The Man from Battle Flat

  First Skyhorse Publishing edition published 2015 by arrangement with Golden West Literary Agency

  Copyright © 2010 by Golden West Literary Agency.

  “Mistakes Can Kill You” under the byline Jim Mayo first appeared in Exciting Western (11/50). Copyright © 1950 by Better Publications, Inc. Copyright not renewed.

  “The Rider of the Ruby Hills” under the byline Jim Mayo first appeared in West (9/49). Copyright © 1949 by Better Publications, Inc. Copyright not renewed.

  “The Man from Battle Flat” under the byline Jim Mayo first appeared in Rio Kid Western (1/52). Copyright © 1952 by Better Publications, Inc. Copyright not renewed.

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  Library of Congress Cataloging-in-Publication Data is available on file.

  Cover design by Brian Peterson

  Print ISBN: 978-1-62914-371-2

  Ebook ISBN: 978-1-63220-038-9

  Printed in the United States of America

  TABLE OF CONTENTS

  Foreword

  Mistakes Can Kill You

  The Rider of the Ruby Hills

  The Man from Battle Flat

  About the Editor

  Foreword

  BY JON TUSKA

  Louis Dearborn LaMoore (1908-1988) was born in Jamestown, North Dakota. He left home at fifteen and subsequently held a wide variety of jobs although he worked mostly as a merchant seaman. From his earliest youth, L’Amour had a love of verse. His first published work was a poem, “The Chap Worth While”, appearing when he was eighteen years old in his former hometown’s newspaper, the Jamestown Sun. It is the only poem from his early years that he left out of Smoke from this Altar, which appeared in 1939 from Lusk Publishers in Oklahoma City, a book which L’Amour published himself; however, this poem is reproduced in The Louis L’Amour Companion (Andrews and McMeel, 1992) edited by Robert Weinberg. L’Amour wrote poems and articles for a number of small circulation arts magazines all through the early 1930s and, after hundreds of rejection slips, finally had his first story accepted, “Anything for a Pal” in True Gang Life (10/35). He returned in 1938 to live with his family where they had settled in Choctaw, Oklahoma, determined to make writing his career. He wrote a fight story bought by Standard Magazines that year and became acquainted with editor Leo Margulies who was to play an important role later in L’Amour’s life. “The Town No Guns Could Tame” in New Western (3/40) was his first published Western story.

  During the Second World War L’Amour was drafted and ultimately served with the U.S. Army Transportation Corps in Europe. However, in the two years before he was shipped out, he managed to write a great many adventure stories for Standard Magazines. The first story he published in 1946, the year of his discharge, was a Western, “Law of the Desert Born” in Dime Western (4/46). A talk with Leo Margulies resulted in L’Amour’s agreeing to write Western stories for the various Western pulp magazines published by Standard Magazines, a third of which appeared under the byline Jim Mayo, the name of a character in L’Amour’s earlier adventure fiction. The proposal for L’Amour to write new Hopalong Cassidy novels came from Margulies who wanted to launch Hopalong Cassidy’s Western Magazine to take advantage of the popularity William Boyd’s old films and new television series were enjoying with a new generation. Doubleday & Company agreed to publish the pulp novelettes in hard cover books. L’Amour was paid $500 a story, no royalties, and he was assigned the house name Tex Burns. L’Amour read Clarence E. Mulford’s books about the Bar-20 and based his Hopalong Cassidy on Mulford’s original creation. Only two issues of the magazine appeared before it ceased publication. Doubleday felt that the Hopalong character had to appear exactly as William Boyd did in the films and on television and thus the novels in book form had to be revamped to meet with this requirement prior to publication.

