too late to poll the membership since the Convention is December 5th thru 8th. Anyone that is inter-ested in what those agenda items are can obtain a copy of them at the next shoots. Don’t forget that at our shoots, Elder Statesman, Grand Dames shoot for the reduced fee of $10. as well as getting a free lunch. Posse Leaders receive a free lunch as well. Recently we have has some confusion regarding the definition of a clean shoot for the purposes of receiving a free shoot card. A clean shoot is defined as a shoot where the shooter has shot clean, or hit all the targets and has not been awarded any procedures or safety violations. Don’t forget that the 4th Sat-urday shoot has been moved back to

Another year gone by, for us at the Bojack outfit it was a bad year healthwise. We certainly hope your year was a good one? We look for-ward to next year and are glad to leave 2007 behind. We plan on holding our first open meeting after next shoot when the steel is put away on the 8th of December. Anyone who wants to attend and has some constructive ideas or criticism is welcome to at-tend. We will be planning a fun year for 2008 so plan on sticking around and attending if you want to. I want to apologize for not polling the membership regarding the issues on the Agenda at the TG Summit this year. The agenda was published in September and with my illness and absence from club busi-ness, the ball got dropped. It is now

MERRY CHRISTMAS AND HAPPY NEW YEAR!! the 3rd Saturday the 15th of De-cember so that folks can use the 4th weekend to get ready for Christmas. Also at that shoot on the 15th we are going draw a ticket out of the can you have been putting your raffle tick-ets in for the past year. The lucky person will win a H&R .38-55 Rolling Block Rifle courtesy of Walker ‘47 and Cajon Cowboys. You need not be present to win but it would be nice if you were. Also at the shoot all shooters will receive a free Christmas lunch. Everyone have a Merry Christmas and a Happy New Year. God Bless. Bojack.

Editor: Pasture Patti Cajon Cowboy Monthly—December 2007

The risks he ran, the deadly situations through which his extraordinary nerve took him safely, his resourcefulness, his loy-alty, and above all his cold-blooded bravery, always made men re-member this picturesque, modest figure of the American frontier."

One of the most famous detectives of the Pinkerton National Detective Agency Charles Angelo Siringo also served as a lawman for many years and became an author. Born in Matagorda County, Texas to an Irish immigrant mother and an Italian immigrant fa-

ther, he attended public school until he was 15 years-old, at which time he started working as a cowboy at area ranches. Working for a number of Texas ranches over the next several years, he became a trail driver in 1876, accompanying a herd of 2,500 longhorns over the Chisholm Trail from Austin to Kan-sas . He made a second trip in the spring of 1877, following the trail's western branch. Siringo was in Dodge City, Kansas when an altercation almost erupted between gunfighter, Clay Allison and Dodge City Assistant Marshal, Wyatt Earp. After Allison’s death in 1887, Earp would claim that he and Bat Masterson had forced Allison to back down from an impending confrontation. Siringo, however, later gave a written account of the incident which contradicted Earp’s claim, stating that Earp never came into contact with Allison, and that two businessmen in Dodge City actually defused the situation. Siringo’s account was also verified by other witnesses of the time.

