The Pistoleer: A Novel of John Wesley Hardin

by James Carlos Blake

  “I said: ‘Hardin, no man can talk about my children like that without fighting, you cowardly, s__ of a b__.’”

  “Hardin said: ‘I am unarmed.’

  “I said: ‘Go and get your gun. I am armed.’

  “Then he said: ‘I’ll go and get a gun and when I meet you I’ll meet you smoking and make you pull like a wolf around the block.’

  “Hardin then went into the saloon and began shaking dice with Henry Brown.… I sat down on a beer keg in front of the Acme Saloon and waited for Hardin to come out. I insisted on the police force keeping out of the trouble because it was a personal matter between Hardin and myself. Hardin had insulted me personally.

  “About 11 o’clock Mr. E. L. Shackleford came along and said: ‘Come on and take a drink but don’t get drunk.’ Shackleford led me into the saloon by the arm. Hardin and Brown were shaking dice at the end of the bar next to the door. While we were drinking I noticed that Hardin watched me very closely as we went in. When he thought my eye was off him he made a break for his gun in his hip pocket and I immediately pulled my gun and began shooting. I shot him in the head first as I had been informed that he wore a steel breast plate. As I was about to shoot a second time someone ran against me and I think I missed him, but the other two shots were at his body and I think I hit him both times. My son then ran in and caught me by the arm and said: ‘He is dead. Don’t shoot anymore.’

  “I was not drunk at the time, but was crazy mad at the way he had insulted me.

  “My son and myself came out of the saloon together and when Justice Howe came I gave my statement to him. My wife was very weak and was prostrated when I got home. I was accompanied home by Deputy Sheriff J. C. Jones. I was not placed in jail, but considered myself under arrest. I am willing to stand any investigation over the matter. I am sorry I had to kill Hardin, but he had threatened mine and my son’s life several times and I felt it had come to that point where either I or he had to die.”

  (Signed) John Selman

  I arrived in El Paso on the nineteenth of August, a hot Monday evening I shall never forget.

  After asking the depot agent for directions to the Herndon Lodging House, I plunged into the tumult of the streets. The city was raucous with rumbling and clanging streetcars, clattering wagons, clopping hooves, barking dogs, the bray and snort of livestock, with shouting and whistling and laughter, with the cries of newshawks, with music blaring from every saloon—piano and hurdy-gurdy, banjo and guitar, and lustily, badly sung songs.

  The sun was almost touching the mountain looming over the town, but the air was still thick with heat and dust. It was pungent with horse droppings and the peppery aromas of Mexican cooking, with the smells of creosote and whiskey and human waste. Old women in black rebozos, their faces as dry and cracked as desert earth, hunkered on the sidewalks with their bony hands extended for alms. Through the open door of a shadowy saloon came a great crash of glass, followed by several resounding smacks, a heavy thump, and an explosive chorus of loud laughter. Four boys on a corner were laughing as well, and poking jackknives into the malodorously bloated carcass of a large black dog, raising a horde of fat green flies with every whooping stab.

  It was, as Fox had told me it would be, one tough town.

  I refer to Richard Kyle Fox, publisher of The Police Gazette, the most popular periodical of our day. Its specialty was sports, but its larger appeal was rooted in its zealous reportage of sex and violence. Every week the shocking-pink pages of the Gazette presented a plethora of crime, scandal, bizarre spectacle, madness, and death. Gazette readers feasted on each new issue like scavengers alighting on fresh carrion. “I give the American working man what he wants in a newspaper,” Fox often boasted, “the real stuff of life!” And I, who in my youth had been a serious poet with dreams of capturing the light of the stars in my verse, had now been in his employ for over six years. Indeed, I was one of his star reporters. So veers life.

