Women for Sale Part 1 and 2 Full Episode – Gunsmoke, Season #19, Episode #1 and #2
Gunsmoke was a hugely successful Western during its run, and it remains popular today. The show depicted frontier life’s challenges and dangers, and its stories often dealt with complex moral issues. Women for Sale is a two-part episode from the 19th season of Gunsmoke.
Vincent McEveety directed the Gunsmoke episode Women for Sale, which Jim Byrnes wrote and Leonard Katzman produced. The first part of the episode aired on September 10, 1973, with its second on September 17.
The first part of Women for Sale shows the involvement of Marshal Matt Dillon in the investigation of many female settlers and travelers who disappeared in the region. Dillon eventually connects the case to a group of renegade Native Americans intending to sell their captives for sexual exploitation to white mercenaries.
The story continues in Part 2, with Dillon helping two captives flee from their ruthless Indian captor. The unpleasant events they experienced encouraged the captives to cooperate with Dillon, determined to bring the leader justice before he tried to run to Mexico.
Read the plotline and behind-the-scenes trivia of Women for Sale, or watch the Gunsmoke episode below.
Watch the Full Episode, Women for Sale Part 1
Watch the full episode of Women for Sale Part 1:
Watch the Full Episode, Women for Sale Part 2
Watch the full episode of Women for Sale Part 2:
Women for Sale Part 1 and 2 Cast
Here are the cast members who appeared in the Gunsmoke episode Women for Sale:
- James Arness as Matt Dillon
- Milburn Stone as Doc (credit only)
- Amanda Blake as Kitty (credit only)
- Ken Curtis as Festus (credit only)
- Buck Taylor as Newly (credit only)
- James Whitmore as Timothy Fitzpatrick
- Kathleen Cody as Cynthia Emery
- Dawn Lyn as Marcy McCloud
- Nicholas Hammond as Britt
- Sally Kemp as Rachel McCloud
- Lieux Dressler as Liz
- Gregory Sierra as Blue Jacket
- Dan Ferrone as Dan Ross
- Larry D. Mann as Prichard
- Charles Seel as Josiah McCloud
- Shani Wallis as Stella Silks
- Edgar Monetathchi as Comanche Chief
- Gil Escandon as Ten Bears
- Ron Manning as Hoxie (as Ronald Manning)
- Francesca Jarvis as Mother
- William Conrad William Conrad as Narrator (voice)
Full Story Line for Women for Sale Part 1
Marshal Matt Dillon investigates the disappearance of female settlers and travelers from the region’s isolated white settlements and ranches.
On his way, Dillon meets Josiah McCloud, an older man seeking help to find his relatives. Josiah tells Dillon that a group of people, one of which wore a blue cavalry jacket, took his granddaughter Marcy, his daughter-in-law, Rachel, and her brother Dan, as captives. He believes they brought them to a “slave market” called Valley of Tears, run by white renegades.
Dillion eventually links the case with the renegades, who perform savage raids and trade off their human captives in a “white slave market.”
At the Valley of Tears, Dan got sold to work for silver mines at Santa Rita. On the other hand, Blue Jacket, the renegade in the blue cavalry jacket, refuses to trade Rachel and Marcy, even when Timothy Fitzpatrick offers a fancy wine glass.
Dillon arrives at the Valley of Tears but is too late to catch up to Blue Jacket. He also learned that Fitzpatrick took an eighteen-year-old blonde girl wearing a red dress while Rachel, Marcy, and another woman were with Blue Jacket back in his village in the South.
Meanwhile, Blue Jacket took an interest in Rachel. He orders her to come with him, but Rachel refuses. Rachel struggles when Blue Jacket forcefully grabs her. However, another renegade fired a shot, instantly killing her. Devastated, Blue Jacket grabs a knife and then slowly approaches Marcy.
Later, Dillon finds a little girl walking alone. He approaches her, giving her some water to drink. After confirming the girl is Marcy, Dillon offers to take her with him, introducing himself as a lawman. Dillon hears shouting from a distance, then takes Marcy with him as he takes a look at the village of the renegades.
That evening, Dillon discretely attacked the village to save what he thought was Rachel. However, the woman introduced herself as Stella Silks. She explained that Marcy’s in shock after witnessing her mother’s death. Dillon asks Stella to act as the mother, as the child will need a woman to support her while he heads South to find Cynthia Emery. He eventually allows Stella to accompany her as they look for Cynthia before Fitzpatrick and his men get her to Mexico.
Meanwhile, Fitzpatrick’s group stops their journey to give the animals a rest. Britt gives Cynthia some water to drink, which catches Cynthia’s curiosity since Britt’s kinder than most of the men in Fitzpatrick’s group. Britt wonders if Cynthia knows where they’re taking them, to which he explains that Fitz will take them to Mexico for female business. Cynthia argues that she would rather be dead than be a “slave.” However, Britt tells her it’s the only way she’ll survive.
That evening, Dan and Cynthia discreetly escape from Fitz’s camp. However, Fitz’s men caught up to them. Unfortunately, Dan dies.
On the other hand, Dillon, Stella, and Marcy find themselves in front of a group of Comanches.