  L’Amour’s first Western novel under his own byline was Westward the Tide (World’s Work, 1950). It was rejected by every American publisher to which it was submitted. World’s Work paid a flat £75 without royalties for British Empire rights in perpetuity. L’Amour sold his first Western short story to a slick magazine a year later, “The Gift of Cochise” in Collier’s (7/5/52). Robert Fellows and John Wayne purchased screen rights to this story from L’Amour for $4,000 and James Edward Grant, one of Wayne’s favorite screenwriters, developed a script from it, changing L’Amour’s Ches Lane to Hondo Lane. L’Amour retained the right to novelize Grant’s screenplay, which differs substantially from his short story, and he was able to get an endorsement from Wayne to be used as a blurb, stating that Hondo was the finest Western Wayne had ever read. Hondo (Fawcett Gold Medal, 1953) by Louis L’Amour was released on the same day as the film, Hondo (Warner, 1953), with a first printing of 320,000 copies.

  With Showdown at Yellow Butte (Ace, 1953) by Jim Mayo, L’Amour began a series of short Western novels for Don Wollheim that could be doubled with other short novels by other authors in Ace Publishing’s paperback two-fers. Advances on these were $800 and usually the author never earned any royalties. Heller with a Gun (Fawcett Gold Medal, 1955) was the first of a series of original Westerns L’Amour had agreed to write under his own name following the success for Fawcett of Hondo. L’Amour wanted even this early to have his Western novels published in hardcover editions. He expanded “Guns of the Timberland” by Jim Mayo in West (9/50) for Guns of the Timberlands (Jason Press, 1955), a hardcover Western for which he was paid an advance of $250. Another novel for Jason Press followed and then Silver Canyon (Avalon Books, 1956) for Thomas Bouregy & Company.

  The great turn in L’Amour’s fortunes came about because of problems Saul David was having with his original paperback Westerns program at Bantam Books. Fred Glidden had been signed to a contract to produce two original paperback Luke Short Western novels a year for an advance of $15,000 each. It was a long-term contract but, in the first ten years of it, Fred only wrote six novels. Literary agent Marguerite Harper then persuaded Bantam that Fred’s brother, Jon, could help fulfill the contract and Jon was signed for eight Peter Dawson Western novels. When Jon died suddenly before completing even one book for Bantam, Harper managed to engage a ghost writer at the Disney studios to write these eight “Peter Dawson” novels, beginning with The Savages (Bantam, 1959). They proved inferior to anything Jon had ever written and what sales they had seemed to be due only to the Peter Dawson name.

  Saul David wanted to know from L’Amour if he could deliver two Western novels a year. L’Amour said he could, and he did. In fact, by 1962 this number was increased to three original paperback novels a year. The first L’Amour novel to appear under the Bantam contract was Radigan (Bantam, 1958).

  Yet I feel that some of Louis L’Amour’s finest work is to be found in his early magazine fiction. Several of those stories are collected here, reprinted as they first appeared, and possessing the characteristics in purest form that I suspect account in largest measure for the loyal following Louis L’Amour won from his readers: the young male hero who is in the process of growing into manhood and who is evaluating
other human beings and his own experiences; a resourceful frontier woman who has beauty as well as fortitude; and the powerful, romantic, strangely compelling vision of the American West that invests L’Amour’s Western fiction and makes it such a delightful escape from the cares of a later time—in this author’s words, that “big country needing big men and women to live in it” and where there was no place for “the frightened or the mean.”

  Mistakes Can Kill You

  Ma Redlin looked up from the stove. “Where’s Sam? He still out yonder?”

  Johnny rubbed his palms on his chaps. “He ain’t comin’ to supper, Ma. He done rode off.”

  Pa and Else were watching him, and Johnny saw the hard lines of temper around Pa’s mouth and eyes. Ma glanced at him apprehensively, but when Pa did not speak, she looked to her cooking. Johnny walked around the table and sat down across from Else.

  When Pa reached for the coffee pot, he looked over at Johnny. “Was he alone, boy? Or did he ride off with that no-account Albie Bower?”

  It was in Johnny neither to lie nor to carry tales. Reluctantly he replied: “He was with somebody. I reckon I couldn’t be sure who it was.”

  Redlin snorted and put down his cup. It was a sore point with Joe Redlin that his son and only child should take up with the likes of Albie Bower. Back in Pennsylvania and Ohio the Redlins had been good God-fearing folk, while Bower was no good, and came from a no-good outfit. Lately he had been flashing money around, but he claimed to have won it gambling at Degner’s Four Star Saloon.