  I was in El Paso to try to gain an interview with John Wesley Hardin, the infamous mankiller. Fox had only recently heard about him and had become instantly enthusiastic about the subject. He was a man of sequential obsessions, and his obsession of the moment was the Wild West. He thought an interview with Hardin would be perfect for the Gazette. “It’s a splendid tough tale, this Hardin fella’s, full of life’s hard truths,” Fox said to me in the New York office. “Old West killer does a big stretch in the pen and then, on being set free after many cruel years, takes up the mantle of the man of law. He follows the straight and narrow, he does, but then stumbles and falls to the evil wayside once again, for the leopard can’t change his spots after all, can he now? I hear he robs saloons at his whim, that he shot a man dead in a fight over a woman. I hear he’s a fearsome drunk and most of his fellow citizens want to see him dead, they are so frightened of him. Well, I want to know the details, Sammy lad—as will our readers. Go and get those details, my boy, and write them up for us in your particularly enthralling style, hey?”

  That was how I came to be on the loud streets of El Paso on that sultry evening of August 19, 1895.

  At the Herndon I was told by the landlady—one Mrs. Williams—that Mr. Hardin was not in and she did not know where he was. “Go poking through the saloons and I guess you’ll sure find him,” she said. Her sneer couched on her face like a bad-tempered cat.

  The nearest saloon, The Show, was across the street and just around the corner. As I quaffed my first stein, I made known that I was a Police Gazette reporter interested in Hardin, and the barkeep began talking my ear off, as I’d expected he would. The Gazette was venerated in every tavern in America, even in such remote outposts as El Paso. The Show wasn’t yet busy at that early evening hour, and a handful of other gents soon gathered around me at the bar, taking exception to some of the boniface’s assertions and delivering their own opinions about the city’s most famous resident. Among the things I found out was that Hardin’s chief antagonist in town was a constable named John Selman, who carried a formidable reputation of his own as a man to be reckoned with.

  The boys at the bar knew as much about John Henry Selman as they did about Wes Hardin, and they regarded him with nearly equal awe—and equal fear. Selman, I learned, had fought for the Confederacy before moving to Texas. The way they’d heard the tale, he got married, fathered a daughter and three sons, and made his daily bread as a dirt farmer for a few years before settling near Fort Griffin and getting into the cattle business with a partner named John Larn. His first turn as a lawman came when Larn was elected sheriff of Shackelford County and appointed Selman as his chief deputy.

  One day a band of Comancheros stole a ten-year-old white girl and her six-year-old brother from a farm a few miles west of Fort Griffin, intending to trade them to the Comanches. Selman and two army scouts tracked them for weeks, all the way across West Texas, before finally catching up with them in the Davis Mountains. They returned with the two children alive and seven Comanchero scalps dangling from their saddle horns.

  Not a man at the bar doubted the truth of that story, not even those who were no admirers of Selman. “Old John’s done lots of things over the years, I expect,” said a man in a white skimmer, glancing about cautiously to see who might be overhearing, “some of them not altogether legal, if you know what I mean.” Another man chuckled and added, “Hell, some of them not altogether Christian!”

  Not long afterward, Selman killed a bad actor called Shorty Collins who was trying to gun down Sheriff Larn. There was a good deal of dispute—then and now—about the cause of the shooting. Some said Collins was in a heat because Larn and Selman had double-crossed him in a cattle rustling scheme. Whatever the case, the story holds that after killing Collins, Selman went hard outlaw for the next few years, that he went to New Mexico and formed a band of rustlers and robbers called the Seven Rivers Gang.

  When he next returned to Texas, he was arrested and charged with rustling, but the case never went to court and eventually the charges were dropped. Then his w
ife became ill and died. He was broke and feeling aimless, so he parceled out his young children among various families and wandered off in search of better fortune. A few months later he showed up in Fort Stockton, debilitated with the smallpox. The fearful citizens wouldn’t have him among them. He was taken to a spot about two miles from town, laid under a canvas cover to protect him from the sun, supplied with a cask of water, and left to his fate. “Old John’s told this story himself more than once, in more than one saloon,” one of my informants told me. “I guess it’s true. He sure enough has the pox scars on his face to prove it.”

  According to the story, Selman was saved by a Mexican cattle dealer who was passing by in a wagon on his way back to his ranch. The Mexican’s young daughter was with him, and they put Selman in the wagon and took him along. The daughter tended to Selman every mile of the way. Each evening, when they made camp for the night, she bathed him with lye soap and then fed him a steaming bowl of menudo, a fiery dish of tripe cooked in chile peppers. By the time they crossed the river into Mexico, Selman was fairly well recovered. “John always has said it was the menudo saved his life,” a man at the bar remarked. “He still eats a bowl of it a day.” Several heads nodded sagely. “That stuff’ll cure you or kill you, one,” someone else said.