Full Story Line for The River Part 2
Dillon, Stella, and Marcy face a group of Comanches. The group is willing to team up with Dillon since Blue Jacket has ruined their tribe’s name. The Comanches also offered to share food with them, which they gladly accepted.
Meanwhile, Fitz brings Cynthia back to the camp. Britt brings her something to eat, then asks about what happened. Cynthia tells him that Dan died trying to help her escape. Britt expressed his desire to help Cynthia, but the law forbids him to do as he pleases. Britt tells her that the Apaches traded him and his sister ten years ago at the Valley of Tears, much like what Cynthia experienced. However, Fitz gave him a life to live, and he soon grew up to see people burning, killing, scalping, and trading as if they were animals. Britt tells Cynthia that she reminded him of his sister, which explains why he tried to set her free by buying her from Fitz.
Stella figured Dillon’s exhausted, suggesting he leave them behind as he continued his search.
The following day, Britt tells Fitz his plans to leave the “slave trading” behind. He asks Fitz to ride with him to a place Fitz once mentioned. However, Fitz tells Britt that such a place only exists in an Irishman’s dream. Britt eventually realizes Fitz doesn’t want to quit their line of work.
Later, Cynthia begs Britt to help her, and the two share a kiss.
Dillon and Marcy find Stella gone the following day. They find her running off into the desert. Stella tells Dillon that she can’t replace Marcy’s mother and would instead go home alone. However, Dillon gives her no choice but to stay with Marcy as he cannot go after Cynthia and leave Marcy alone. He instructed Stella to head East, pick a landmark, and do the same thing again until they reached the fort if ever he didn’t return in time.
Britt and Cynthia run off to reach the border on foot, but Fitz catches up to them immediately. Britt aims his gun at Fitz, telling him to let them go. However, Fitz refused, stating that allowing them to leave would make it hard for him to stop others from doing the same thing. Fitz attacked Britt, forcing the younger to shoot him. Fitz eventually realizes the good in Britt and suggests they leave before the rest of the group comes after them. He soon succumbs to his death.
Cynthia and Britt find Dillon arriving from a distance. Contrary to the excited Cynthia, Britt starts to rethink his decisions and holds her silent. Cynthia stabs Britt from behind, then runs to Dillon. However, Britt shoots her dead before he dies, stopping her from saying anything about their trade business to Dillon.
Dillon brings Marcy to Grandpa. Marcy yells for Stella to stay with them. Stella initially refuses, wanting to go to San Antone. However, she eventually chooses to stay with Marcy, realizing she has reached her San Antone, the place she can call her home.
Full Script and Dialogue of Part 1
(narrator) In the years between 1820 and 1880, there was a period on the Texas frontier little recorded by history, a time of violence and fear. Indian tribes betrayed by government and army treaties and incited by white traders, gave birth to renegade bands composed mostly of young braves bitterly angry at the white man's ruthless encroachment into the lands they considered their birthright. These small bands, splitting away from the tribal structure of Comanche, Kiowa, and Apache, began a series of savage raids on isolated white settlements and ranches. By 1870, these raids for cattle, horses, and human captives had reached as far north as the Canadian River. And over the years, they grew in magnitude and terror until men, women, and children were being carried off and traded into slavery. The men who paid in gold, rifles, and gaudy trinkets for these captives were a gypsylike and notorious breed of white and Mexican outcasts known as Comancheros. Eventually, they came to be regarded as more savage than the bands of renegades with whom they traded, so that by 1873, the word Comanchero had become synonymous with violence and terror. And there was one particular place, a rocky fortress buried deep in the Western wasteland, that became a marketplace for their traffic in human misery. Long after Lincoln's proclamation had given the black man his freedom, a white slave market flourished in the heat and dust of the Southern Plains. It was a place where families were split apart, children were torn from mothers and wives from husbands. And those who witnessed these tragedies called this place the Valley of Tears. (ominous music) (woman screaming) (men shouting) (people screaming) (woman) Let me go. (all shouting) (man laughing) All right, all right. Everything's gonna be all right. A few lucky ones are to be liberated from, they think, the red savages. Blue Jacket, how are you? (Blue Jacket) She's strong. So is an ox. Ma'am. Well, how are you there? Teeth. Well, she's not much to look at but maybe she's got a few years left in her. Britt, do you think so? All right. One jug of whiskey, the finest. One rifle, the latest. (Blue Jacket) Two rifle. If she was pretty-eyed, one. (Blue Jacket) Hm. Britt. [girl gasps] Let me see the lass. No. Easy, just let me see the lass. Two