by Alan Lemay
THE
SEARCHERS
Alan LeMay
LEISURE BOOKS NEW YORK CITY
To my grandfather, Oliver LeMay, who died on the prairie;
And to my grandmother, Karen Jensen LeMay, to whom he
left three sons under seven.
“These people had a kind of courage that may be the finest gift of man: the courage of those who simply keep on and on, doing the next thing, far beyond all reasonable endurance, seldom thinking of themselves as martyred, and never thinking of themselves as brave.”
Contents
Cover Page
Title Page
Epigraph
The Searchers and John Wayne
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Ten
Chapter Eleven
Chapter Twelve
Chapter Thirteen
Chapter Fourteen
Chapter Fifteen
Chapter Sixteen
Chapter Seventeen
Chapter Eighteen
Chapter Nineteen
Chapter Twenty
Chapter Twenty-one
Chapter Twenty-two
Chapter Twenty-three
Chapter Twenty-four
Chapter Twenty-five
Chapter Twenty-six
Chapter Twenty-seven
Chapter Twenty-eight
Chapter Twenty-nine
Chapter Thirty
Chapter Thirty-one
Chapter Thirty-two
Chapter Thirty-three
Chapter Thirty-four
Chapter Thirty-five
Chapter Thirty-six
Chapter Thirty-seven
Chapter Thirty-eight
Chapter Thirty-nine
Chapter Forty
Other Leisure books by Alan LeMay
Copyright
THE SEARCHERS AND JOHN WAYNE
by Andrew J. Fenady
“Don’t ask me! As long as you live—don’t ever ask me!”
Alan LeMay wrote the words, but John Wayne as Ethan Edwards delivered them to Harry Carey Jr. after discovering the body of his niece Lucy after Comanche bucks had finished with her. And while he was saying them he plunged his knife into the earth again and again.
No actor ever spoke with more depth and despair, with a voice more choked with emotion, or eyes more laden with anguish.
“What do you want me to do? Draw you a picture?!”
But Duke had already drawn a picture, a searing picture of inhumanity and degradation.
No actor in any Western—or any drama—could have conveyed more passion, and yet, that was only one moment in a performance encompassing a panoply of emotion, humor and cruelty that John Wayne summoned for his unforgettable, towering characterization of complexity and contradiction.
Duke told me that Ethan Edwards was his favorite role. Not that it matters, but it also happens to be mine—with his Tom Dunson in Red River as a shining second.
He even named his last son Ethan after The Searchers character, who in the book is called Amos.
Duke is most often thought of as having portrayed unflawed, heroic characters. Quite the opposite is true. Quite often he portrayed the other side of the coin.
Howard Hawks had made highly successful pictures with Gary Cooper, including Ball of Fire and the Academy Award–winning Sergeant York.
When Hawks was casting the role of Dunson in Red River, he sent the script to Gary Cooper. Cooper sent it back with a note, “Sorry, Howard. Too dark.”
Then Hawks went to Wayne, who leaped at it. Dark or damaged, Dunson was a challenge and a chance to dispel the notion that Duke was little more than a personality. Dunson evolved, in more ways than one, from a young, idealistic frontiersman to a mature, obsessed martinet. But there were other “dark or damaged” characters in Duke’s repertoire. Jack Martin in Cacil B. DeMille’s Reap the Wild Wind, Captain Ralls in Wake of the Red Witch, even ‘Pittsburg’ Markham in Pittsburg. Each of whom was more sinner than saint.
So when Duke met Ethan Edwards from Le May’s novel and Frank Nugent and John Ford’s script, Duke made him his own—Ethan Edwards owed as much to John Wayne as Wayne owed to Edwards.
Ethan Edwards has been called many things; cold, cruel, racist. It’s true that his character was brushed with all those hues, but people forget that at the core he was noble—yes, noble—and loved.
Loved by his nieces, his neighbors, his brother and more telling, by Martha, his brother’s wife. And noble, because in spite of his love for her, he stood aside so she might marry his own brother because Ethan also knew that they all would be better off for his sacrifice.