  When they reached her father’s ranch in Chihuahua, Selman and the girl got married. John went to Texas to retrieve his children but was able to find only his two youngest sons, Bud and Young John. He lived in Mexico for years, and his boys were practically raised as Mexicans. It was said he became best friends with a murderous local captain of rurales—the national police force created by the Mexican dictator Díaz—and that he sometimes helped track down fugitives for a portion of the reward. When his second wife died, he and his sons, now grown, moved back north of the river. To El Paso.

  That was six years ago, and all my informants agreed the town was even wilder then than it was now. But even though he was starting to get along in years, Old John still had a lot of pepper in his blood. He quickly earned a reputation for drinking and gambling with the hardiest of them—and for being able to handle himself in a row. El Paso was always in need of tough lawmen, and in ’92 he was elected city constable.

  The following year, at age fifty-seven, he married a sixteen-year-old Mexican girl. She was far younger than his sons, both of whom were so angrily embarrassed by the marriage they refused to speak to their father for months. Old John supposedly said, “I don’t know what they’re acting so put out about. Ought to be proud their pappy can still cut such a spicy mustard. I reckon they’re just jealous.” He eventually reconciled with his boys, and one of them, Young John, himself became a city policeman.

  Of the eight or nine men at the bar of The Show saloon, four claimed to have witnessed John Selman’s killing of Bass Outlaw in a local whorehouse just the year before. The other men at the bar all snorted derisively and said they’d bet none of the four had been anywhere near the place. “You’d have to build another six floors on that cathouse just to hold everybody who’s sworn he saw the shooting with his own eyes,” one man said, and everybody but the four avowed witnesses had a good guffaw.

  Bass Outlaw was a notorious bad actor who had been a Texas Ranger until he was fired for drunkenness. He then became a deputy U.S. marshal. On the night in question, he was drunk and in a fury because the girl he wanted to sport with was engaged with another customer. He loudly proclaimed his intention to go upstairs and kick open the door of every room until he found his favorite whore. Old John was sitting near him and said, “Hey now, Bass, you don’t want to be busting up everybody’s pleasure up there. Just wait your turn.” At that moment, Texas Ranger Joe McKidrict turned to Outlaw and said, “Bass, you’re too drunk to fuck anyhow.”

  The words were barely out of his mouth before Outlaw drew his pistol and blasted a hole through his heart. As Selman went for his gun, Outlaw shot him twice in the leg—then Old John put a round through Outlaw’s eye and blew out the side of his head and the fight was done.

  “Old John’s had a hobble ever since,” someone said. “The man can’t walk ten feet without his cane.”

  “That’s true,” said another, “but his damn gunhand don’t need no cane. That’s what Hardin best keep in mind.”

  * * *

  The noisy streets were deep in twilight when I came out of The Show and made my way up Utah Street, heading for the Acme Saloon. The sky along the mountain rim was the color of fresh blood. As I reached the corner, I glanced to my left—and there on the sidewalk, not ten paces from me, stood John Henry Selman and John Wesley Hardin, looking quite ready to kill one another.

  They were standing face-to-face with three feet between them. I’d heard them described so thoroughly that I recognized them both instantly. A few other pedestrians had also taken notice of them and were hastening across the street or retreating down the sidewalk. Most people in the vicinity, however, remained wholly unaware of the confrontation from first to last.

  Selman gripped his cane in his left hand and his right was ready to go for the gun on his hip. Hardin stood with his hands on his coat lapels. I could not see if he was armed. I could see their faces distinctly, however. Both men were rigid with anger. They spoke sharply but not loudly, and the din of the street muffled much of what they said. If I’d been two feet farther from them, I’d have heard none of the conversation at all.

  “… know damn well … the goods off him. I know … cheated me!” Selman was saying through his teeth, his gray mustache twitching with anger. “I won’t be cheated, you hear me? I won’t … or anybody else.”