jugs of whiskey, two rifles. Done. (Mother) Please, I'm her mother, you can't. No! Well, I see what caught your eye. How old are you, darling? How old are you? Eighteen. Eighteen. And fresh. And growing riper by the minute, I tell you. I'm caught all over generous at this one, I sure am. Two jugs of whiskey, two rifles. (scoffs) Ah. Well, what do you think, Britt, should I offer the ignorant savage more for this one? Yeah. She looks a might timid to me. It's a long way to Chihuahua. (all laughing) Well, the lad's taken a liking to her, all right. Two jugs of whiskey, two rifles... and this. Done. Well, Britt, look here. There's the hand of God in that face. Auburn hair too. That's rare south of the border. I think maybe we can turn a darling profit with this one. Who are you, husband? Brother. What are you good for? Strong. Good for work. I'm not in that business. The men I deal with are only interested in the ladies. What about them silver mines at Santa Rita? Seeing as how we're passing them up there, we might get maybe a hundred for him. One jug of whiskey. You better take it or you'll wind up shooting him like a lame horse anyway. Done. - I'm staying with... - Dan, no. So, now we come to you, lass. Britt, look at those eyes. Green with flecks of fire and silken hair. I ain't seen the likes of this since Dublin. All right, three jugs of whiskey, one full case of ammunition for them rifles of yours. No trade. Renegades. Either you're looting and burning and scalping or you're tryin' to cheat an ignorant old Irishman. Hoxie, show the chief that thing that I took a fancy to at the last mission. That's it, yes. Chief. Nothing in this world grander to drink your darling whiskey out of, believe me. I keep. What are you gonna do with her? - What do you think? - Keep. You take her for that. Well, she's nothing more than a bloody child. No want child. - You take. - She needs me. If she's with me, I won't be able to run. If you separate us, someway I'll find a way to cut your heart out. She's right, Blue Jacket. You take 'em both or you'll never get a decent night's sleep, I promise you. Oh, aye. Where did you stray from, darling? A long way from here. Well, we're on our way to Mexico. Would you care to join us? Maybe your last chance out with a white man. (chuckles) Well, what's the matter, darling? - Do you got no use for a man? - When I see one. - I'll pass on this one. - Why? She's a troublemaker. She'll have the other girls raising up in mutiny. It's too bad. I'd rather ride with you, Irishman. Sorry, darling, but you're too strong for our blood, used to frighten farm girls. You'd be like putting a hornet in with the hens. - Sorry. - Sure. This is more like it. Give him the chalice, Hoxie. Mister? Lawman? My name's Dillon from Dodge City. I'm McCloud, Josiah McCloud. Rachel's my daughter-in-law and the girl, Marcy's my granddaughter. She's only seven years old. Rachel's brother Dan, they took him too. Was one of 'em wearing a blue cavalry jacket? That's right. Then it's him you're after. You got any idea where they're taken 'em? They'd be better off killed. There's a place where people are being traded and sold like livestock. Slave market run by white renegades out of Mexico. Find them. Bring 'em back. I'll try. This slave market, do you have any idea what it's called? A lot of things. The people that have seen it call it Valley of Tears. (ominous music) (Ruffian) We're moving out. Load 'em up. Bring that team down here. (man) Get in there. Move along, ladies. Get in there now. Keep moving. Move towards the back there. (woman screaming) You... Inside. You can't leave my sister with them. (Rachel) Dan. - Dan. - I'll do it, boy. If they're fixing to kill him, don't get caught up in it. I've seen worse in a Dublin pub. Get the wagon ready to roll. Easy there, will you? Chief, don't let your lads bruise me merchandise. (speaking in foreign language) You're a bloody fool. Now get on your feet, we'll be getting outta here. Buy her from that animal. Pay him anything he wants, please. Oh I'd like to, laddie, but my ship has not come in as yet. You know what she's in for. Well, whatever it is, it can't be worse than what we'd be taking her to. My god, please. Laddie, the Injun's got his heart set on her. There's nothing even a man like me can do. You're no better than them. Well, that's been said by better men than you, me boy. Go with him. Or he'll kill you. Please. She's speaking sense, lad. Come on. I'm sorry, lass, I was tempted to trade the whole thing for you. But it would've been bad business. I'll see you next month, Blue Jacket. (orchestral music) Get him aboard, Hoxie. (Hoxie) Get in. (Timothy) All right, lads, away we go. (orchestral music) (speaking in foreign language) (yipping and hollering) Come. Leave her alone. Take me. Would you take care of her? Mama. Mama. - Your mother will be back. - Mama. What's your name? Marcy. What's your doll's name? Everything's gonna be all right. (orchestral music) What's going on? I'm not sure. The way I get it, we go with him. The rest of 'em are headed somewheres else. Where are they taking us? Home to meet their mothers. (orchestral music) Yeah? (Matt) Looking for a renegade