Lost Trails

  LOST TRAILS

  Edited by Martin H. Greenberg and Russell Davis

  PINNACLE BOOKS

  Kensington Publishing Corp.

  www.kensingtonbooks.com

  All copyrighted material within is Attributor Protected.

  PINNACLE BOOKS are published by

  Kensington Publishing Corp.

  850 Third Avenue

  New York, NY 10022

  Introduction copyright © 2007 Russell Davis

  “Mark and Bill,” copyright © 2007 Loren D. Estleman

  “After Blackjack Dropped,” copyright © 2007 Robert Vardeman

  “To Shoe a Horse,” copyright © 2007 Don Coldsmith

  “Dancing Silver,” copyright © 2007 Ken Hodgson

  “Bear River Tom and the Mud Creek Massacre,” copyright © 2007 William W. Johnstone

  “Blue Horse Mesa,” copyright © 2007 John D. Nesbitt

  “The Ones He Never Mentioned,” copyright © 2007 Jeff Mariotte

  “What Really Happened to Billy the Kid,” copyright © 2007 John Duncklee

  “The Tombstone Run,” copyright © 2007 John Helfers and Kerrie Hughes

  “The Wild-Eyed Witness,” copyright © 2007 Lori Van Pelt

  “The Gift of Cochise” first appeared in Collier’s, July 5, 1952. Copyright 1952 by Cromwell-Collier Publishing Company, from The Collected Short Stories of Louis L’Amour: The Frontier Stories, Vol. One by Louis L’Amour. Used by permission of Bantam Books, a division of Random House, Inc.

  “Younger and Faster,” copyright © 2007 Mike Thompson

  “The Cody War,” copyright © 2007 Johnny D. Boggs

  “Born to Be Hanged,” copyright © 2007 Elmer Kelton

  Table of Contents

  Title Page

  INTRODUCTION

  Mark and Bill

  After Blackjack Dropped

  To Shoe a Horse

  Dancing Silver

  Bear River Tom and the Mud Creek Massacre

  Blue Horse Mesa

  The Ones He Never Mentioned

  What Really Happened to Billy the Kid

  The Tombstone Run

  The Wild-Eyed Witness

  The Gift of Cochise

  Younger and Faster

  The Cody War

  Born to Be Hanged

  Copyright Page

  INTRODUCTION

  When I was a little boy, my father surrounded me with the literature of the American West. Names like Louis L’Amour, Elmer Kelton, Zane Grey, and Max Brand were placed side by side with series Westerns that featured the same hero in a new adventure—and with a new woman or two (or three)—every month. But while I read each of these stories with the unbridled enthusiasm of the new reader who has discovered an untamed land and a clear code of right and wrong, and a mythos of good guys and bad guys that even my young mind could understand, my true hero of the West was, and still is, my father.

  It was my father who introduced me to the character of Little Joe—a young boy, always about my age, who grew up (depending on where we lived at the time) on the plains of Nebraska, in the flatlands of Kansas, the rolling hills of Missouri, or any number of other places. Little Joe was tough. He fought off Indians and bandits with equal ease, once using a single bullet shot across the blade of a bowie knife to kill two assailants at once! Little Joe taught me about sod houses, about protecting your family, about doing right, and mostly about the mythic American West. I have been in love with it ever since, and I have had moments in my professional life, being involved as an editor, a writer, a book packager, a publisher, and even a sometime agent, that have transcended even my boyhood fascination with Little Joe.

  During those moments, I wasn’t just reading about the West, but participating in preserving it through books.

  Imagine my pleasure, if you can, five or so years ago, when I was able to arrange, through the good graces of a friend, for my father to appear as a character in a long-running Western series. Imagine when Elmer Kelton happily signed a book for my father a year or two ago, and was willing to personalize it exactly as I’d wanted . . . or when I regularly receive signed copies of novels and collections in the mail, all signed for him by writers who know how much it means to me to able to send them along. Imagine what I felt when I called a few years ago to tell him I was going to be a judge for the Western Heritage Awards.