  “Once more I’ll tell him,” Redlin said harshly. “I’ll have no son of mine traipsin’ with that Four Star outfit. Pack of thieves, that’s what they are.”

  Ma looked up worriedly. She was a buxom woman with a round apple-cheeked face. Good humor was her normal manner. “Don’t you be sayin’ that away from home, Joe Redlin. That Loss Degner is a gunslinger, and he’d like nothin’ so much as to shoot you after you takin’ Else from him.”

  “I ain’t afeerd of him.” Redlin’s voice was flat. Johnny knew that what he said was true. Joe Redlin was not afraid of Degner, but he avoided him, for Redlin was a small rancher, a one-time farmer, and not a fighting man. Loss Degner was bad all through and made no secret of it. His Four Star was the hang-out for all the tough element, and Degner had killed two men since Johnny had been in the country, as well as pistol-whipping a half dozen more.

  It was not Johnny’s place to comment, but secretly he knew the older Redlin was right. Once he had even gone so far as to warn Sam, but it only made the older boy angry.

  Sam was almost twenty-one and Johnny but seventeen, but Sam’s family had protected him and he had lived always close to the competence of Pa Redlin. Johnny had been doing a man’s work since he was thirteen, fighting a man’s battles, and making his own way in a hard world.

  Johnny also knew what only Else seemed to guess, that it was Hazel, Degner’s red-haired singer, who drew Sam Redlin to the Four Star. It was rumored that she was Degner’s woman, and Johnny had said as much to Sam. The younger Redlin had flown into a rage and, whirling on Johnny, had drawn back his fist. Something in Johnny’s eyes stopped him, and, although Sam would never have admitted it, he was suddenly afraid.

  Like Else, Johnny had been adrift when he came to the B Bar. Half dead with pneumonia, he had come up to the door on his black gelding, and the Redlins’ hospitality had given him a bed and the best care the frontier could provide, and, when Johnny was well, he went to work to repay them. Then he stayed on for the spring roundup as a forty-a-month hand.

  He volunteered no information, and they asked him no questions. He was slightly built and below medium height, but broad-shouldered and wiry. His shock of chestnut hair always needed cutting, and his green eyes held a lurking humor. He moved with deceptive slowness, but he was quick at work, and skillful with his hands. Nor did he wait to be told about things, for even before he began riding, he had mended the buckboard, cleaned out and shored up the spring, repaired the door hinges, and cleaned all the guns.

  “We collect from Walters tomorrow,” Redlin said suddenly. “Then I’m goin’ to make a payment on that Sprague place and put Sam on it. With his own place he’ll straighten up and go to work.”

  Johnny stared at his plate, his appetite gone. He knew what that meant, for it had been in Joe Redlin’s mind that Sam should marry Else and settle on that place. Johnny looked up suddenly, and his throat tightened as he looked at her. The gray eyes caught his, searched them for an instant, and then moved away, and Johnny watched the lamplight in her ash blonde hair, turning it to old gold.

  He pushed back from the table and excused himself, going out into the moonlit yard. He lived in a room he had built into a corner of the barn. They had objected at first, wanting him to stay at the house, but he could not bear being close to Else, and then he had the lonely man’s feeling for seclusion. Actually it had other advantages, for it kept him near his horse, and he never knew when he might want to ride on.

  That black gelding and his new .44 Winchester had been the only incongruous notes in his get-up when he arrived at the B Bar, for he had hidden his guns and his best clothes in a cave up the mountain, riding down to the ranch in shabby range clothes with only the .44 Winchester for safety.

  He had watched the ranch for several hours despite his illness before venturing down to the door. It paid to be careful, and there were men about who might know him.

  Later, when securely in his own room, he had returned to his cache and dug out the guns and brought his outfit down to the ranch. Yet nobody had ever seen him with guns on, nor would they, if he was lucky.