named Blue Jacket. Pulled out early this morning. He and them flame lickers of his got good and loco'd last night. Drunk renegades. Don't mix well with a man's supper. He brought some white women with him? Yeah. Some prime female flesh. Why? I was hoping to do business with him. Well, like I said, he done business and left. But I got a gal I'm willing to bargain for. Seventeen, a might skinny, but she'll fill out. There was a girl with him I wanted to see. She was about 18, blonde, wearing a red dress? She was a pretty one all right. He made a deal on her right off. Who bought her? Fitzpatrick. When'd he leave? At late yesterday. There was a woman and a little girl. Were they with him? Who are you, mister? I'm a trader, just like yourself. What's your name? Hargis. Hargis, never heard of you. But if you're what you say, someone around here will know you. You listen, mister, the woman that Indian stole belonged to me and he took her without a-paying me a red cent. Now, where is she? Blue Jacket wouldn't trade for her. Then she's still with him? I'm gonna give you one chance to tell me where they went, just one. Now, where? Last I seen Blue Jacket, he was heading toward his village. South. The woman was with him? Her and another white woman. What about the little girl? Her too. (dramatic music) (Timothy laughing) Ah yes, I was seeing Katie steady in them days. Of course, no good Irishman ever gives up his heart easily. But one day, Katie fixed me with a baleful eye and she said, "Timothy Fitzpatrick, "we've been walking out now for seven years. "Don't you think it's high time "that we was getting married?" "Married," says I. "Are you crazy, girl? "Who'd have us?" (laughs) What's the matter with you, lad? You're usually good for a chuckle or two. Sorry, I was thinking. Well, I was just thinking that it's gonna be about two days we'll be reaching the Mexican border. I think we ought to linger there awhile. Have some fun. Wash some of this trail dust out of our lungs with some good drinking whiskey. Hey, listen. I know a lady down there and she's got a younger sister, surely she does. Oh, she's a dazzling girl. Dark, gypsy eyes and a haughtiness about her that is most pleasing. Sounds good. But you better not be lying about the way this girl looks. Lying? - Have I ever lied to you, lad? - Oh. Well, maybe. Maybe I leaned on me imagination a bit. Go back and tell the boys that they can look forward to two days of drinking. I think it'll lift their spirits somewhat. (tribal drum music) (speaking in foreign language) Come. No. No. No! Don't fight, don't. Mama. (gun fires) Mom! Mommy. (sobbing) Mommy. (speaking in foreign language) (tense music) No. No! (birds cawing) (ominous music) Little girl. What's your name? Where'd you come from? Go on. You must be thirsty. Not too much now. If you take too much, you might get sick. Your name Marcy? Marcy McCloud? Marcy, I'm gonna take you with me. Now, you don't have to be afraid, I'm your friend. I'm a lawman. (distant shouting) You stay here. (hollering) (yipping) (speaking in foreign language) So it's gonna be you, huh? (yipping) No use fretting. Might not be so bad. I lived on a hog farm. Thirty miles to the closest neighbor. Just me and those hogs and my husband, Opie. What happened to him? They killed him. Damn fool. He went for his rifle. Hadn't fired it in years. Probably didn't even work. Only it wasn't me he was worried about. It was them stinking hogs. Oh, I know it sounds hard. But come down to it, where I'm going can't be any worse than where I was. Maybe for you too. Goodnight. There's a chance they won't even get us there. How can you say that? The law will be following us by now. Texas Rangers. Even the Army, maybe. I can't believe I'm here. Just a few days ago, I had a job in a dress shop. A family. And now they're dead. Murdered. And I'm being taken off to be sold to the highest bidder. No better than an animal. I'll never be able to live through it. I can't, I can't. It won't come to that. There's bound to be some help coming. Help me. Please. I'll try. (yipping) (yelping) (hollering) (yipping) (speaking in foreign language) All right, all right. Up till now, you've been a gentleman. Think I need a drink. (glass shatters) (guns firing) (gunshot) Are there more? Nope. That's all of 'em. Mrs. McCloud, I got your child. She's alive. My child? I got no kids. And I'm not Mrs. McCloud. She's dead. Tried to put a knife in Blue Jacket. When'd that happen? Yesterday. They were gonna kill the kid too but I started screaming and they turned her loose. Well, you did the right thing. I found her wandering in the desert. Well, ain't that something. We better clear outta here. That buck's probably on the way to spread the word. The kid, where is she? Over here. She hasn't said a word since I found her. I think she's in shock. Can't blame her, seeing her mother get killed and all. Been close to it myself the last couple of days. (Matt) You can help. How's that? She's lost her mother. She's gonna need a woman. You gotta be snake bit. Me? Mothering a kid? I don't know anything about 'em. Well, lady, you can learn. Get your horse. Where are we going? South after Fitzpatrick. Isn't that like