  Imagine, if you will, what it meant to me to be able to call him more recently and say I was editing an anthology of Western stories, and some of the finest writers in the genre—like Elmer Kelton and Loren Estleman and Johnny Boggs—were going to write for it.

  I can tell you that I have never been more honored than to have a role in continuing the important tradition of bringing new stories of the West into the bookstores and libraries of our nation. And it is important.

  For those of you reading this, what I’m about to tell you should come as no surprise at all. The literature of the American West is fading into the sunset much like the lone gunslinger riding away at the end of the movie. Go into any bookstore and look at the Western section. Really look. It’s smaller than it was, and getting smaller all the time. With a tip of the hat to Mr. L’Amour—whose estate has graciously allowed a story to appear in this collection—it seems tragic to me as a reader that a man who has been deceased for nearly twenty years is still taking up forty percent of the shelf space at my local bookstore. In reprints. It seems equally unfair that another significant percentage of the shelf space is taken by series Westerns like Longarm and The Trailsman—not because these stories aren’t valuable (they are), but because there are so many fantastically talented Western novelists doing original work . . . and not finding a publishing outlet for it because there isn’t enough demand.

  Now for the part you may not know. As a reader, you can make a difference. The publishing market is reader-driven. They will publish what you ask for, provided that it’s asked for by enough people in a loud enough voice. As a point of comparison, one might think of attempting to drive a herd of cattle alone, which would be a feat nigh on impossible. However, get a group of folks together who know how to ride a horse, how to move the cows, and how to rope, and the herd will go right where they tell it to. Usually. And in the world of publishing, the readers are what drives the publishing herd.

  The stories of the American West are important. All of them. The old ones and the new ones. The series novels and the original epics. Stories written by famous authors long dead and stories written by new authors you’ve never heard of before, and every kind of Western writer in between. And should you, the readers, make a point of asking the bookstores, the publishers, the writers, and anyone else who will listen and might make a bit of difference for more books and more stories, this important genre will stay alive. And better still, it will grow. There will be more space on the shelves at your local store, and while you’ll still be able to find plenty of Mr. L’Amour’s work . . . you’ll also find new stories.

  Now more than ever, there is both a need and a hunger, I think, in our population for stories that remind us of who we are and where we came from. There is no genre of fiction more uniquely qualified for this than the Western. There is, in fact, no genre of fiction more uniquely American than the Western. I learned more about the West, about history, about where our values came from, in reading those books and listening to those stories about Little Joe than I ever did in a history class at school.

  Right now there is an entire generation of young Americans who haven’t yet read The Sacketts or Lonesome Dove or Buffalo Wagons or True Grit or so many other books. This same generation, and the ones that follow it, should read these books and new ones as well, because the literary landscape of the American West has always been free-range country. It is as vast and beautiful
as the landscape of the West itself.

  In some small way, the collection you hold in your hands represents an opportunity to help preserve our literary heritage. All these stories, with the exception of “The Gift of Cochise” by Louis L’Amour, are original, written specifically to the theme of this anthology—namely, the theme of Lost Trails.

  I challenged the authors to tell me a new story of a famous (or infamous) historical figure from the American West. I’m quite proud to say that all of them responded in ways that have surprised and moved me as a reader and an editor. They have provided stories about Billy the Kid, Wyatt Earp, Jesse James, Blackjack Ketchum, Seth Bullock, Mark Twain, and many other recognizable figures, capturing the spirit of these icons, while at the same time, offering up a fictional tale of an adventure that might have been.

  Part of the joy of reading stories about the West is in knowing that there are gaps. History, in the best of circumstances, is never a complete tale, but only the loosely woven tapestry of the most accurate information available to the teller. The history of the American West has many gaps, and a fair amount of the history comes in stories told by the victors of the battles, and reiterated by the third cousin’s uncle twice removed. In so many ways, that is what makes the history both exasperating and (ultimately) a great deal of fun.

