Read Death Rides Alone Online

Authors: William W. Johnstone

Death Rides Alone (25 page)

CHAPTER 4
A high-riding full moon bathed the Kerrigan ranch in metallic light and out in the brush country coyotes yipped their hunger. The horses in the corral were restless, usually a sign that they'd caught the scent of a bear or cougar.
As sleepless as the horses, Frank Cobb stood in darkness under the oak outside the cabin, the tiny, scarlet glow of his cigarette rising and falling as he smoked. He turned his head as the cabin door opened and Kate stepped outside. She wore a green robe over her nightdress and her luxuriant mane of red hair was pulled back with a ribbon of the same color. As she stepped closer, Frank saw that she carried a steaming teacup in her hand.
“I brought you this. It will help you sleep,” she said, extending the cup and smiling. “It's two o'clock in the morning and you have a full day ahead of you.”
Frank took the cup and sniffed. “What is this?”
“Chamomile tea. It's very calming.”
Several times on any given day, Frank was struck by what a spectacularly beautiful woman Kate Kerrigan was, and in the moonlight, he was enamored of her yet again. He sipped the tea then said, “I'm sorry about tonight, Kate. I guess I pretty much ruined everybody's supper.”
Kate smiled. “Trace and Quinn ate like wolves and so did Moses. Ivy and Shannon always pick at their food, so there's no need to blame yourself for that. Why do you hate Hank Lowery so much, Frank?”
“It's getting late,” Frank said. “Best I turn in and grab some shuteye.”
“It will take the tea some time to work, so tell me about him. Come into the house. We'll sit in the dining room.”
Despite his depressed mood, Frank managed a smile. “Kate, four framed walls and a few roof rafters don't make a house, despite what the pirate tells you.”
“It is a house because I say it is a house. Frames and rafters do not make a home. It's the people who live within the walls that do that. Besides, I have my hearthstone in place, so the new Kerrigan home is on a firm foundation, even though it shakes and creaks.”
Frank laid his teacup on the dining room table, pulled out a chair for Kate, and then sat.
Kate eased him into his story. “All right, where is Longdale?”
“It's a settlement in the New Mexico Territory, up in the Rio Hondo country. Before the massacre it was a cow town like any other—small, dusty, and drab. Longdale slept six days a week and only woke up on Fridays when the punchers from the surrounding ranches came in to drink and dance with Flossie and Flora. It had a general store with a saloon attached, a blacksmith's shop, some scattered cabins, and not much else.”
Kate said, “Who were Flossie and Flora? Need I ask?”
“Working girls, Kate.”
“Ah, I see. Were they pretty?”
“The punchers thought they were.”
Kate smiled. “Please go on with your story. I ask too many silly questions.”
“A waddie shot dead during an argument over water rights started it. The Rocking-J Ranch and the Slim Chance Horse and Cattle Company claimed the same creek that ran off the Rio Hondo and one morning during roundup their hands got into it. It started with fists and then went to guns and during the scrape a feller who rode for the Rocking-J by the name of Shorty Tillett got shot and another man was wounded.” Frank drank the last of his tea and built a smoke. “After that, both outfits gunned up and brought in professionals. One of them was a draw fighter out of Amarillo who called himself Stride Lowery.”
“He was related to our Mr. Lowery?” Kate asked.
That “our Mr. Lowery” rankled, but Frank let it go. “He was Hank Lowery's twin brother.”
“Oh, I see,” Kate said, but she really didn't.
Frank lit his cigarette. “The ranchers' war lasted three months. During that time seven men were killed, another crippled for life, and Stride Lowery was one of the dead. Finally a peace conference was called, to be held at the saloon in Longdale. At three in the afternoon Levi Fry, owner of the Slim Chance, rode into town with two punchers. A few minutes later the Rocking-J crew arrived. Jesse George, a careful man, brought along three men. One of them was Mordecai Bishop, an Arizona Territory revolver fighter who'd made a name for himself as a fast gun in the Lee-Peacock feud in the Texas four corners country. Well, the seven men got to cussin' and discussin' and the ranchers poked holes in the air with their forefingers. They got to drinking and then to talking again.”