looking down the barrel of a cannon? I don't get it. I'm after a young woman that was traded to the Comancheros by Blue Jacket. She's from Dodge City. Her name's Cynthia Emery. Well, marshal, I'm sorry about the girl, but she's none of my business. Yeah, maybe so, but I still can't leave you here. Don't tell me you're fixing to drag me and this kid along. I got no choice. I'll give you one. I'm headed for San Anton. The fact is, I was headed there when that mangy son of a wolf took me. Well, I'm sorry, but I'm still gonna have to take you with me, Miss... Silks, Stella Silks. Why? Well, why? Because we're a hundred miles from nowhere. The countryside's infested with renegades. There's no food out here, no water. I leave you here, you're gonna die. Can't get much straighter than that. Listen, Marshal, that Cynthia kid, she'll make out. When I was 18, I was... Forget what I was doing. I'll only slow you down. Miss, they get her to Mexico, you know what she's in for. I know. I'll get your horse. (orchestral music) Hoxie, give the animals a rest. What about those prisoners? That wagon's gotta be hotter than Hades. Well, Britt, I never knew you to show such sweet concern before. Well, you want 'em fat and sassy for Chihuahua, don't you? Aye, but now you're speaking of 'em as though they was cattle. Ain't they? Hoxie. Get 'em out. Get out of there. Come on. Get out. (women screaming) Why are you being nice to me? I don't know. I guess, maybe, 'cause you're scared. Have you ever done this before? I've done my share. - What's your name? - Cynthia. Cynthia Emery. Where'd they capture you? Kansas. Just a few miles from Dodge City. Any folks? They were killed. Hey look, come on, don't now, it won't do you any good. Where are you taking us? - Mexico. - Why? You mean you don't know? No. Why? Well, ask any one of those women. No, you tell me. Business. Female business. Fitz calls 'em fancies, except the ones he's talking about get paid for it. You ain't gonna have any choice. Sorry, but I figured you knew. I'll be a slave. You'll be alive. I'd rather be dead. Yeah, that's what they all say. But you wouldn't, come down to it. Face it, it's the only way you're gonna survive. I'm not cut out for this. I ache from bustle to bone. Oh. Mm. (sighs) How is she? No change. What day is it? I think it's Thursday. I'd have been in San Anton by now, soaking in a tub of hot water. There's a job waiting for me there. And here I am in the middle of nothing, saddled with a lawman and a kid who can't talk. I'm sorry. You pulled me out of a tight spot. How'd you get into this? They hit the stage I was on. Only one they took alive. Stage from Abilene? Abilene. Devil's half-acre, ever been there? A time or two. I used to work the Alamo Saloon there on Cedar Street. Toughest block on this side of hell. Up to a week ago, I ran my own place. I liked Abilene. Why'd you leave? Marshal ran me out. I coulda stayed if I paid him more, but I wouldn't. Now, Abilene, places before just... faded memories. What part of Kansas you from? Dodge City. Dodge. Now, there's a town. You know the Long Branch there? Yep. Hear it's run by a woman. That's right. Level with me. What does she pay you to stay open? All the law allows. And you're the law? Well, at least you're honest about it. We better get moving. (orchestral music) Come on, honey, you gotta eat something. Can't get her to eat. Honey. Honey, please. Are we that hungry yet? Marcy, look what I got for you. Go on, take him. Take good care of him now, he's yours. He's just a baby and he needs someone to look after him. (horse whinnies) (tense music) (snoring) (twig crunches) (owl hoots) Will he run away? Well, I don't think so, not if you keep him warm and fed. But I tell you what, I'll fix a little cage for him tomorrow, just in case. Mama? Mama? Marcy, Marcy. Your mama's gone. But your grandpa, he's waiting for you. You better get some sleep now. Can I hug you? Sure. All right, you lie down now. I just learned something about you, big man. You're a pushover. (dramatic music) (grunting) (both panting) (both grunting) (guns firing) (Hoxie shouting) (Marcy) Think he's hungry? (Stella) If he is, he's not alone. (Marcy) What does he eat? (Matt) Well, you wanna get down and pick him some of those plants there? - Okay. - All right. There you go. Make sure he doesn't get away now. Not exactly Kansas City. Sorry, that's the best we can do. Supposed to be quite a place, Dodge. One town I haven't hit yet. Maybe I'll just show up there someday, stir things up. Yeah, I'll bet you could too. Well, do you ever stop to think of what you're gonna do when you run out of towns? Never think about. Bad for my peace of mind. Most towns, women will cross the street to avoid me. Men who knew me by my first name at night didn't know me at all during the day. Hypocrites. I'm gonna open those doors that have been closed to me. Someday, I'll end up in a town like St. Louis or even Chicago. Live out my days a nice old lady with gracious ways. Church cheese, lectures, concerts. Why wait? Takes money. I'm saving for it. Well, you're young now, you better not wait too long. (orchestral music) (horse whinnies) (dramatic music) Comanches. Comanches.