  We can speculate about those gaps and, in doing so, enjoy a glimpse of where we came from and who we once were . . . maybe even who we are now and who we may one day be.

  Without further ado, dear readers, I invite you to take this opportunity to not only read these stories for yourselves but to share them with someone else. Perhaps there is a young person in your family who would enjoy reading about some of the most famous people in our history. Perhaps it will start a discussion about that history. Perhaps it will start a lifetime love of literature, even a love of Western literature. Perhaps the demand for these types of stories will grow out of the simple act of sharing them with others.

  And perhaps you will even tell your own stories, though I must warn you that Little Joe is already busy. He’s been entertaining my children for a few years now and I think he’s got a bit of life left in him yet. Worst case, should I run short of Little Joe memories, I can always call on my father for a new adventure. He’s told me that he makes them up as he goes along, which explains all those cliffhanger endings and sleepless nights, when I stayed up worrying about what was going to happen to my hero.

  That is the greatest thing about the stories of the West—those collected in this anthology, those that have come before, those told around the family campfire, and those that have yet to be published—these are the stories that can live forever, a part of the landscape of our lives and our memories and our families . . . but they will only last as long as all of us ensure that they do.

  Enjoy!

  —Russell Davis

  Northern Nevada

  Winter 2006

  Mark and Bill

  Loren D. Estleman

  “Samuel Langhorne Clemens, meet William Frederick Cody.”

  “Buffalo Bill,” said the white-haired man in the white suit, committing his hand to the newcomer’s oaken grip.

  “Mark Twain,” said the long-haired man in the buckskin coat, flashing white teeth in his chestnut-colored Vandyke beard.

  Their host waited until both men were seated before sitting down himself, then sprang back up to summon the white-coated waiter out onto the terrace. “Libations, gentlemen?” he asked his guests. “I myself am temperate, but do not let that—”

  “Bourbon,” said Twain, plucking a long cigar from a hinged silver case.

  “The same,” said Cody, peeling the foil from a plug of chewing tobacco.

  “Soda?” The waiter drew the cork from one of an army of vessels on a wheeled cart.

  “Bourbon,” said Cody.

  “The same,” said Twain.

  The waiter poured. “Mr. Roosevelt?”

  Theodore Roosevelt bared his famous grin beneath the thick mustache. “Lemonade, and keep it coming. I’m as parched as the Badlands. I’ve been shouting myself hoarse to those fools setting up the Boone and Crockett cabin at the fair,” he confided to the others. “It seems no one in Chicago knows how to care for a wooden building since the fire.”

  Cody said, “I stole away while Miss Oakley was performing, for a glimpse of the exhibit. Splendid job. A fine homely contribution to that antiseptic circus. You know, the fair’s directors turned me down when I offered to bring the Wild West to the White City. They said it was incongruous. So I rented the lot across the street and set up there.”

  “A regrettable decision on their part,” Roosevelt said. “Your exhibition has been steadily outpulling the World’s Fair ten to one. Have you been to either, Mr. Clemens?”

  “I intended to go to both, but fell ill. Today is the first day I’ve felt sound enough to quit my room. The prospect of a ride on either Mr. Ferris’s wheel or Mr. Cody’s Deadwood Stage still turns me a festive shade of green. And tomorrow I must go back East.”

  “A pity. I’m sure America is champing to hear your observations on both phenomena.” Irritably, Roosevelt signaled to the waiter with his still-empty glass. The fellow shook himself out of an apparent trance and reached for the pitcher of lemonade. As a mere member of President Cleveland’s Civil Service Commission, Roosevelt made a feeble impression on the serving class in the presence of America’s greatest humorist and the hero of Warbonnet Creek.

  “I shouldn’t wonder.” Twain blew a chain of smoke rings that was swiftly torn apart by the wind off Lake Michigan. “America never knows how it feels about a thing until it’s received its instructions from me.”

  “America knows a great American when it hears him,” Roosevelt said.

  “I am not a great American. I am not an American. I am the American.”