Frank stopped talking and listened into the still, mother-of-pearl night. “Coyotes are hunting close. They're making the horses restless.”
“Did the ranchers reach an agreement?” Kate asked.
“We'll never know. Hank Lowery stepped into the saloon and locked the door behind him. He had a Colt in each hand, cut loose, and put a lead period at the end of the last sentence those boys uttered.”
“But why?”
“Why? It seemed that he blamed both parties for his brother's death. Whatever the reason, when the smoke cleared seven men lay with their faces in the sawdust, five of them dead and two dying. Later I was told that old Levi Fry was gut-shot and crawled around the floor on his hands and knees coughing blood. Lowery's guns were shot dry, but he drew a .32 hideout, shoved the muzzle into the back of Levi Fry's head, and pulled the trigger.”
Kate drew her nightdress closer around her shoulders. “Frank, why should the Longdale Massacre trouble you? You weren't involved.”
“But I was, indirectly anyway. I'd worked a roundup for old man Fry and he'd paid twice what he owed me. I liked that old man and he didn't deserve to die the way he did.”
“Hank Lowery says he didn't shoot Mr. Fry while he was on the floor,” Kate said.
“And you believe him?”
“Well, no. But I don't disbelieve him either.”
“Kate, Lowery is a cold-blooded killer. He proved it in Longdale.”
“Has he killed anyone since?”
“I don't know.”
“Well, he may have. He says he has angry men on his back trail.”
“Who are they?”
“He wouldn't say.” Kate was silent for a while. The moonlight tangled in her hair and turned the fair Celtic skin of her beautiful face to porcelain. Finally she said, “Hank Lowery wants to join our drive. He says he's worked cattle before, and we could use another hand.”
It took Frank a few moments to recover before he said, “What did you tell him?”
“I said I'd speak to you. And I told him something else, Frank. I said if he killed a man while he was under my employ, I'd hang him.”
“Kate, Lowery is a professional gambler. When was the last time you saw a gambler eating dust? Riding drag? And he's a shootist. I bet you never saw one of them punching cows either.”
“And that's the whole point. Lowery wants to make a fresh start and put his violent past behind him. He thinks he might prosper in Dodge as a merchant, perhaps in the lumber business.”
“He wants to be a storekeeper? And pigs will fly.” Frank flicked away his cigarette butt. It glowed like a firefly before hitting the ground. “I'll tell you something about the Colt's revolver, Kate. It casts a mighty long shadow. A man who's lived by the gun and made a reputation can run, but he can't hide. Sooner or later the past catches up to him and he's forced to draw the Colt again. John Wesley tried to go straight and so did Dallas Stoudenmire, two men I knew and liked. Now Wes is rotting in Huntsville and five months ago Dallas was shot down in El Paso. Lowery will end up the same way.”
“I aim to take a chance on him, Frank,” Kate said.
“Then you're making a big mistake.”
“I took a chance on you, remember? You turned out all right.”
“Have it your own way, Kate. You're the boss. But if Lowery harms or even
threatens
harm to me or anyone I know, I'll kill him. Is that understood?”
“Perfectly,” Kate said. “But it will not come to that. I will not let it happen.” She rose and walked into the moonlight, her back stiff.
J. A. Johnstone on William W. Johnstone
“Print the Legend”
William W. Johnstone was born in southern Missouri, the youngest of four children. He was raised with strong moral and family values by his minister father, and tutored by his schoolteacher mother. Despite this, he quit school at age fifteen.
“I have the highest respect for education,” he says, “but such is the folly of youth, and wanting to see the world beyond the four walls and the blackboard.”
True to this vow, Bill attempted to enlist in the French Foreign Legion (“I saw Gary Cooper in
Beau Geste
when I was a kid and I thought the French Foreign Legion would be fun”) but was rejected, thankfully, for being underage. Instead, he joined a traveling carnival and did all kinds of odd jobs. It was listening to the veteran carny folk, some of whom had been on the circuit since the late 1800s, telling amazing tales about their experiences, that planted the storytelling seed in Bill's imagination.
“They were mostly honest people, despite the bad reputation traveling carny shows had back then,” Bill remembers. “Of course, there were exceptions. There was one guy named Picky, who got that name because he was a master pickpocket. He could steal a man's socks right off his feet without him knowing. Believe me, Picky got us chased out of more than a few towns.”