Full Script and Dialogue of Part 2
In the years between 1820 and 1880, Indian tribes repeatedly betrayed by government treaties gave birth to small renegade bands bitterly angry at the white man's encroachment into the lands they considered their birthright. These small bands of Indians began a series of savage raids on isolated white settlements and ranches. By 1870, these raids had grown in magnitude and terror, as men, women, and children were abducted in ever-increasing numbers. The men who bought these captives and later traded them into slavery in Mexico were a gypsy-like and notorious breed of outcasts known as Comancheros, a word synonymous with violence and terror. There was one particular place, a rocky fortress buried deep in the Western wasteland that became a white slave market. It was a place where families were split apart, children were torn from mothers, and wives from husbands, and those who witnessed these tragedies call this place the Valley of Tears. This is more like it. Give 'em the chalice, Hoxie. Mister? Lawman? The name's Dillon from Dodge City. I'm McCloud, Josiah McCloud. Rachel's my daughter-in-law, and the girl, Marcy's my granddaughter. She's only seven years old. Rachel's brother Dan, they took him too. Was one of 'em wearing a blue cavalry jacket? No! Don't, don't! Mom! Mom. Little girl. What's your name? Hoxie, give the animals a rest. What about those prisoners? That wagon's gotta be hotter than Hades. I've never known you to show such sweet concern before. Well, you want 'em fat and sassy for Chihuahua, don't you? Now you speak of 'em as though they was cattle. Ain't they? Where are you taking us? - Mexico. - Why? You mean you don't know? No. Why? Well, ask any one of those women. No, you tell me. Business, female business. Fitz calls 'em fancies, except the ones he's talking about get paid for it. Are there any more? Nope. That's all of 'em. Mrs. McCloud, I got your child. She's alive. My child? I got no kids, and I'm not Mrs. McCloud. She's dead. Now I'm being taken off to be sold to the highest bidder, no better than an animal. I'll never be able to live through it. I can't, I can't. It won't come to that. There's bound to be some help coming. Help me. Please. Marcy, look what I got for you. Come on, take him. Comanches? Comanches. Blue Jacket. What is it? He asked us what we were doing out here and I told him. He said his people hated Blue Jacket too. He gives their tribe a bad name. They're glad he's dead. He wants to know if we want to share their food with them. Say yes, I'm starved. No, please, let me go, no! Get in there, move it along, ladies. Get in there now. Keep moving, move towards the back there. What happened? Oh, the young lad won't be coming back. What a waste, but your little darling's here all in one piece. Fitz, let her go. - Let her go? - Come on, a girl like that, what she's facing, she's just gonna kill herself. When we deliver her to Chihuahua hale and hardy and I get the money in me pocket, what she does to herself is no concern of mine, but I want you to stay away from her. - Why? - Because she's innocent. She's untouched and I don't want her spoiled. Come on, let her go. I'll make up the loss from my cut. Well, that's no way to turn a profit. Look, Britt, if you don't stop giving over to these doleful sentiments about a tearful lass we're all gonna wind up dancing on the end of a rope. You know, you've gone all soft on me lately. Yes, you have, it's my fault. I've been too easy on you. My father, God bless him, had a firm hand. Yeah, I reckon that accounts for your turning out so good. I reckon it accounts for me learning to take care of me-self, and not worrying about others, until you lad. If you want the truth about us, I think we're both too far gone to start any soul searching. And like they say, the devil or the hangman. It's a line of work. All right, let's saddle up. Stella? - Yes. - Do you have any kids? Nope, I'm not married. Do you have any folks? Nope. Do you have anybody? I got my good looks, that's about it. You take care of him. Stella, you ever afraid of being alone? No. Where are they going? They're carrying message to Fort McKenna for me. What for? Well, the Chief said he spotted the Comancheros. They got about ten white women with them. Now all I can do is hope to get that Emery girl outta there by myself. The army, I just have to hope they catch up with them before they get to the Mexican border. How's she doing? Handles herself pretty good. Some of us could take lessons. Her father's been dead two years, her mother told me. Last couple of days she's lost her. All she's got left is that grandfather. Thank God he's alive. Well, she's starting to think of me in terms of family. No thanks. Did she say that? No, but she rimmed it real well. Well, right now she feels alone and afraid. I'm not the kind of woman to... Marshal, I'm no dove. Stella, it's not gonna hurt you to go along with her until we're out of this thing. Right now she needs both of us. It's like you said, last couple of days, she's lost a lot. Britt, join me. No, thanks. Britt's getting himself in deep water over that woman. We're gonna have a talk on it. He's changing, Tim. I've seen it coming on. You mind your own business. You gotta eat. Why? Well, 'cause. Because if I shrivel up on you, I won't be worth as much. What happened yesterday, I'm sorry. He was trying to help me. I'd like to help you, but I can't. Why? Well, the law. You know too much. How did you end up with these men? My folks were killed, same as yours, only by Apaches. They took my sister and me to that same place I first saw you, Valley of Tears. Good name for it. I was just a kid, my sister was 18. Apaches traded us to some white men. Like Fitzpatrick. Yeah, like Fitzpatrick. But that was ten years ago. You never looked for your sister? I don't know, she probably ended up in the same... Same place you're taking me. You never looked for her? I used to think about looking for her, but... I don't want to now. I know what I'd find. Later Fitz picked me up for a jug of whiskey, just somebody to tote and fetch, but it took on to be more than that. He had no family and neither