Omar Locklear - Daredevil Extraordinaire

 
Omar Locklear, 1919
(historical photo)

In Greenwood Cemetery in Fort Worth is a nondescript grave with nothing to distinguish it from all the other graves. Well, except for the large Texas Historical marker next to it. Here lies Omar Leslie "Lock" Locklear. Few people know of him now, but during his short life, he was the world's greatest stuntman, a fearless daredevil, the man who invented wing-walking and the first to transfer from one plane to another while in flight.

Born in Greenville, Texas on October 28, 1891, he was raised in Ft. Worth after his parents moved there in the early 1900s. In 1911, Calbraith Rodgers landed his plane in a nearby field to clear a clogged fuel line. Locklear witnessed the landing, ran to meet Rodgers and to see the plane up close. From that point on, he was intensely fascinated with aviation and airplanes. 

"Lock," as he came to be called, joined the Army Air Corps in October 1917. He was such a gifted pilot that he was made a flight instructor in WWI. He was well-known for leaving the cockpit during flight and crawling along the wings or fuselage back to the tail section to make in-flight repairs when necessary. After the war ended in 1918, Omar happened to see a barnstorming air show and marveled at how the spectators cheered and gave money to the pilots and how the women were enamored of them. He also quickly realized his own regular flying exploits were much more impressive. 

He left the Army in early 1919 and along with two of his colleagues and a manager, acquired airplanes and formed their own flying show, "The Locklear Flying Circus." It was a huge success and with Locklear as the star, the men became wealthy. In addition to stunts such as wing-walking and doing headstands on the top wing of his Curtiss Jenny biplane, Omar perfected the death-defying stunts of jumping from one airplane to another and the "Dance of Death" in which he and another pilot in a different airplane would switch places while in mid-air.

(Historical photo)
The "Locklear Flying Circus" became such a hit that Hollywood came calling. Locklear moved to California and was hired to be a stuntman in movies. He soon was being billed as the foremost "aviation stuntman in the world." The first movie featuring Omar as the star was "The Great Air Robbery," a film about pilots flying air mail. In the movie, "Lock" performed his famous airplane-to-airplane transfer and a stunt where he transferred from a flying plane to a speeding automobile and then back to the plane moments before the car crashed. The film was a commercial success and he was soon hired to star in a second film, "The Skywayman," about an American ace battling against German pilots in World War I.

Filming began on June 11, 1920, and, until the final scene was recorded on August 2nd, there were problems. Two of Lock's stunts, one where a church steeple was toppled by his plane and another where he transferred from a flying plane to a speeding train, took a number of takes and almost ended in disaster. On the last scheduled day of filming, Omar was to be in a nighttime spin, pulling out to safety at the last second. The night before filming, Lock told his girlfriend, actress Viola Dana, that he had an uneasy feeling about the next day and gave her some of his personal possessions. The scene was originally scheduled to take place in the daytime with red filters on the camera lenses to simulate darkness, but Omar demanded he be allowed to perform the stunt at night for realism. 

(Historical photo)

Large studio arc lights were set up to illuminate Omar and his plane. The lights were set to turn off when he reached 1,000 feet so he would know where he was at and be able to recover from the downward spin. The dive toward an oil derrick was intended to make it appear in the movie that he crashed into the derrick. As Viola Dana, numerous spectators and the full film crew watched, Omar performed several preliminary aerial maneuvers with lit flares to simulate the plane being on fire. Lock then signaled he was ready to begin the spinning dive. For some reason, mechanical or human error, the bright lights did not go off as planned and remained on, blinding Omar and his long-time co-pilot, "Skeets" Elliot. Instead of correcting the spin at 1,000 feet, they started at 200 feet, not nearly enough time to be successful. The plane crashed nose-first into a sludge pool of oil next to the derrick and the lit flares caused an immediate explosion, killing both men instantly.

The crash so horrified Viola that she refused to get on an airplane for the next 25 years. With the entire film having been completed except for the night scene, the movie's studio, Fox, decided to cash in on the fatal crash and rushed the film's release. With advertising proclaiming "Every inch of film showing Locklear's spectacular and fatal last flight, his death-defying feats and a close-up of his spectacular crash to earth," the movie was released to theatres just a month later.

Omar Locklear's remains were brought back to Fort Worth's Greenwood Cemetery where "the world's foremost aviation daredevil" was laid to rest.


Remember Goliad


Most people in America and even a goodly number of people around the world know the phrase, "Remember the Alamo!" Few people outside of Texas know "Remember Goliad!" Both of these phrases were shouted by the Texan forces on Aril 21, 1836, as they launched a surprise attack on the Mexican forces who were enjoying their siesta. Although outnumbered, the Texans, led by General Sam Houston caught General Antonio Lopez de Santa Anna's army totally unprepared for battle and completely routed them. Only 9 Texans were killed and 26 wounded in the engagement while there were 630 Mexicans killed, 208 wounded, and 703 captured, including the president of Mexico, Santa Anna. Texas won its independence and became a nation on that day.

What gave the Texan troops such a thirst for revenge that they showed little mercy even when Santa Anna's troops were running away? There was, of course, the Alamo, where Santa Anna proclaimed there would be no mercy shown to Davy Crockett, Jim Bowie, William Barret Travis, and the other 179 Texas defenders. He commanded his men to put to death everyone and when his men brought him a handful of captured male survivors, he ordered they be bayonetted to death. He then ordered all 182 bodies to be burned in a huge pyre and let a couple of women, children, and one male servant survive in order to spread the word that nobody should stand against him.