  Cody chuckled. “You’re an entertaining hoss, Mr. Clemens. I once heard Jim Bridger explain how he roped a cyclone and rode it out of a Blackfoot ambush—‘Square knots only,’ he said; ‘a Dakota twister’ll slip right out of a bosun’—but he warn’t a patch on you when it comes to exaggeration.”

  “I return the compliment, Mr. Cody. I’m on record in opposition to the decline of the fine art of lying, but it’s in no peril as long as you walk the earth.”

  An uncomfortable silence followed this remark, broken only by Cody’s reflective chewing and the popping of Twain’s lips on his cigar. From the terrace of Roosevelt’s suite, the trio could just make out the white spires of the Court of Honor, the centerpiece of the 1893 Chicago World’s Fair, dominated by the revolving structure George Ferris had designed for the amusement of those courageous enough to board one of its gondolas and travel to the top of the world.

  Cody’s cud bonged into a cuspidor provided by the waiter. For Roosevelt, an enthusiastic amateur in the sport of prizefighting, it sounded like the opening bell to the first round. “Which lie are we discussing? I’ve told my fair share and seen a heap of ’em in print.”

  “I recall an account attributed to you of a shooting contest between yourself and the late-lamented James Butler Hickok,” said Twain. “You took aim simultaneously at the same prairie dog at a distance of forty paces, fired an instant apart, and placed both slugs through the unfortunate creature’s left eye, one right behind the other so the orbit was not enlarged.”

  “The account was inaccurate,” Cody assented. “It was the right eye.”

  Roosevelt yelped his high-pitched laugh. “Bully! He’s a match for you in the well-placed jest as he was for Wild Bill in marksmanship.”

  Steel glittered beneath Twain’s shaggy black brows. But Cody spoke first, waving a well-tended hand at the end of an arm fringed in leather.

  “I wouldn’t presume,” he said. “Let’s agree I’m as handy with powder and a ball as Mr. Clemens is with his wit and a quill.”

  Twain demurred. “Strictly speaking, anyone with sufficient eyesight and a steady hand can learn to shoot a glass ball thrown by a
man on his payroll. It’s quite another thing to raise a snigger in an auditorium packed with Pennsylvania Dutchmen. I nearly started a riot the last time I spoke in Allentown, after sixty minutes of excruciating silence.”

  “The Dutch appreciate a pleasantry once you’ve found their range. I’d admire to see you try your hand with a band of Missouri bushwhackers.”

  “Ten words at the expense of a Kansas Jayhawker would place them in convulsions. I’d venture to wager I’d render every last one to a mound of quivering jelly before you managed to drive a half-dozen nails into a timber with your best six-shooter.”

  For answer, Cody drew a beautiful Colt revolver traced with silver from his hip, took swift aim, and blasted the cork from a squat bottle of brandy perched on the portable bar. Roosevelt barked a mild oath; the waiter leapt back three feet from his position beside the cart. Twain alone did not react. He drew on his cigar, blew a plume of smoke into the blue exhaust from the revolver, and asked the waiter to inspect the bottle. The man hesitated, then stepped forward and with a shaking hand lifted the vessel and peered at its neck.

  “Not so much as a chip.” His voice quavered.

  With a flourish, Cody spun the weapon on his finger, offering the butt to Twain. The humorist accepted it and examined the ornate engraving. “‘Presented to the King of the West by the Queen of Great Britain and Empress of India,’” he read aloud.

  “Victoria put it in my hands personally when we played London,” Cody said. “I’d just bested a visiting French count in a shooting contest. He’s said to have killed ten men in duels of honor. That grand lady commands the greatest army in the world, and knows her firearms. It’s the finest in my collection.”

  Roosevelt gulped lemonade. “You might have found a less unsettling way to demonstrate your point.”

  Twain laid his cigar in a heavy tray, slid a handsome slim rosewood box from an inside breast pocket, opened it, and withdrew an elegant gold-plated implement with a nib inlaid with ivory. Cody took it and peered at the barrel. “ ‘To Mark Twain, from Thomas A. Edison,’” he read aloud.