Ethan’s love for Martha and her love for him remained concealed except for a look that passed between them and the way she caressed his Confederate coat when she thought no one was looking.
There was even a certain nobility in his determination to kill his niece, rather than have her live as the crazed chattel Ethan came across after their captivity and submission to the Comanche bucks—their “leavings” as Vera Miles put it to Martin Pauley.
But in the end “leavings” or no—Ethan could not bring himself to pull the trigger and take the life of the niece he had loved. “Let’s go home, Debbie” summed it all up in four words.
Yes, noble.
In the movie, Ethan lives on, mission completed, but still alone—an outsider framed in the doorway against nature’s everlasting monuments. Then the door closes, leaving him with our thoughts—and his.
From first frame to fade out, Duke never wavers in his riveting interpretation of Ethan Edwards— except once. During the scene when his real-life son Patrick as young Lt. Greenhill is more than holding his own with veteran Ward Bond, in Duke’s eyes there is the look of a proud father, rather than that of Ethan Edwards.
Amazingly the picture was shot in fifty-six days— including only a half day at Bronson Canyon in the heart of Hollywood, where the “Let’s go home, Debbie” scene was filmed—and in nowhere near chronological order—for 2.5 million dollars. It reaped a fortune for Jack Warner and his company. Wayne had, in the previous few years, reaped several fortunes for Mr. Warner. Duke and Warner both liked and respected each other. Big Jim McLain, Island in the Sky, Hondo, The High and the Mighty, were just a few of the bull’s-eyes Duke scored for Warner.
Duke called John Ford “Coach” or “Pappy”—but Jack Warner was the only man I ever heard Duke call “Boss.”
I had nothing to do with The Searchers, but I’m proud to say I did have something to do with John Wayne.
I developed and produced Hondo for television, and wrote and produced Chisum. While we were preparing, shooting, and in post-production on Chisum, I spent a lot of time with the Duke on Hell-fighters, True Grit, The Undefeated, on land and at sea aboard his yacht, Wild Goose.
No one who ever worked with him or even knew him for some time could help falling under his spell. It was amusing to see dozens of us on the set, on location or on his ship, standing, moving, canting and even talking like him without hardly even realizing it.
No man was more a part of the American landscape. John Wayne was the snow-painted Sierras where eagles circle high. He was the night wind wailing through Monument Valley. Pine tops tall and uncut. He was hoof-beats moving West. He was a man to match the mountains.
I was his pal and his partner—still am his partner, thanks to the percentage he gave me for writing and producing Chisum.
I’ve had the honor and pleasure of working with some of the greats—men and women—Robert Mitchum, Charles Bronson,
Ernest Borgnine, Burt Reynolds, Angela Lansbury, Bob Hope, Gail Russell, Robert Taylor, Anne Francis, Helen Hayes, Ray Milland, Broderick Crawford, Ben Johnson, Christopher Reeve, and oh, so many more.
But those years with the Ringo Kid, Quirt Evans, Tom Dunson, Captain Brittles, Hondo Lane, Rooster Cogburn, John Simpson Chisum—and yes, Ethan Edwards, were the greatest—and so was he.
“There was a man. We shall never see his like again.”
Chapter One
Supper was over by sundown, and Henry Edwards walked out from the house for a last look around. He carried his light shotgun, in hopes the rest of the family would think he meant to pick up a sage hen or two—a highly unlikely prospect anywhere near the house. He had left his gun belt on its peg beside the door, but he had sneaked the heavy six-gun itself into his waistband inside his shirt. Martha was washing dishes in the wooden sink close by, and both their daughters—Lucy, a grown-up seventeen, and Debbie, just coming ten—were drying and putting away. He didn’t want to get them all stirred up; not until he could figure out for himself what had brought on his sharpened dread of the coming night.