did I. He gave me a life. A life? What kind of life is this? He gave me all he had to give. By the time I was 16, I seen it all. Burning, killing and scalping, folks traded like animals. I got used to it, like I did corn whiskey. Seeing you, first time in a long time I thought about any of it. You'd seen others before me. Yeah, but this time it hit me different. Brought back my sister. Maybe you remind me of her, I don't know. You know, I tried to buy you from Fitz. For yourself? Maybe. But I was fixing to set you free. What now? Here. You often invite one of the girls out for a late drink? From time to time. It's what they call the loneliness of command. - Why me? - Why not? You don't look as though you're afraid. And I'm too weary tonight to fight with one that is. Am I talking in good taste, darling? Mr. Fitzpatrick, you done said more to me in two minutes than my poor deceased husband did in five years. Britt. Wait here, darling, don't go away. I'll be right back. Well, Britt, I thought maybe we'd lost you. Took a ride, had some thinking to do. Thinkin' about what? My sister, and that girl. Britt, don't go stirring up the past, lad. Your sister today is probably married to a rich man with a fat belly. You know better than that where she ended up, where they all end up. Only way out is to die. Oh, Britt, you're so nervous these days, lad. Why don't you come over and join us and have a drink. No thanks. That boy, he's important to you. Aye. You're quite a man, Mr. Fitzpatrick. Well, considering my beginnings, and where I come from. Ireland. Surely. You know, my father... he died when I was just a wee lad. Famine. Potato plague. God curse it in hell. I was one of six sons. They're all dead now, but me. The day I sailed for America, I buried my oldest brother, Michael, right in the earth, God's own earth. It was supposed to give us life. I sailed. Sailed on a fever ship. Most died of typhus, coffin ships they called them, and they were indeed. But I survived, lassie. And since then I've tracked me way through life on me own muscle and me own wits. Stella? Aren't you supposed to be asleep? Do you like the marshal? He's a man, isn't he? Sure I do, why? I could tell. Marcy, what are you brewing up? Well, ladies, we're gonna be leaving early in the morning. Mr. Dillon, where do you live? I live a long way from here, Marcy. Dodge City, Kansas. I've heard Grandpa talk about Dodge City. Bet you miss your grandpa, don't you? Yeah, I sure do, I miss him a lot. You know, every once in a while, me and Grandpa used to go down into town and get some supplies, and after we finished loading the wagon, Grandpa would let me get some licorice while he went to the saloon. Grandpa likes ladies in fancy dresses and wearing rouge. You know, Grandpa says a woman can go farther in rouge than a man with a horse, a rifle, and a side of bacon. What does it mean? I'd say that means your grandpa is a pretty smart man. Do you think we'll ever get back home? Sure we will. Better get some sleep now. When's the last time you slept? You look awful. Thanks. You'll never catch up to them with us along. Well, we're not exactly eating up distance like a prairie fire. Face it, we're weights around your neck. Leave us here, go on by yourself. We'll be all right. I can't do that. You've got no choice. Getting that girl away from a pack of cutthroats is tough enough. Toting along me and a kid, it's impossible. You've gotta leave us behind or forget that girl. That badge is getting too damn heavy. Well, I've been wondering where you were. Fitz, after we finish up in Chihuahua, I'm heading out on my own. Oh, laddie, laddie, laddie, you're letting this lass turn you around. No, it's not just her. She just made me realize something. I've lost my taste for this line of work. You know, Britt, I've always thought of you as me own son. Yeah, I know that. I just can't take another one of these trips. Come on, Fitz, let's make this the last one. Ride with me. Ride with you? Where? Well, what about that place you always told me about? You know, where the water's blue and clear, and warmer than a mother's smile, and those pretty little brown girls who wear nothing but... Well, they don't wear much. Laddie, there's no such place. That was just an Irishman's blissful dream. Yeah, but we can find it. What do we use for money? Well, we'll have enough when we sell these girls. For two months maybe, then what? Rob a bank, make up to an aging widow, what? You can't quit, can you? You don't want to. Britt, it was the hand that was dealt me. You too. Maybe, but I'm cashing in. If you don't have anybody, do you have a home? Home? Home is where you have to be. San Antone's where I'm headed. Do you know anybody there? Nope. Well, how can it be home if there's nobody there to care for you? Where'd did you get all this sagebrush savvy? Your grandpa? Every day we'd sit out on the porch and watch the sun go down, and Grandpa'd talk. He sure did. I wish you and Mr. Dillon could come live with me and Grandpa. What? You'd like it, I know you would. Well, Mr. Dillon has his own life to go back to. So do I. All right girls, rest time, let's go. Come on, come on. Is something wrong? Can I talk to you? Sure. Britt, help me. I'll do anything. Britt, get me away from here. If you want me. No, don't go. Don't go. I like you. I like you a lot. Britt, help me. You know something? You're pretty, almost as pretty as my mama. No, honey. Your mother was lovely. Goodnight. Any sign of them? No, but I think we'll catch up to them sometime tomorrow. She asleep? That's some kid. How's that? She said I was pretty. You're not the only pushover around here. Why don't you ever say things like that? Well, you are pretty, Stella. Don't tell me nobody ever told you that before. Maybe, but always for the wrong reasons. It's nice to know you fill a man's eye, especially if it's a certain man. Thanks. Feels silly still calling you Marshal. I know it's Dillon, but what goes in front of it? Matt. Matt. Matt Dillon. Fits. Mom? Mama! - Mama! - It's all right, Marcy. It's all right. We're here, nothing to be afraid of. - They killed my mama. - Oh, hush, hush. Don't think about