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In Dodge City he signed on with David T. Beals and W. H. "Deacon" Bates to drive a herd into the Panhandle, where they establish the LX Ranch. For the next several years he worked as a LX cowboy, where he met a young man named Henry McCarty, aka: Billy the Kid, who later he would lead a posse in New Mexico in an attempt to capture the Kid and his gang. In 1884 Siringo married Mamie Lloyd and after having been a cowboy for more than two decades, changed careers, opening a store in Caldwell, Kansas. That same year, he also began writing book entitled "A Texas Cowboy; Or Fifteen Years on the Hurricane Deck of a Spanish Pony." It was published a year later to wide acclaim and became one of the first true accounts of the cowboy life during the days of the Old West. Bored with being a merchant, Siringo moved to Chicago in 1886, applying for a job with the Pinkerton Detective Agency. Using Pat Garrett’s name as a refer-ence, he got the position and for the next 22 years worked all over the West as a successful cowboy detective. Trav-eling as far north as Alaska and as far south as Mexico City, he often worked undercover, infiltrating gangs of robbers and rustlers, and making hundreds of arrests. By the early 1890’s Siringo was working out of Pinkerton’s Denver office, where he worked with noted Pinkerton agent, gunman, and later assassin, Tom Horn. Though he greatly admired Horn's talents and skills in tracking down suspects, he would later reflect that Horn had a dark side. In 1892, Siringo was assigned to a case in Idaho, where he worked undercover to get information against corrupt labor union officials. Though he despised the la-bor union officials, he stood against a lynch mob to pro-tect union attorney Clarence Darrow from being hanged. In the late 1890's, posing as "Charles L. Carter," an al-leged gunman on the run for murder, he infiltrated Butch Cassidy’s Wild Bunch. For over a year he severely ham-pered the their operations but made few arrests. After the Wild Bunch committed the 1899 Wilcox Train Robbery in Wyoming, he was assigned to capture them. He continued to work closely with Tom Horn on the assignment, though Horn was actually working for a cattle company at the time. Several members of the Wild Bunch were captured due to his efforts including Kid Curry, who would later escape only to be killed by a shootout with Colorado lawmen. During this time, Sir-ingo was also meet lawman, Joe Lefors, who later would arrest Tom Horn for murder. Later, he would say of Le-fors that the man was incompetent and he greatly despised him. In the meantime, Butch Cassidy and the Sundance

(Continued from page 1) Kid fled to Bolivia, where they were later alleg-edly killed by Bolivian soldiers during a robbery attempt. In 1890 Siringo's wife died, leaving him a widower with a five-year-old daughter. Three years later Siringo met and married Lillie Thomas of Denver, Colorado and the two had a son in 1896. However, shortly afterwards, the two divorced shortly after he was born. After 22 years of successfully capturing hundreds of outlaws, Siringo retired from the Pinkerton Agency. In 1907, during his career with the Pinkerton, Siringo participated in a number of other celebrated cases, including the Haymarket anarchist trial, the Coeur d'Alene miners strikes, and the trial of Western Federation of Miners Sec-retary "Big Bill" Haywood, who had been charged with the dynamite murder of former Idaho gover-nor Frank Steunenburg. Although Siringo was a fine shot, the vast majority of his arrests were made without violence. He then moved to a ranch in Santa Fe, New Mexico, where he began to write a second book detailing his experiences as a Pinkerton de-tective, entitled "Pinkerton's Cowboy Detec-tive." When it was complete, publication of the book was held up by the Pinkerton Agency who felt it violated a confidentiality agreement signed by Siringo when he was hired, and objecting to the use of their name. Siringo gave in, and deleted their name from the book title, instead writing two separate books, entitled "A Cowboy Detective" and "Further Adventures of a Cowboy Detective," with fictitious names replacing real ones. To vent his anger against the Pinkertons, Siringo wrote and clandestinely published a third book, entitled "Two Evil Isms, Pinkertonism and Anarchism" in 1915. Again, the Pinkerton Agency blocked publication, and this time attempted to have Siringo prosecuted for libel, asking that he be extradited from his ranch in Santa Fe, New Mexico to Chicago. However, the New Mexico governor denied the extradition request. In 1916, Siringo began working as a New Mexico Ranger where his main task was to capture the numerous rustlers operating in the southeastern part of the state. After two years he resigned when his ranch and his health began to fail. In 1919 he published “A Lone Star Cowboy,” which he said was to take the place of “A Texas Cowboy,” on

(Continued on page 4)

