfighter (equal, if not better, to Paladin himself) who arrives to see his wife and son. J. Pat O’Malley plays Logan, the hotel keeper. Norma Crane returns to play Tuttle’s estranged wife (remember her in “Ella West”?). Gene Roddenberry wrote the story. There is no Herrmann music in this episode but the music that is employed is really quite good.
This story also by Gene Roddenberry is comical, light fare meant to offset the super-seriousness of the previous two opening episodes. The location shots are refreshing, especially in the beginning act by the churning river. Paladin is hired to safely escort three French mail-order brides to Bend-of-the River, Oregon. Mabel Albertson stars as Madame Chalon. There are also three very pretty girls, but I especially liked “Annette” (played by Danielle de Metz). [Note: No Herrmann music was used in this episode. However, you’ll hear some Jerome Moross music at spots (for example, in Chapter 5). This is another excellent Roddenberry story, one of the best episodes in this season. Paladin is framed for a murder by over-friendly, crafty Dobbie O’Brien. The posse is headed by McKay (Denver Pyle) although the sheriff (Harry Carey, Jr.) is there, as well as revenge-seeking Curley (played by Ken Curtis of “Festus” fame). There are a lot of good stars here. The posse is ready to hang Paladin on the spot.
This is an okay episode starring John Abbott as Ainslee (remember him in that original Star Trek episode from the Season One about those superbeings pretending to be humanoids in a world lusted over by the Klingons?), a scholar turned gunfighter in Carson City, Nevada. Sue Randall plays Ainslee’s daughter, Anna. She’s young and refreshing looking, and she reminds me a bit of Diane Baker of Journey to the Center of the Earth (and Marnie) fame.
This is a pretty boring, if not annoying, episode (depending on your point of view). It’s this season’s “Helen of Abijinian.” In fact, I think I liked latter episode slightly better! You can safely skip this one. [Note: No Herrmann music was used here. That’s fine. No Herrmann music can resurrect a dead episode] [Note: This is the very first original score (besides Herrmann’s pilot) for the series. It was composed and conducted by Wilbur Hatch. Werner Klemperer plays Etienne, and the ever-welcomed Jacqueline Scott plays his wife, Claire. I did not work on the actual written score but I’ll try to see in my boxes of research sheets if I copied down the cue titles. If so, I’ll include them here. Frankly, I was not very taken by this comical score. The story is cute and I like the performances but it’s not one of the best of the comical, lighthearted episodes.] This is an interesting tale about a dying man named General Crommer (played by David White) with a load of hate still tying him to this world. His son, Beau, is played by returning guest, Hampton Francher. Returning guest Hank Patterson plays old gunman, Ronson. The lighting in the end act with Paladin at the door of Crommer’s bedroom is excellent.
This is a poor episode starring Ed Nelson as a man about to hang.
David White returns quite quickly in this episode (he played General Crommer just two episodes ago). You may remember him as a regular in Bewitched. The scenery is very impressive in the first act (Webster’s place) but not the story. However, it’s a decent, cozy episode worth a watch. Incidentally, it was written by Gene Roddenberry. [Note: No Herrmann music was used in this episode] Parley Baer (shouldn’t it be Parley Tiger?) plays Ellsworth in Texas who is obsessed about a Bengal tiger curse. Perhaps it should have been titled “Tigered,” or better yet, “Tired” (as in I quickly grew “tired” of this story). It too was written by Roddenberry but he cannot be inspired all the time! There is no Herrmann music here except for one tiny fragment. The music below that I quoted is indeed interesting but I cannot identify it. It may be by Moraweck.
[Note: Original score by Lucien Moraweck, conducted by Lud Gluskin. It’s a fairly interesting score with a nice variation of a hunt theme. The story, however, leaves much to be desired, best watched after plenty of champagne ] This is a minor tale by Gene Roddenberry but a decent, entertaining one. Paladin is in Santa Maria, New Mexico that now has an Indian made Marshall via a correspondence school. Here’s an episode directed by Ida Lupino that is not so deadly serious or moody. [Note: Original score by Paul Dunlap, also conducted by the composer. Good, vibrant, brassy intensity to this music.] This is an exceptional episode if only because of the terrific location shots in the mountains. But wait! We also have the special distinction of Ken Curtis playing “Monk,” a hillbilly type hanging around trail herds. He might as well have been named “Festus” because his role here sounds exactly as Festus (but a little bit eccentric). I wouldn’t doubt that the producers of Gunsmoke had seen this episode and were very impressed by Ken’s performance. I would’ve given it an Emmy nomination. He played quite a different character just several episodes earlier in “Posse.” It was fun in this “Monk” character to hear him say such standard country hick statements as “plum tuckered out” and “much obliged,” etc. I sure wish I knew where it was precisely filmed because the location sure is a “sight for sore eyes!” This is a definite must see episode! I would give it a Top Ten rating. It’s also a terrifically good print as well. Jay Simms wrote the story. Robert Wilke returns as Rook, sadistic trail boss.