it. Stella, will you be my mommy? Just 'til we get back home, please. Oh, please, Stella. We'll see. We'll see, now you rest. Marcy, Marcy, wake up. We have to get going. Where's Stella? I don't know, she's gone. Maybe she got lost. Whoa, whoa. Come on. Now, Marcy, stay here. Stella! Why'd you come after me? Why'd you run off? Marcy. I can't replace what she's lost. - All she wants... - I know what she wants. Can't you see what's happening? She's starting to paint and dream, and with me taking her mother's place. I can't handle that. If I let it start, how am I going to stop it? That's what she needs right now. I don't care what she needs. I don't want any part of it, hear me? She's asking for something I haven't got to give. If you didn't have it to give, you wouldn't have run off like this. Don't you understand? After this, I go back to what I am. And what if you find out it's not what you'd like to be? All I want to be is accepted. Well, I think she's done that for you. Oh, leave me alone, will you? Where do you think you're going? San Antone. You're headed in the wrong direction. North, isn't it? Which way is that? - That way. - That's south. Well, then, that way. Stella, I can't go after that girl and leave Marcy alone out here. What you gonna do? I'm gonna do what you suggested the other night. I'm gonna leave her here with you. I've got no choice. You don't either. Oh, Britt, tell the lads we'll be breaking camp in ten minutes. Fitz, let her go. Let her go, out here? There's a trading post two days east. I'll take her there and catch up to you. You might just keep going, lad. - No, I... - Break camp. I wager if we push it, we can make the Rio Grande by dusk. Break camp. Hoxie, break camp. Load 'em up, we're moving out. Now, Marcy, I'm gonna leave you here with Stella for a while. And I want you to take care of the water. Now, don't drink any more than you have to 'cause I want it to last 'til I get back. It's your responsibility. Yes, sir. All right. All right, in case I don't get back... Don't talk like that. You will. I know, but in case I don't. Now, I want you to head straight that way, that's east. Before the sun gets up too high in the morning, pick a landmark over there and head toward it. Then when you get there, stay overnight. Then get up the next morning and do the same thing over again, do you understand? Yep. That way you should get to the fort in two or three days. Take care of her. I will. You take care of yourself. Marcy? Won't you talk to me? You can't carry a grudge forever. Why'd you run? I guess 'cause I realized somebody needed me. You know, and I've grown thick skin. What does that mean? It means I've been fooling myself. When we get back home, you can stay with me and Grandpa? Just for a little while? Just to see how you like it? Oh, I don't think so, Marcy. It's San Antone. Grandpa's been there. So have I. But it's been a spell. What's in San Antone? Something that was in Abilene and all the other places. Stella? Yeah? Get in. I'm taking this girl. Does Fitzpatrick know this? - Ask him. - I will. Now we gotta chance it on foot. It's not too far to the border. All right, come on. Ha, where do you two think you're going? I should have seen this coming. When a man gets scruples, he gets unreliable. Now both of you, turn around and go back where you come from. Fitz, let us go. No, lad, no. Back. We're coming through. Oh, laddie. Laddie... I knew you had a feeling for the girl, but... to go up against me, son? Fitz, move aside. I can't do that, lad. You know that. If I let you get away with this, how do I stop the others from trying the same thing? Give me the gun. Well... I can see there's... no talking you out of it. Oh, laddie. I never thought it'd come to you shooting me. I surely never did. Oh, I didn't want it to get to this, Fitz. It looks like I made something outta you after all. Better than me-self. There's good in you, lad. You keep looking for it. They'll be coming now. You get out of here. I can't leave you like that. Go now. Fitz. There's something I never ever told you, Fitz. What you've been to me. Laddie, laddie listen, listen to me. You remember that place I told you about? That I said wasn't there? Well, it is. If you keep looking for it, for the water, blue water. Warm, warm as a mother's... Let's go, they'll be coming. Don't you understand? He's dead. I killed him. Don't you understand? I killed him. It came from over there. Run. Go. What's the matter with you? Shouldn't we keep going? What's wrong? I just hope you're worth it. Well, if it's money you're worried about... Money? Don't you know who I just killed? It's the marshal. - What? - Marshal Dillon - from Dodge City. - No. Let me go. He's the law, if he knows I'm here, I'm dead. Well, then go on and run for it. I won't tell him. Oh my God, what did I do? I won't say anything, I promise. I'm beginning to think your promises ain't worth a damn, lady. Now don't make a sound. Did you think I'd let you touch me? You filth. Marshal! Marshal! Oh, oh, Marshal, oh, thank God. Cynthia, are you all right? Yes, it was so horrible. I was so scared. I escaped, and I run and run. You alone? Yes. Is she dead? Yeah, who are you? A damn fool. Grandpa! - Grandpa. - Oh, Marcy. Oh, Grandpa. Grandpa, I'm home. I'm so glad to see you. I'm so glad to be home. Are you all right, honey? Well, what are we waiting for? Is it San Antone? Remember? I got a job waiting for me there. Stella, Stella! Stella, Stella, come back, Stella, please. Stella! Oh, hell, I've been to San Antone.
Behind the Scenes of Women for Sale Part 1
William Conrad, who played Marshal Matt Dillon on CBS Radio, served as the narrator for this episode.
Behind the Scenes of Women for Sale Part 2
This two-part episode marks the last among James Whitmore’s three appearances as different characters in the series.
Looking for More Gunsmoke Episodes?
Make Gunsmoke the next Western to watch by yourself or with family! All episodes of this 20-season Western television show aired in the U.S. by CBS. The two-part episode of Gunsmoke, Women for Sale, served as the 1st and 2nd episodes of Season 19.
You can find more about any of the Gunsmoke episodes here.