After the fall of the Alamo, a Mexican force of 1,400 men led by Santa Anna's chief lieutenant, General Jose de Urrea, continued to march east toward the Presidio in Goliad where Colonel James Fannin commanded 400 men. Sam Houston ordered the Texans to move to Victoria, a more defendable position on the other side of the Guadalupe River. For some reason, Fannin hesitated for several days, and then when he did begin the move, they ran into the main body of the Mexican troops while crossing an open prairie. After fending off four separate attacks on the first day, the Texans spent that night digging trenches. However, in the morning they found they were now totally surrounded by the enemy. Almost out of ammunition, Fannin asked for a parley to prevent his troops from being massacred. General Urrea promised the Texans would be treated as prisoners of war and given clemency. Upon surrender, the Texans were marched back to the Presidio at Goliad and placed under the watchful eyes of Nicolas de la Portilla and his detachment of men while Urrea and his remaining troops continued their march south. 

Santa Anna, however, was determined to fight a war of extermination and ordered Portilla to execute the prisoners. Having conflicting orders from General Urrea and General Santa Anna, Portilla chose to follow Santa Anna's orders. 

On March 27, the prisoners were divided into quarters. While the sick and wounded remained in the chapel, the other three groups were escorted on different roads out of town. The three groups were told they were on missions to gather wood, drive cattle or sail to safety in New Orleans. Believing their captors, the rebels joked and swapped stories as they walked along. When they were ordered to halt a half-mile from the fort, however, the Texans realized their fates. The Mexican guards opened fire as some of the men began running for their lives. Those not killed by gunshots were slaughtered with bayonets. Back at the presidio, the Mexicans stood the wounded against the chapel wall and executed them. Those too wounded to stand were shot in their beds. Fannin, who had been shot in the thigh during the original engagement, was the last to be killed. His three dying wishes were to be shot in the chest, given a Christian burial, and have his watch sent to his family. Instead, Portilla shot Fannin in the face, burned his body with the others, and kept the timepiece as a war prize. In all, nearly 350 men were killed at Goliad.

Santa Anna's treatment of the captured soldiers had the opposite effect of what he intended. He was no longer seen as a brilliant military strategist but a cruel despot. The Goliad Massacre hardened attitudes toward Santa Anna throughout the United States and inflamed and unified the Texas resistance. Less than a month later at the battle of San Jacinto, Sam Houston's men won independence for Texas with the battle cries of "Remember the Alamo" and "Remember Goliad" ringing throughout the Mexican camp.  

Today, almost 185 years later, the old presidio and its adjacent Chapel of our Lady of Loreto still stand. Given the horrific events that happened within and around the site, is it any wonder the walls sometimes echo with the mournful sounds of spirits returning from that troubled and turbulent time? 

Visitors often report feeling "cold spots" and uneasy feelings as they walk around the grounds where Fannin and his men were executed. In 1992, a man named Jim reported strange goings-on. As a former deputy sheriff and a security guard for a number of years, Jim was not a man easily frightened or prone to make up wild stories. Hired for a few nights to watch over some equipment at the presidio that was to be used for the Cattle Baron's Ball, he expected quiet routine nights. On his first night though, just before midnight, the silence was broken by the "eerie, shrill cries of nearly a dozen terrified infants." He swore the sounds indicated "pain and suffering." Although understandably frightened, he tried to find where the sounds were coming from. After several long minutes, he finally determined they were coming from one of the dozen or so unmarked graves that are located near the Chapel of Our Lady of Loreto.

As he shined his flashlight on the spot, the cries abruptly stopped but were immediately replaced by the singing of a women's choir. It sounded like it was coming from the back wall of the old fort, but the beam of his flashlight revealed nothing there. After two or three minutes, the singing stopped and silence returned for the rest of the night. When Jim reported his experience, he was teased by his co-workers, but he is convinced what he saw and heard was real and besides, he is not the only person to report strange things in and around the presidio.

Numerous people have reported seeing a strange, 4-foot-tall friar who suddenly appears by the double doors leading into the chapel. His robes are black, tied around his waist with a rope and his face is concealed with a hood. He then walks barefooted to each corner of the church and seems to bless it before walking to the center of the quadrangle and begins to pray in Latin. 

A woman in a white dress has been reported kneeling and crying by the graves of the children. When seen, she then turns and looks directly at the person before gliding over to a wall and vanishing. A beautiful soprano voice is often heard emanating from one particular room, but upon investigation, there is nobody in the small space. Visitors who stay late often come back from the fort and comment to the staff about the historical reenactors even though there are no reenactors on the property that day. 

It seems there are many restless spirits here. Who are the crying babies? Are they the little lost souls of pioneer infants killed by Indians in a raid or was there an epidemic that took their too-short lives. The woman in white - is her own child buried in one of the unmarked graves? Why does the short friar keep returning? Is his soul in turmoil over so many brave men who were brutally executed? Whose souls are eternally singing beautiful hymns in a choir, unable to leave this chapel? Caught in a timeless web, so many lost souls searching, sorrowing, singing, praying, unable to let go of the life they briefly lived in a little town named Goliad.