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which the copyright had expired. This was fol-lowed by History of “Billy the kid” in 1920. However, his health continued to fail, and that coupled with financial difficulties forced him to abandon his ranch and leave Santa Fe in 1922. He then moved to Los Angeles, Califor-nia where he became a minor celebrity due to his well publicized exploits. While there, he some-times worked as a film advisor on western film sets and even took an occasional bit part. In 1927 he released his final book, "Riata and Spurs," a composite of his first two autobiogra-phies. However, when the Pinkerton Agency intervened again to halt publication, the book became a whittled down version with many fic-tional accounts rather than the true accounts that Siringo had envisioned. The next year, Siringo died in Altadena, California on October 18th, 1928. Siringo's recollections of his life as both a cowboy and a detective helped helped to ro-manticize both the myths and realities of the Old West. Siringo's prowess as a cowboy and Pinkerton detective made him widely known in his lifetime; he met United States Senators, state governors, and national officials, as well as such diverse celebrities as Pat Garrett, Bat Masterson, Clarence Darrow, Charles M. Russell, Eugene Manlove Rhodes, William S. Hart, and Will Rogers, and numerous outlaws.

(Continued from page 2)

The Making of “The Shootist” John Wayne’e Last Movie John Wayne and Lauren Bacall star in the dramatic western The Shootist, which graphically recounts the final eight days in the life of a legend, the giant of a man who is the last of the great shootists. Directed by Don Siegel with a screenplay my Miles Hood Swarthout and Scott Hale based on the novel by Glendon Swarthout, The Shootist co-stars Ron Howard, Bill McKinney, with special guest stars James Stewart, Richard Boone, John Carradine, Scatman Crothers, Richard Lenz, Harry Morgan, sheree North and Hugh O’Brian.

With Bruce surtees directing the photography, the film was produced by M.J. Fankovich and William Self on location in Carson City, Nevada and in Hollywood. The music was composed by Elmer Bernstine. Sute, it’s the story of a man with a gun, “Wayne said, “but a man who used that gun only for the sake of justice. Any it’s more, too. It’s really the story of a raw, young land learning to live with law, flexing its muscles to build a future and fighting for the right freedom. The sun was beating down hard on the mid-Western street at Burbank Studios one day as the cameras rolled on the closing scenes of The Shootist, the turn of the century dramatic Western. James Stewart who does a guest appearance was almost dozing. When someone jokingly mentioned it, Stewart nodded sleepily. “Comes easy when you’re my age,” he said, yawning, stretching the long, slim legs that have carried him to five Academy Award nominations and an Oscar. “You know,” he teased, with that inimitable drawl, “I’m doggone near 60 now.” “Lookathere,” he said, now wide awake. He pointed at Don Seigel, director of this film who was talking to big Duke. “Now there’s a guy I could really get mad at.” “That Wayne is really something else,” he went on, singling out the target of his friendly verbal attack. “You know what keeps me from being like him?” he asked his closest listener. And without waiting for an answer, he supplied his won. “Dreams,” he stated em-

