Reporters tantalized their readers with stories about the “plutocratic Osage” and the “red millionaires,” with their brick-and-terra-cotta mansions and chandeliers, with their diamond rings and fur coats and chauffeured cars. One writer marveled at Osage girls who attended the best boarding schools and wore sumptuous French clothing, as if “une très jolie demoiselle of the Paris boulevards had inadvertently strayed into this little reservation town.”
Many of the Osage would rush to see a gusher when it erupted, scrambling for the best view, making sure not to cause a spark, their eyes following the oil as it shot fifty, sixty, sometimes a hundred feet in the air. With its great black wings of spray, arcing above the rigging, it rose before them like an angel of death. The spray coated the fields and the flowers and smeared the faces of the workers and the spectators. Still, people hugged and tossed their hats in celebration. Bigheart, who had died not long after the imposition of allotment, was hailed as the “Osage Moses.” And the dark, slimy, smelly mineral substance seemed like the most beautiful thing in the world.
A short, stout man, with a luxuriant mustache and a shock of red hair, Burns had once aspired to be an actor, and he cultivated a mystique, in part by writing pulp detective stories about his cases. In one such book, he declared, “My name is William J. Burns, and my address is New York, London, Paris, Montreal, Chicago, San Francisco, Los Angeles, Seattle, New Orleans, Boston, Philadelphia, Cleveland, and wherever else a law-abiding citizen may find need of men who know how to go quietly about throwing out of ambush a hidden assassin or drawing from cover criminals who prey upon those who walk straight.”
Meanwhile, Ernest’s aunt was muttering, loud enough for all to hear, about how mortified she was that her nephew had married a redskin. It was easy for Mollie to subtly strike back because one of the servants attending to the aunt was white—a blunt reminder of the town’s social order.
Hoover demanded that his staff wear dark suits and sober neckties and black shoes polished to a gloss. He wanted his agents to be a specific American type: Caucasian, lawyerly, professional. Every day, he seemed to issue a new directive—a new Thou Shall Not—and White put on his big cowboy hat with an air of defiance.
Blackie, evidently enjoying himself, looked squarely at Burkhart and said, “Ernest, I have told them everything.”
The judge advised the jury members that they must set aside sympathies or prejudices for either side. He warned, “There never has been a country on this earth that has fallen except when that point was reached…where the citizens would say, ‘We cannot get justice in our courts.’ ”
In 1932, the bureau began working with the radio program The Lucky Strike Hour to dramatize its cases. One of the first episodes was based on the murders of the Osage...The broadcasted radio program concluded, “So another story ends and the moral is identical with that set forth in all the others of this series….[The criminal] was no match for the Federal Agent of Washington in a battle of wits.”
The historian Burns once wrote, “To believe that the Osages survived intact from their ordeal is a delusion of the mind. What has been possible to salvage has been saved and is dearer to our hearts because it survived. What is gone is treasured because it was what we once were. We gather our past and present into the depths of our being and face tomorrow. We are still Osage. We live and we reach old age for our forefathers.”
Killers of the Flower Moon, dir. Martin Scorsese // Killers of the Flower Moon by David Grann (3/3)