  The gelding turned its head and nickered at him, rolling its eyes at him. Johnny walked into the stall and stood there, one hand on the horse’s neck. “Little bit longer, boy, then we’ll go. You sit tight now.”

  There was another reason why he should leave now, for he had learned from Sam that Flitch was in town. Flitch had been on the Gila during the fight, and he had been a friend of Card Wells, who Johnny had killed at Picacho. Moreover, Flitch had been in Cimarron a year before that when Johnny, only fifteen then, had evened the score with the men who had killed his father and stolen their outfit. Johnny had gunned two of them down and put the third into the hospital.

  * * * * *

  Johnny was already on the range when Sam Redlin rode away the next morning to make his collection. Pa Redlin rode out with Else and found Johnny branding a yearling. Pa waved and rode on, but Else sat on her horse and watched him. “You’re a good hand, Johnny,” she said when he released the calf. “You should have your own outfit.”

  “That’s what I want most,” he admitted. “But I reckon I’ll never have it.”

  “You can if you want it enough. Is it because of what’s behind you?”

  He looked up quickly then. “What do you know of me?”

  “Nothing, Johnny, but what you’ve told us. But once, when I started into the barn for eggs, you had your shirt off and I saw those bullet scars. I know bullet scars because my own father had them. And you’ve never told us anything, which usually means there’s something you aren’t anxious to tell.”

  “I guess you’re right.” He tightened the girth on his saddle. “There ain’t much to tell, though. I come West with my pa, and he was a lunger. I drove the wagon myself after we left Independence. Clean to Caldwell, then on to Santa Fe. We got us a little outfit with what Pa had left, and some mean fellers stole it off us, and they killed Pa.”

  Joe Redlin rode back to join them as Johnny was swinging into the saddle. He turned and glanced down at the valley. “Reckon that range won’t get much use, Johnny,” he said anxiously, “and the stock sure need it. Fair to middlin’ grass, but too far to water.”

  “That draw, now,” Johnny suggested. “I’ve been thinkin’ about that draw. It would take a sight of work, but a couple of good men with teams and some elbow grease could build them a dam across that draw. There’s a sight of water comes down when it rains
, enough to last most of the summer if it was dammed. Maybe even the whole year.”

  The three horses started walking toward the draw, and Johnny pointed out what he meant. “A feller over to Mobeetie did that one time,” he said, “and it washed his dam out twice, but the third time she held, and he had him a little lake, all the year around.”

  “That’s a good idea, Johnny.” Redlin studied the set-up and then nodded. “A right good idea.”

  “Sam and me could do it,” Johnny suggested, avoiding Pa Redlin’s eyes.

  Pa Redlin said nothing, but both Johnny and Else knew that Sam was not exactly ambitious about extra work. He was a good hand, Sam was, strong and capable, but he was big-headed about things and was little inclined to sticking with a job.

  “Reminds me,” Pa said, glancing at the sun. “Sam should be back soon.”

  “He might stop in town,” Else suggested, and was immediately sorry she had said it for she could see the instant worry on Redlin’s face. The idea of Sam Redlin stopping at the Four Star with $7,000 on him was scarcely a pleasant one. Murder had been done there for much, much less. And then Sam was overconfident. He was even cocky.

  “I reckon I’d better ride in and meet him,” Redlin said, genuinely worried now. “Sam’s a good boy, but he sets too much store by himself. He figures he can take care of himself anywhere, but that pack of wolves . . .” His voice trailed off to silence.

  Johnny turned in his saddle. “Why, I could just as well ride in, Pa,” he said casually. “I ain’t been to town for a spell, and, if anything happened, I could lend a hand.”

  Pa Redlin was about to refuse, but Else spoke up quickly. “Let him go, Pa. He could do some things for me, too, and Johnny’s got a way with folks. Chances are he could get Sam back without trouble.”

  That’s right! Johnny’s thoughts were grim. Send me along to save your boy. You don’t care if I get shot, just so’s he’s been saved. Well, all right, I’ll go. When I come back, I’ll climb my gelding and light out. Up to Oregon. I’ve never been to Oregon.