Deadwood: Season 1, Episode 12

Sold Under Sin (13 Jun. 2004)

TV Episode  |  TV-MA  |   |  Crime, Drama, History
9.1
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Ratings: 9.1/10 from 641 users  
Reviews: 5 user | 2 critic

General Crook rolls into Deadwood with his troops, known as "Custer's avengers," and the Yankton magistrate, Clagett, prompting a parade and business solicitations from E.B. Farnum and Cy ... See full summary »

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Title: Sold Under Sin (13 Jun 2004)

Sold Under Sin (13 Jun 2004) on IMDb 9.1/10

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Whitney Ellsworth (credit only)
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Calamity Jane (credit only)
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Reverend H.W. Smith (as Raymond McKinnon)
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Storyline

General Crook rolls into Deadwood with his troops, known as "Custer's avengers," and the Yankton magistrate, Clagett, prompting a parade and business solicitations from E.B. Farnum and Cy Tolliver. Al Swearengen delivers a tortured soul from suffering, and Bullock reacts decisively to Russell's intentions regarding Alma. Stapleton's new commission as sheriff proves short-lived, and Bullock and Alma have a late-night meeting. Written by WyattJones

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19th century | See All (1) »


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13 June 2004 (USA)  »

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1.78 : 1
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Goofs

In the first scene, after Dan hands Al his morning coffee, Dan walks under the shadow of silk screen frame, a piece of lighting equipment used to diffuse the sunlight. The tell-tale outline of a C-stand adjustment screw passes over his chest. See more »

Quotes

Seth Bullock: [after beating Alma's father] Leave this camp. And draw a map for anyone who wants to believe your fucking lies. Anyone wants to put your daughter or her holdings in jeopardy, you show 'em how to get here. And you tell 'em I'll be waiting.
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Farther Along
(uncredited)
Written by Rev. W. A. Fletcher
Performed by Mississippi John Hurt
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User Reviews

 
"What kind of man have I become, Saul?" (dialog) (Seth Bullock)
31 December 2014 | by (North America) – See all my reviews

... and Saul replies, "I don't know. The day ain't $#%^$# over..." Film historians of the future will not only sing the praises of Tim Olyphant's work in film and TV, but, I assure you, they will not fail to mention how audiences of the era (that would be ... us) failed to fully appreciate him.

The same cannot be said of David Milch who produced and wrote this excellent series. I am in awe of the way Milch introduced Olyphant off the top of the series and then kept him in reserve until the 12th episode -- the same way you keep your rook back in a chess game -- until here, in this instalment, he is literally unleashed.

Let me be clear. The writing is excellent. The acting is excellent. The direction and staging excellent. But even against such strong odds, Olyphant at the top of his craft can steal the entire episode to the point that it just seems to be all about him.

And you know what? It is.


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