LITMIR.BIZ

      Chapter One

       Black Hills, South Dakota, 15 years later

      A wave of homesickness as wide and deep as the Irish Sea swept through Tiernan McKenna as he sat his roan gelding Red Crow and studied the Bitter Creek Mustang Refuge—grassy meadows amidst winding rugged canyons, ragged rock spires backing pine and cedar forest.

      The trees gave the Black Hills their name, because from a distance, the foliage made the mountains look black. Missing the rolling land and lush green valleys of the Emerald Isle, Tiernan gazed out over the valley below, where mustangs grazed. Nothing like the Thoroughbreds he’d worked with all his life, horses he’d trained and ridden, these horses were feral.

      He’d thought this was what he wanted—a complete change from his old life, a way to get out of his brother Cashel’s shadow, a chance to cowboy. He’d grown up watching old American Westerns on the telly. Cimarron, The Magnificent Seven, High Noon, Billy the Kid—those were only some of the movies that had entranced him. So here he was in the American West and ironically, an historical Western film called Paha Sapa Gold was just starting to shoot in the Black Hills, mostly on refuge land, thereby infusing the organization with sorely needed money.

      Longing seared Tiernan as he gazed out on the film’s camp in the distance. There were trailers for the production staff and the stars behind the supposed Main Street, though mostly facades like cardboard cutouts represented the town. The only interior sets here were the jail and the saloon. The remaining interiors would be shot in an L.A. studio.

      On adjoining reservation land backed by ragged pinnacles of rock, a dozen tepees made up the Lakota Sioux village set. And up in the hills—Tiernan wasn’t certain if it was reservation land or refuge—was the sealed-off entrance to an old gold mine. He’d heard the production company was planning to use that, too, since Paha Sapa Gold referred to the Custer Expedition’s search for gold in the Black Hills despite it being Sioux land.

      In the flat below were two side-by-side fenced pastures, empty now, that would hold the horses to be ridden in the film. They would come both from the MKF Ranch where he worked and from the reservation. Even the refuge mustangs would be used as a wild herd in a couple of scenes.

      Too bad he wasn’t part of that—the old films had fascinated him, had enticed him to make his move from Ireland to America. Well, that and not wanting to answer to Cashel anymore. Whether it was horses to train or psychic abilities to control or women to woo, Tiernan didn’t want to be second best to his older brother anymore. He needed to be his own man, wherever that would take him.

      So, after considering long and hard, Tiernan had left Ireland to make a life of his own. Second cousins had taken him in, had allowed him to test himself, to see if this life really was for him. While satisfying, the reality of it—the hard, dirty, unromantic work of cowboying, the answering to yet another relative—took the luster out of those films he’d loved so much. He’d thought that, like the silver-screen cowboys, he would find a way to make his own mark, on his own terms.

      Now he realized he’d been telling himself a fairy tale.

      Now a confused Tiernan didn’t know what he wanted.

      Now, missing his brothers Cashel and Aidan despite himself, missing Ma and Da, missing the green countryside and near-daily rains that brought life to Ireland’s estates separated by hedgerows and limestone fences and paved roads, he wasn’t so certain.

      Had he made the biggest mistake of his life in leaving behind everything he knew and loved?

      McKenna pride wouldn’t allow him to admit it, to go crawling back—he had to make a go of it here. He had to prove to himself that he would find that elusive something that would give him the mantle of responsibility and make him feel like his own man.

      Riding

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