Cajon Cowboys Shooting Association, Inc. Club Contacts

President Bojack 760 956-5044

Cell 760 900-6166

Vice President Luke Warmwater 909 987-7017

Cell 909 345-1898

Secretary/Treasurer Pasture Patti 760 956-5044

Cell 760 900-5199

SASS Territorial Governor Asphalt Cowboy 951 679-8662

Cell 951 679-8662 Webmaster

Calamity Candy 951-688-9854

phatically, “dreams is it.” Here’s what I mean, “ he went on, now fully awake and warming up to his subject. “When folks see me in a movie, they identify with me right away. I’m just like anybody they know, making mistakes, falling on my face, bumbling through a picture and only coming our on tip with a little help from my friends.” “But him,” he almost glared, “him, he’s the guy they see in their own private dream world. The one who storms into a bar and wipes it out. The cool, unshakeable gent who lets the bad guy draw first and then nails him. The guy who builds air-strips in Iwo Jima while the shells are falling all around the ma-chine gun fire is killing his men. The guy who….” Here he stopped, shook his head and then grinned with that little boy look that has made women all over the world want to hold him like their son. “Wal” he said, almost sheepishly, “I don’t supposed you’d want to go to the movies and watch your neighbor always, would you?” “Heck,” he said, I’m like one of their neighbors, the boy down the street or the jerk they always bluff out of a poker pit. Oh, I made them laugh once in a while. But it’s not because of what I done, it’s because of what or who I remind them of.” He gazed at the big, towering figure of Wayne before going on, then pointed a long, bony finger. Lauren Bacall was slouched low in the arm-chair in her dressing room and except for a touch of maturing here and there, she looked every bit the woman who taught the notion picture world what to do with its mouth. “If you want me,’ she teased Humphrey Bo-

gart, “just whistle. You know how to whistle, don’t you? Just put your lips together and flow.” Course, that was more than a generation ago in her film debut as Bogey’s co-star in To Have and Have Not, the picture that sky rocketed the New York teenager into star-dom and marriage with the guy with the lop sided smile. But now she was looking at another guy. This time a guy with a lop sided walk, John Wayne, with whom she co stars in The Shootist. “Isn’t he,” she asked, pointing at the towering figure of the big Duke standing nearby, “just bitchin beauti-ful?” (She admitted later that she picked up the salty but harmless slang from her kids). She went on without waiting for an answer. “He reminds me of Bogey so much. Natural and all man. He won’t say a phony line and he won’t let you. He protects the honesty of every character he plays.” According to the crewmen the novel did undergo considerable changes in dialogue at Wayne’s insistence. “And I love him for that,” chortled the husky voiced Bacall. “Because when he got through with the script, I could play my scenes with him almost without studying my lines. Just by answering instinctively. He’s a genius at making things seen natural.” “Like I said before,” the words came slowly, softly, “I knew another guy like that once.” Unlike most people who get hung up on supersti-tions, young Ron Howard feels Number 13 is his lucky num-ber. For at the age of 22, the talented redhead has completed his 13th motion picture and, in his own words, it’s “the greatest thing that has ever happened to me.” “When I first read the script,” laughed the young star of TV’s “Happy Days” series, “I know the part was a good one for me. I couldn’t wait to get started. But when I showed up the first day to work, I suddenly realized who I’d be with on camera—John Wayne! Wow, was I scared.” Ron shuddered at the memory, recalling those early anxious moments: “But once I met Duke, all my worries seemed to disappear. He put his arm around my shoulder and we walked around the set in Carson City (the first two weeks were shot on location there) and he talked. “Soon as I found my tongue,” grinned the likeable youngster, “I began to answer him and all of a sudden we were just two actors talking about the job we were going to so. I even corrected him once, “ he said, “and he just grinned at me real friendly like.” Ron paused at this point and then went on, emphati-cally. “I tall you,” he said, “that was really my lucky day. I went back to the casino that night and won 20 bucks playing roulette.” “Yeah,” he grinned, “on number 13.” The bar used in The Shootist was built on the Paramount soundstage at the cost of $500,000.

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Stainless Rossi Winchester '92, .45 Colt. Only 2000 of these made. $350.00 Stainless Ruger Redhawk, 5 1/2 inch barrel, .44 Magnum. $450.00 or trade for solid frame '97.

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FOR SALE, 45 CALIBER COWBOY MARLIN RIFLE, 200 ROUNDS THROUGH IT, ACTION

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Rossi .45LC Mod. 92 Saddle Ring Carbine (Puma Model, no cross bolt safety) Like new cond. $375

Bojack 760 956-5044 or cell 760 900-6166

Notice: Range Weather Conditions

If you are concerned about the weather at the range on a shoot morning, call after 6 AM: Asphalt Cowboy at 951 532-3879 Luke Warmwater at 909 354-1898. They both arrive at the range around 6AM

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