“Take your pistol, Henry,” Martha said clearly. Her hands were busy, but her eyes were on the holster where it hung empty in plain sight, and she was laughing at him. That was the wonderful thing about Martha. At thirty-eight she looked older than she was in some ways, especially her hands. But in other ways she was a lot younger. Her sense of humor did that. She could laugh hard at things other people thought only a little bit funny, or not funny at all; so that often Henry could see the pretty sparkle of the girl he had married twenty years back.
He grunted and went out. Their two sons were on the back gallery as he came out of the kitchen. Hunter Edwards, named after Martha’s family, was nineteen, and as tall as his old man. He sat on the floor, his head lolled back against the adobe, and his mind so far away that his mouth hung open. Only his eyes moved as he turned them to the shotgun. He said dutifully, “Help you, Pa?”
“Nope.”
Ben, fourteen, was whittling out a butter paddle. He jumped up, brushing shavings off his blue jeans. His father made a Plains-Indian sign—a first pulled downward from in front of his shoulder, meaning “sit-stay.” Ben went back to his whittling.
“Don’t you forget to sweep them shavings up,” Henry said.
“I won’t, Pa.”
They watched their father walk off, his long, slow-looking steps quiet in his flat-heeled boots, until he circled the corrals and was out of sight.
“What’s he up to?” Ben asked. “There ain’t any game out there. Not short of the half mile.”
Hunter hesitated. He knew the answer but, like his father, he didn’t want to say anything yet. “I don’t know,” he said at last, letting his voice sound puzzled. Within the kitchen he heard a match strike. With so much clear light left outside, it was hard to believe how shadowy the kitchen was getting, within its thick walls. But he knew his mother was lighting a lamp. He called softly, “Ma …Not right now.”
His mother came to the door and looked at him oddly, the blown-out match smoking in her hand. He met her eyes for a moment, but looked away again without explaining. Martha Edwards went back into the kitchen, moving thoughtfully; and no light came on. Hunter saw that his father was in sight again, very far away for the short time he had been gone. He was walking toward the top of a gentle hill northwest of the ranch buildings. Hunter watched him steadily as long as he was in sight. Henry never did go clear to the top. Instead he climbed just high enough to see over, then circled the contour to look all ways, so that he showed himself against the sky no more than he had to. He was at it a long time.
Ben was staring at Hunter. “Hey. I want to know what—”
“Shut up, will you?”
Ben looked astonished, and obeyed.
From just behind the crest of the little hill, Henry Edwards could see about a dozen miles, most ways. The evening light was uncommonly clear, better to see by than the full glare of the sun. But the faint roll of the prairie was deceptive. A whole squadron of cavalry could probably hide itself at a thousand yards, in a place that looked as flat as a parade ground. So he was looking for little things—a layer of floating dust in the branches of the mesquite, a wild cow or an antelope disturbed. He didn’t see anything that meant much. Not for a long time.
He looked back at his house. He had other things, the stuff he worked with—barn, corrals, stacks of wild hay, a shacky bunk house for sleeping extra hands. But it was the house he was proud of. Its adobe walls were three and four feet thick, so strong that the first room they had built had for a long time been called the Edwards Fort. They had added on to it since, and made it even more secure. The shake roof looked burnable, but it wasn’t, for the shakes were laid upon two feet of sod. The outside doors were massive, and the windows had heavy battle shutters swung inside.
And the house had luxuries. Wooden floors. Galleries—some called them porches, now—both front and back. Eight windows with glass. He had made his family fairly comfortable here, at long last, working patiently with his hands through the years when there was no money, and no market for cows, and nothing to do about it but work and wait.
He could hardly believe there had been eighteen years of that kind of hanging on. But they had come out here that long ago—the same year Hunter had been born—drawn by these miles and miles of good grass, free to anyone who dared expose himself to the Kiowas and Comanches. It hadn’t looked so dangerous when they first came, for the Texas Rangers had just punished the Wild Tribes back out of the way. But right after that the Rangers were virtually disbanded, on the thrifty theory that the Federal Government was about to take over the defense. The Federal troops did not come. Henry and Martha held on and prayed. One year more, they told each other again and again... just another month... only until spring.... So the risky years slid by, while no military help appeared. Their nearest neighbors, the Pauleys, were murdered off by a Comanche raid, without survivors except a little boy less than two years old; and they heard of many, many more.