  “The hell …,” Hardin said. “… between you and George. He’s your partner, not …”

  “What … George … damn business,” Selman said. “I know … cheat me, you … I’m warning … square with me, and I mean soon!”

  “Warning me?” Hardin said. “Nobody … a bucket of shit with a badge stuck on it … bastard son … nothing but picking on women.”

  Selman’s face darkened with fury. He looked about to have a fit. A streetcar clattered down the street, its bell clanging loudly, and I couldn’t make out any of what he next said to Hardin, nor what Hardin said in response. What Hardin did next, however, is still vivid in my mind. He held out his hands as though showing Selman he held nothing in them. Then he closed the lower fingers of both hands, keeping the thumbs upright and the index fingers pointing at Selman like pistol barrels. He flicked his thumbs down and mouthed the word, “Pow!” Selman stepped backward as though he’d been shoved. He looked astonished. Hardin grinned and slowly raised each index finger in turn to his mouth and softly blew on their tips, as though clearing them of gunsmoke. He then strolled across the street and went into the Acme Saloon.

  Selman watched him every step of the way, his face inflamed with fury, then turned and saw me staring at him.

  “Ah … Constable Selman,” I said, “my name is Peckinpah. Of The Police Gazette. I wonder if—”

  “Kiss my ass!” he said, and stalked away.

  When I told Hardin I was with the Gazette and offered to buy the next round, the first thing he wanted to know was whether I’d covered the Sullivan-Kilrain bare knuckle championship fight six years earlier. “We heard about it in the pen,” he said, “but I’ve never met anybody who saw it with his own eyes.”

  I hadn’t been at the fight either, but I knew several of the reporters who had, which made me the nearest thing to an eyewitness he’d yet met. So I was obliged to recapitulate for him everything I could recall about the progress of that epic battle as it had been told to me. I admitted I’d been astonished by the outcome, that I’d never expected Sullivan, sodden drunkard that he was, to withstand the assault of the younger and quicker Kilrain under the roasting Mississippi sun. When Kilrain drew first blood and Sullivan paused to vomit in the early going, I told him that the reporters all figured Sully was done for. Hardin seemed enrapt. “But he wasn’t done, was he,” he said, “that old warhorse?” He certa
inly was not, I agreed. After seventy-five rounds spanning two hours and sixteen minutes, Kilrain’s seconds threw in the sponge. Hardin smiled widely. “Never bet against the warhorse,” he said.

  We were standing at the end of the bar nearest the front door, and I signaled Frank the bartender for another round for us. Hardin’s interest took another turn when I told him the Gazette’s chief correspondent for the Sullivan-Kilrain fight had been none other than Steve Brodie, the famous bridge-jumper, who was a good friend of mine. I then had to expound at length about the various jumps I’d seen Steve Brodie make. I told of more than once having seen him pulled unconscious from a river, blood running from his nose and mouth and ears, sometimes his ribs broken and his shoes knocked from his feet. Dozens of men and boys were killed every year in their attempts to emulate Steve Brodie.

  “Damn, but that man’s got daring!” Hardin said. “And he can surely take a beating, can’t he?” John Wesley Hardin is the only man I ever spoke to about Steve Brodie who never said he wondered why a man would risk his life and take such beatings jumping off high bridges.

  He said he’d be pleased to grant me an interview for the Gazette on one condition—that I didn’t call him a “pistolero.” I had suggested that my lead-in would refer to him as the most famous pistolero in the West. “I never did much care for that word,” he said. “Sounds too damn Mexican.” Well then, I asked, what term would he prefer? Gunfighter? Shootist? Pistolman? Mankiller? “They called Wild Bill the Prince of the Pistoleers,” he said. “‘Pistoleer’ always did sound properly American to me.” All right, I said, “pistoleer” it was. I’d call him the King of the Pistoleers. He smiled and said, “Sounds about right.”

  We never did get to the interview. He was far too persistent in interrogating me—particularly about the writing craft. He told me he’d been writing the story of his life for the past several months and was very near to completing the book. He asked me question after question about techniques of narration, exposition, and description—though he did not know the proper terminology for many of these things. I said I’d be happy to read his work and offer whatever helpful criticism I might. He smiled almost shyly and said he’d be grateful.