The story is about a hot-tempered tradesman returned from prison who has to deal with criminal brothers and an unwelcoming town. George Mathews is great casting as Ben Harvey. Charles Coburn is a guest star playing cold-blooded killer, Jack Harvey.
Barney Phillips returns briefly (remember him in “Monster of Moon Ridge”?) as an Army Intelligence officer requesting Paladin to bring in an errant Army colonel siding with and organizing the Apaches. It’s a strange tale with merit but I did not care for it.
This is an unlikely tale about a man who’s more like a Big Kid who thinks himself, a schoolteacher, as Laredo, the gunslinger wannabe in a white hat. At least it’s rather fun, a departure from that deadly seriousness of the previous episode. [Note: Original score by Lyn Murray. Nice score, but he does far more interesting music-making later in “Hatchet Man”] It’s a standard Paladin tale, worth watching but not necessarily deserving a second or third viewing. Paladin is hired by a tradesman to help him take a wagon of good s to hostile Indians who are holding his wife hostage. Paladin doe not realize (yet) what kind of “goods” the desperate man is offering the hostiles in exchange for the wife.
Paladin is involved with a woman and a counterfeiting operation. Standard fare once again. [Note: Original score by Rene Garriguenc, conducted by Lud Gluskin. This is the first original score penned by Garriguenc for a specific episode (but not his best). Besides, the music audio quality in this episode is terrible, quite garbled, at least in the beginning cues. Incidentally, he’s not trying to be Herrmannesque in this episode’s music.] Robert Wilke returns as Army major Blake, and Anthony Caruso in a sorry role as Gimp, the drunken son of an Indian chief sentenced to hang. The story is okay, and the location shoots are fine, but I didn’t much care for the episode. Perhaps you will like it better than I did.
Here’s a nice cozy yet atmospheric high drama set almost in a stage fashion. I really like this intense, moody episode. Paladin is hired by Warren (Barney Phillips again!) to keep the peace in the desolate, fearful town of New Lime Creek. Aaron Bell returns from prison to avenge the death of his brother who was lynched at the end of the Civil War by this town. Paladin enters the town at night in a windstorm, symbolic of the agitated turmoil felt by the few remaining residents of this almost ghost town. I believe this is the first episode directed by Richard Boone himself. He did a commendable job. The story rather reminds me (similar character or sensibility) of the upcoming two-parter in the Fourth Season that Fred Steiner scored titled, “A Quiet Night In Town.” I would think “The Night The Town Died” could’ve been an excellent candidate for an original score by Herrmann (or the following episode).
Wow! Right on the heels of an excellent episode is this compact drama about the rescue attempt of a fallen man from a mountain ledge. Is that man alive or dead? Is it worth the effort? This intense psychological drama would be a candidate of my Top Ten list (if not Top Three). It stars John Hoyt as Doctor Stark, and Robert Shannon returns to play nervous-laughing Cass. I would think it an Emmy contender.
Richard Matheson and Charles Beaumont co-wrote this cute story (directed by Ida Lupino) about a painting of a lovely woman in a bar in the town of Bonanza. It was stolen and Paladin was the first one to be accused of its theft. The episode is pure diversion, nicely done. [Note: Original score by Leith Stevens. It’s an admirable score.] Harry Carey, Jr. and Hampton Fancher return in this tale of a psychopathic son (Keith, played by Fancher) protected by his father. [Note: Original score by William Lava. Nice vibrant score. Lava was known for his flamboyant style (and hand-writing!) and he did scores for Disney’s Zorro series, etc.] Sample cues:
This is a very good Paladin story and, for a change, it’s completely staged right in San Francisco. This time the card should read. “Have Gun, Will Not Travel.” Clarence asks Paladin to protect Joe Tsin, their only Chinese detective, targeted by a feared Chinese gang. Joe is a distant relative of Hey Boy. Hey Boy then takes Paladin to Chinatown in “the dead of night” to visit Tsin’s father. [Note: Original score by Lyn Murray. It’s a fabulous score! I believed I discussed some of the cues somewhere in my Film Score Rundowns site (perhaps a Potpourri paper). I recall some excellent television scores later on for the color Dragnet series composed by Murray.] Sample cues:
This is a colorful drama piece set in an abandoned adobe stage stop surrounded by Comanche Indians. Ken Lynch stars as wealthy Commodore Guilder who hires Paladin to protect him from Quanah parker, a half breed who has it in for Guilder.