Six years of that. Then, in 1857, Texas gave up waiting, and the Rangers bloomed again. A tough line of forts sprang up—McKavitt, Phantom Hill, Bell’s Stockade. The little strongholds were far strung out, all the way from the Salt Fork to the Rio Grande, but they gave reassurance nonetheless. The dark years of danger were over; they had lasted out, won through to years of peace and plenty in which to grow old—or so they thought for a little while. Then the War Between the States drained the fighting men away, and the Kiowas and Comanches rose up singing once more, to take their harvest.
Whole counties were scoured out and set back to wilderness in those war years. But the Edwardses stayed, and the Mathisons, and a few more far-spread, dug-in families, holding the back door of Texas, driving great herds of longhorns to Matagordas for the supply of the Confederate troops. And they waited again, holding on just one year more, then another, and one more yet.
Henry would have given up. He saw no hope that he would ever get a foothold out here again, once he drew out, but he would gladly have sacrificed their hopes of a cattle empire to take Martha and their children to a safer place. It was Martha who would not quit, and she had a will that could jump and blaze like a grass fire. How do you take a woman back to the poverty of the cotton rows against her will? They stayed.
The war’s end brought the turn of fortune in which they had placed their faith. Hiring cowboys on promise, borrowing to provision them, Henry got a few hundred head into the very first drive to end-of-track at Abilene. Now, with the war four years past, two more drives had paid off. And this year he and Aaron Mathison, pooling together, had sent north more than three thousand head. But where were the troops that peace should have released to their defense? Bolder, wilder, stronger every year, the Comanches and their Kiowa allies punished the range. Counties that had survived the war were barren now; the Comanches had struck the outskirts of San Antonio itself.
Once they cou
ld have quit and found safety in a milder land. They couldn’t quit now, with fortune beyond belief coming into their hands. They were as good as rich—and living in the deadliest danger that had overhung them yet. Looking back over the years, Henry did not know how they had survived so long; their strong house and everlasting watchfulness could not explain it. It must have taken miracles of luck, Henry knew, and some mysterious quirks of Indian medicine as well, to preserve them here. If he could have seen, in any moment of the years they had lived here, the endless hazards that lay ahead, he would have quit that same minute and got Martha out of there if he had had to tie her.
But you get used to unresting vigilance, and a perpetual danger becomes part of the everyday things around you. After a long time you probably wouldn’t know how to digest right, any more, if it altogether went away. All that was behind could not explain, exactly, the way Henry felt tonight. He didn’t believe in hunches, either, or any kind of spirit warnings. He was sure he had heard; or seen, or maybe even smelled some sign so small he couldn’t remember it. Sometimes a man’s senses picked up dim warnings he didn’t even recognize. Like sometimes he had known an Indian was around, without knowing what told him, until a little later the breeze would bring the smell of the Indian a little stronger—a kind of old-buffalo-robe smell—which of course had been the warning before he knew he smelled anything. Or sometimes he knew horses were coming before he could hear their hoofs; he supposed this came by a tremor of the ground so weak you didn’t know you felt it, but only knew what it meant.
He became aware that he was biting his mustache. It was a thin blond mustache, trailing downward at the corners of his mouth, so that it gave his face a dour look it didn’t have underneath. But it wasn’t a chewed mustache, because he didn’t chew it. Patiently he studied the long sweep of the prairie, looking steadily at each quadrant for many minutes. He was sorry now that he had let Amos go last night to help the Mathisons chase cow thieves; Amos was Henry’s brother and a rock of strength. It should have been enough that he let Martin Pauley go along. Mart was the little boy they had found in the brush, after the Pauley massacre, and raised as their own. He was eighteen now, and given up to be the best shot in the family. The Mathisons hadn’t been satisfied anyway. Thought he should send Hunter, too, or else come himself. You can’t ever please everybody.
