Trumpet on the Land: The Aftermath of Custer's Massacre, 1876

was developing a personal style mixed with a generous mix of charisma and electrifying dash that would make him truly memorable when he finally took that first step behind the smoky footlights of an eastern theater. Then in November of seventy-one, with little happening on the Central Plains, the Fifth was reassigned to the Apache war in Arizona. They were leaving Bill Cody behind at McPherson, bound for Fort McDowell.

No less than Phil Sheridan himself had instructed the regiment’s commanding officer to leave Bill at McPherson because he knew nothing of the Apache, and perhaps even less of the new terrain. The Fifth was ordered “not to take Cody.”

The Third Cavalry would be coming to take the place of the Fifth. Sheridan informed Cody he would never have a better chance to accept those numerous invitations to visit New York City. Bill went east. And his life was never to be the same again.

Dividing his time between newspaper publisher james Gordon Bennett and Ned Buntline, Bill got a real taste of the high life that only New York could offer. And he got to see himself played by an actor on opening night at the Bowery Theater for Fred Maeder’s production of Buntline’s story, Buffalo Bill: The King of Border Men. At intermission the theater manager learned that no less than the real William F. Cody was in the audience, so after he made the announcement to the audience, the crowd prevailed upon the scout to make his way reluctantly to the stage, where he said little if anything—frightened to death, and frozen speechless.

Staring at a half-dozen painted, screaming warriors, each waving a rifle or war club as they charged down on him … why, that was one thing. But staring out at hundreds of theatergoers, all expecting him to entertain them merely by opening his mouth and saying something worthwhile? Now, that was a polecat of a whole different color!

Buffalo Bill made the one and only retreat in his life that night as he ducked through the side curtains—but was immediately cornered backstage by the theater manager, who offered him five hundred dollars a week to play the part of Buffalo Bill himself.

Five hundred dollars a week!

At the time Cody believed the man had to be mad, or merely addlebrained. No one could make that sort of money playacting, pretending, simply having fun. So Bill begged off, wanting nothing more than to escape the place as fast as he could get out of there.

“I never was one to talk to a crowd of people like that,” he told the group that had him cornered backstage. “Even if it was to save my neck. You might as well try to make an actor out of a government mule.”

And with that Bill ducked out a back door into the dark of a New York alley where he made good his hairbreadth escape, back none too soon on his beloved plains, assigned to Colonel John J. Reynolds’s Third Cavalry.

The next month, April of seventy-two, Cody guided Captain Charles Meinhold’s B Company on the trail of a war party that had killed three soldiers and run off some cavalry mounts a mere half-dozen miles from Fort McPherson itself. Two days later on the evening of the twenty-sixth as the entire company went into camp, Cody led Sergeant Foley and six men out to reconnoiter the immediate area before settling in for the night. No more than a mile from their bivouac Bill discovered a small Indian camp and a nearby pony herd, which included some of those stolen army horses. Cody and Foley decided to attack—killing three of the horse thieves. In the brief fight Bill found himself alone among the warriors, facing some daunting odds—yet stayed cool long enough to shoot his way out of the fix while the remaining horse thieves made good their escape before the rest of the company came up on the run.

For that bravery shown along the South Fork of the Loup River in Nebraska, Bill was awarded the Medal of Honor. And he thought on that now, touching his gloved fingers to his breast for a moment here in the warm morning sun—remembering how damned proud Louisa had been to slip that ribbon over his neck, remembering how the medal felt against the hammer of his heart. Recalling how he so enjoyed the long, joyous rolls of deafening applause from those in attendance as they clambered to their feet, their approbation ringing from those walls and rolling over and over him.

That same spring some of his McPherson friends secured Bill’s nomination by the Democratic party to represent the twenty-sixth district in the Nebraska legislature. He won by the slim margin of forty-four votes. When Bill had pressing matters with the army and did not show up at Lincoln on the specified date to be sworn in and to claim his seat, a suit was filed on behalf of his opponent, stating that some votes had been improperly returned.

Despite a questionable recount, Bill accepted the new figures, which gave D. P. Ashburn the election. Cody went on with his life.

Following his return to McPherson from the skirmish on the Loup River, Bill received the first of what would be many letters sent him by Buntline, every one of them urging, cajoling, begging Bill to go on stage to play himself.

“I still remember that dreadful night at the Bowery Theater,” he wrote Buntline.

“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.”