Paladin travels to New Orleans in this comical fare 9except for the twist at the end) regarding duelists. James Coburn returns as a guest (a guest gunfighter!). [Note: Original score by Wilbur Hatch. I did not research the music because I wasn’t really that interested (whereas I was interested in Lava’s and Murray’s music).] Paladin goes to the Diamond S Ranch to question Tamsen Sommers (played by Geraldine Brooks) why she is putting out an advertisement for a husband (when she has one already!). The answer is deadly. [Note: Original score by Nathan Scott] It’s a stormy night in San Francisco, and Paladin investigates the death of an Hawaiian prince. It soon becomes an international mystery. The score is far better than this lighthearted story, however. While the episode overall is merely a C, the rating for the score is a B plus. [Note: Original score by Lyn Murray. I never looked at the written score but I wish I had. Maybe some day…] Wow! Paula Raymond guest stars as the “lady with a gun” out to shoot Ruddy Rossback (played admirably by Jack Weston). She is simply gorgeous! You might remember her in Harryhausen’s Beast from 20,000 Fathoms. I wish she was in more episodes of HGWT. However, I remember her also in other CBS series such as Perry Mason. Ron Soble plays the gunman she hires, and he looks a lot like Jerry Seinfeld, the comedian. It would be so funny to digitally put Seinfeld’s face on that actor and substitute the voice! [Note: There is no Herrmann music used in this episode. I really like the opening music but cannot identify it at this moment. In fact much of the music selected by the music editor is quite good. I wish I had the official cue sheets.] This is a decent standard Paladin drama about a gunman named Kramer (excellently played by Jack Lambert) who gets wounded after a gunfight and hires Paladin to protect him from the townsfolk fast turning into a mob.
This is an intense, over-the-top drama set in a ferryboat cabin, co-starring George Macready as a blind old man full of the taste for death (as well as a crazy Frenchman). Ed Nelson also returns, and Hal Needham plays a larger role for a change. This story is just way too much to stomach, but it’s easy to savor and digest Herrmann’s Drink of Water quotations.
June Vincent (remember her way back in the first season in “Strange Vendetta”?) returns in this episode. Ben Hutter (Patrick Wayne) is wanted for murder and Paladin either has to make him come to trial or to sign a paper disavowing his inheritance. I like that moody night Mexican street scene when Paladin rides in (Chapter 2 starting 3:38 or so). Boone directed this episode himself. [Note: Original score by Lucien Moraweck, conducted by Lud Gluskin] This is a strange tale that I don’t know quite what to make out of. So it’s worth a few viewings to try to figure it out! There are several instances of fine music edited in as well (besides the few Herrmann quotations).
Here’s another story of deception but this time involving the twin brothers of Sam and Adam Mirakian. One of them is a murderer.
Jacques Aubuchon returns, this time as “Billy Banjo” running for the Senate. He asks Paladin to prevent his wife from killing the opponent. [Note: Original score by Lucien Moraweck, conducted by Lud Gluskin] This episode has the distinction of presenting fragments of music from his unsold pilot score to House on K Street. Two cues were occasionally used already. The “Fade In” cue was employed as the “Mr. Death” chord for the Twilight Zone episode starring Ed Wynn, “One For The Angels.” The “Finale” cue was used a few times in Rawhide episodes. Otherwise we are in a treat to hear snippets of other cues in this episode of HGWT. This is the first and only time they will be heard in a HGWT episode, unfortunately. The episode itself is a bit confusing, sloppily written, but it held my interest enough to rate a fairly good rating (thanks to the Herrmann quotations, especially).
Paladin is the victim of a kangaroo court for killing a prominent man’s son (although it was in self defense). Robert Simon plays the wealthy father who originally hired Paladin to bring his son in alive for $5,000. It’s a weak story but better than “Ambush.”
Perry Cook (remember him as the crafty killer in “The Posse”?) returns here but in a far more sympathetic role as Fred Mosely. It’s an okay, standard Paladin tale worth one watch (same for the score). [Note: Original score by Wilbur Hatch] Note: END of the Third Season. What is Paladin's first name in Have Gun Will Travel?2. Paladin's real name was Clay Alexander — perhaps. On the television show, Paladin's true name is never given. Though it remains a point of debate amongst fans, one of the tie-in books, which expands on the origin story shown in the episode "Genesis," his real name is given as Clay Alexander.
Why was Have Gun Will Travel Cancelled?Big Contract. By this time, he was also ready for Have Gun, Will Travel to end at the end of his five-year contract (“We want to avoid running into the law of diminishing returns”), but was given too good a deal to refuse to come back for a sixth season.
Who played Paladin in the radio version of Have Gun Will Travel?These classic western stories revolved around gun-for-hire with principles, Paladin. Played on the radio by John Dehner, Paladin preferred to try to work out problems without violence if possible; he worked for people who he felt were wronged and could pay. coin to see which one of you I gun down first."
Where did the saying Have Gun Will Travel come from?In 1958 Robert A. Heinlein published his science fiction juvenile novel 'Have spacesuit – will travel'. “Have gun, Will travel,” means “I'm up for anything” or “I'm ready to go.” Let's do it.
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