After a few months of this grueling existence, Bill returned home and finished high school. Next came stints as a deputy sheriff in the Tallulah, Louisiana, Sheriff's Department, followed by a hitch in the U.S. Army. Then he began a career in radio broadcasting at KTLD in Tallulah, which would last sixteen years. It was there that he fine-tuned his storytelling skills. He turned to writing in 1970, but it wouldn't be until 1979 that his first novel,
The Devil's Kiss
, was published. Thus began the full-time writing career of William W. Johnstone. He wrote horror (
The Uninvited
), thrillers (
The Last of the Dog Team
), even a romance novel or two. Then, in February 1983,
Out of the Ashes
was published. Searching for his missing family in a postapocalyptic America, rebel mercenary and patriot Ben Raines is united with the civilians of the Resistance forces and moves to the forefront of a revolution for the nation's future.
Out of the Ashes
was a smash. The series would continue for the next twenty years, winning Bill three generations of fans all over the world. The series was often imitated but never duplicated. “We all tried to copy the Ashes series,” said one publishing executive, “but Bill's uncanny ability, both then and now, to predict in which direction the political winds were blowing brought a certain immediacy to the table no one else could capture.” The Ashes series would end its run with more than thirty-four books and twenty million copies in print, making it one of the most successful men's action series in American book publishing. (The Ashes series also, Bill notes with a touch of pride, got him on the FBI's Watch List for its less than flattering portrayal of spineless politicians and the growing power of big government over our lives, among other things. In that respect, I often find myself saying, “Bill was years ahead of his time.”)
Always steps ahead of the political curve, Bill's recent thrillers, written with myself, include
Vengeance Is Mine, Invasion USA, Border War, Jackknife, Remember the Alamo, Home Invasion, Phoenix Rising, The Blood of Patriots, The Bleeding Edge,
and the upcoming
Suicide Mission.
It is with the western, though, that Bill found his greatest success. His westerns propelled him onto both the
USA Today
and the
New York Times
bestseller lists.
Bill's western series include
Matt Jensen, the Last Mountain Man, Preacher, the First Mountain Man, The Family Jensen, Luke Jensen, Bounty Hunter, Eagles, MacCallister
(an Eagles spin-off),
Sidewinders, The Brothers O'Brien, Sixkiller, Blood Bond, The Last Gunfighter,
and the new series
Flintlock
and
The Trail West.
May 2013 saw the hardcover western
Butch Cassidy: The Lost Years.
“The western,” Bill says, “is one of the few true art forms that is one hundred percent American. I liken the Western as America's version of England's Arthurian legends, like the Knights of the Round Table, or Robin Hood and his Merry Men. Starting with the 1902 publication of
The Virginian
by Owen Wister, and followed by the greats like Zane Grey, Max Brand, Ernest Haycox, and of course Louis L'Amour, the western has helped to shape the cultural landscape of America.
“I'm no goggle-eyed college academic, so when my fans ask me why the western is as popular now as it was a century ago, I don't offer a 200-page thesis. Instead, I can only offer this: The western is honest. In this great country, which is suffering under the yoke of political correctness, the western harks back to an era when justice was sure and swift. Steal a man's horse, rustle his cattle, rob a bank, a stagecoach, or a train, you were hunted down and fitted with a hangman's noose. One size fit all.
“Sure, we westerners are prone to a little embellishment and exaggeration and, I admit it, occasionally play a little fast and loose with the facts. But we do so for a very good reason—to enhance the enjoyment of readers.
“It was Owen Wister, in
The Virginian
, who first coined the phrase ‘When you call me that, smile.' Legend has it that Wister actually heard those words spoken by a deputy sheriff in Medicine Bow, Wyoming, when another poker player called him a son of a bitch.
“Did it really happen, or is it one of those myths that have passed down from one generation to the next? I honestly don't know. But there's a line in one of my favorite westerns of all time,
The Man Who Shot Liberty Valance
, where the newspaper editor tells the young reporter, ‘When the truth becomes legend, print the legend.'
“These are the words I live by.”
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