“You’ll get over it,” the novelist wrote back. “Any man as brave as you can learn to overcome an enemy so weak as shyness.”
But Colonel Reynolds distrusted the self-promoter Buntline. “I advise against you going, Cody,” he told Bill. “You have a good job with us. A good future. Think of your family. Three children now?”
Yes. Two daughters and his beloved Kit Carson Cody. He had wavered, gazing again across the plains that surrounded McPherson. Who was he fooling, anyway? To think about becoming a showman, a traveling actor? He was a frontiersman. A scout. He didn’t have what it took to make a go of that theater stuff.
Then Buntline’s bluntest letter arrived late that November. Ned cut right to Cody’s quick. “There’s money in it. Big money.”
Cody remembered the money. Most of all, the money. Five hundred dollars a week, by damned. What that kind of money could do for his family! For Lulu and the three babies.
By that time Louisa was anxious to visit her family in St. Louis, so they started Bill’s trip east right there. A journey that would last more than three and a half years before he got back here to the plains. Fact was, he hadn’t been off the army’s payroll since he made that first ride for General Sheridan back to September of sixty-eight … right on through to that December of seventy-two when he resigned, went east with the family, and began a whole new life.
Again now Bill’s eyes all but closed as he drank deep of the air, feeling the stiff breeze against his face. He turned in the saddle to find Sheridan’s escort column far behind him, inching along like a dark serpent wending its way through the broken country. Far out on either side rode a few flankers. But he was out front. Alone. The way he so enjoyed. Just him and the horse. Him and the horse, and by God these plains he had forsaken for theater lights.
On the eighteenth of December, 1872, he made his first appearance in Ned’s production of Buffalo Bill at Nixon’s Amphitheater in Chicago, starring in a play Buntline called The Real Buffalo Bill! By the time the curtain dropped that night, Cody was able to savor his first success on the boards.
“There’s no backing out now,” he told Buntline later that night at a bar as they celebrated their take from the door.
Ned promptly set about writing a whole new play he would coproduce with Bill, The Scouts of the Prairie. Wherever they opened to packed houses, reviewers praised the show: “The Indian mode of warfare, their hideous dances, the method they adopt to ‘raise the hair’ of their antagonists, following the trail, etc., or in the way their enemies deal with them, manner of throwing the lasso, &c, are forcibly exhibited, and this portion of the entertainment alone is worth the price of admission.”
Another waxed, “Those who delight in sensations of the most exciting order will not fail to see the distinguished visitors from the western plains before they leave.”
And the Boston Journal even told its readers, “The play itself is an extraordinary production with more wild Indians, scalping knives, and gunpowder to the square inch than any drama ever before heard of.”
Soon even the New York Times’s theater critic declared, “It is only just to say that the representation was attended by torrents of what seemed thoroughly spontaneous applause; and that whatever faults close criticism may detect, there is a certain flavor of realism and of nationality about the play well calculated to gratify a general audience.”
From Chicago to Cincinnati, on to Boston, New York, Rochester, and Buffalo, he and Buntline moved the production company, consistently grossing more than sixteen thousand dollars a week!
“I promised you there’d be money in this!” Buntline reminded him one evening after the performance as they were taking their leisure over a brandy and a good cigar.
“You’ve kept your word to me, Ned. And I’m thankful to have you to trust.”
For the moment there was no turning back.
From the first hint of autumn to the last vestige of spring each year, Bill toured the eastern theaters with his troupe of actors, moving through the steps of a newly inspired Buntline melodrama every season. Why, in the fall of seventy-three Cody even invited his old friend Wild Bill to come take a stab at the easy money of playacting. But Hickok didn’t take to it the way Bill had, and he muffed his lines and missed his cues—making for a rub between the two old friends from army days. It didn’t take long for the savvy Hickok to realize he was out of his element. Wild Bill quit to go back out west. Cody got Hickok paid off proper, with a thousand-dollar bonus to boot, and they shook— promising to meet again one day, out here on the prairie.
It was a promise Bill prayed they both would keep.
Since that winter when Wild Bill left for the frontier, hints and rumors floated back east. Cody learned that his friend finally ended up in Cheyenne, where he gambled his nights away through the intervening years, at least until he met the widow Mrs. Agnes Thatcher Lake, a circus performer Hickok had met years before while serving as city marshal in Abilene. Then this past March, Bill telegraphed Hickok his heartiest congratulations the moment he read of Wild Bill’s marriage to Mrs. Lake in the eastern papers. He figured Hickok would be following the circus in its travels from now on—sawdust show business! To think of Wild Bill Hickok giving up the saloons and keno tables, forsaking the lamplit fan-spread of cards laid out before each player as the last card is dealt in a high-stakes game of stud!
Surely something would eventually lure Wild Bill away from his intoxicating widow and that traveling circus. Something seductive, something far west of the hundredth meridian.
The following spring Cody was asked to act as guide for a group of rich Englishmen headed west for a Nebraska hunting expedition. Late summer found him guiding Captain Anson Mills, who led five companies of the Third Cavalry and two of infantry on a fruitless search for warrior bands making for trouble in the hill country surrounding Rawlins Station in Wyoming Territory. Besides packers and teamsters, also along were four Pawnee scouts who remembered Cody from the summer campaign of sixty-nine, and a young scout named Charlie White.
An excellent horseman who had served with General J. E. B. Stuart’s Confederate cavalry during the war, White had come in to McPherson to have a leg wound treated by army surgeons that fall. When the physicians refused to treat the civilian because he had no money and no visible means of support, Cody intervened, saying he would pay White’s bill. Some twenty-four or twenty-five years old, the pockmarked Confederate veteran promptly latched on to the famous Cody, eager to prove himself an excellent marksman. In fact, that very fall White began to grow his hair into long curls in fond imitation of Buffalo Bill’s flowing brown mane, as well as coming to dress, walk, and talk in the manner of the great frontier scout.
The gentle, soft-spoken White was proud in every way to be compared to the famous Buffalo Bill and soon earned his very own, if unflattering, nickname: “Buffalo Chips.”
For the next year and a half Bill stayed back east, reorganizing his troupe of players and relaxing at his new home in Rochester. Then come this past spring, just a month after Hickok’s wedding, on a terrible, rainy April night, a telegram caught up to him in Springfield, Massachusetts, where Scouts was playing.
Kit Carson Cody seriously ill. Stop.
Please come home at once. Stop. Your
son needs you. Stop. I need you
desperately. Stop. Please, Bill.
Louisa
Cody choked down the sour taste that remembrance brought him and stared into the bright summer sunlight reflected off the endless brilliance of these grassy plains, blinking away the sting of tears the loss welled up within him. Kitty, his only son, so ill with scarlet fever the night Bill made it home to Rochester, flung open that front door and left it hanging in the wind as he leaped up those stairs two and three at a time to reach the boy’s room. He had held young Kit Carson tightly, so tightly, against his breast as his son took his last breath.