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Nick Nelson, present in the interests of Barham, looked about curiously.

The pleasant, roomy studio, with its untheatrical furnishings, attracted him, and he marveled at the absence of the conventional claptrap. He sat next to Jarvis, and the two struck up a passing acquaintance.

Chinese Charley was interviewed first.

“He’ll tell nothing, whether he can or not,” Nelson said to his neighbor.

“If he knows anything, they’ll get it out of him,” Jarvis argued.

And they did. It wasn’t very much, but by dint of threats and hints of punishment they succeeded in getting what seemed like a straight story from the Chinaman.

It was to the effect that Locke had, about half past ten, come down the front stairs, found Charley, and given him the monk’s robe, with orders to hang it in the closet. Locke had then taken his hat and light topcoat and had walked out of the front door, as the caterer’s doorman had told Hutchins.

But after that, Charley knew no more concerning the doings of his master. He, himself, had run away home at sight of the policeman, but next morning, from a sense of duty, or from force of habit, had turned up at his usual hour of six o’clock.

“Isn’t that very early?” asked Babcock. “I thought artists were a late crowd.”

“I have much to do,” Charley returned, gravely. “I clean all—I sweep, dust—make all pleasant. Then the breakfast.”

“I see. And was Mr. Locke always ready for his breakfast?”

“If here. Not always here.”

“Ah, away part of the time?”

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“Yes. Away part of the time.”

“Where did he go?”

The Chinaman shrugged his shoulders, with a mere “No,” but no words could have expressed a more utter absence of information on that subject.

A few further questions and he was set aside as a hopeless source of enlightenment.

Rodman Jarvis was called next, and he also knew but little. His acquaintance with Locke dated perhaps from six months back. He knew him in a social and casual way, but not at all intimately or confidentially. He himself was a lawyer, but he had artistic leanings and in his leisure hours preferred to consort with painters or art students rather than learned members of his own profession.

He said there were perhaps a dozen or so who met occasionally for a social evening or afternoon, but the occasions were not very frequent, and they rarely saw each other in the intervals.

His estimate of Locke was all to the good, though avowedly superficial. He said Locke was something of a dreamer, rather intellectual, a fair artist, and a good pal. He was more inclined to listen than to talk, Jarvis said, when the crowd held their pow-wows, but when he did speak, he usually said something worth listening to. Oh, not highbrow, or erudite, but original and interesting.

All of which put the absent Locke in a pleasant light, and gave no impression of a sinister character.

But Babcock sighed, as he realized that this, after all, meant very little. He asked Henry Post for further description of the missing man.

“Locke is a good sort,” Post declared. “But I know little about him. He kept to himself—as we most of us do, down here. We are not inquisitive about our neighbors,

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

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 so it is only as a fellow artist that I can tell you much about him. He is a chap who enjoys himself wherever he is. Who is ready to take his part and do his share always. But I’ve never known him to talk about himself or to draw attention to himself—except as it might follow a discussion of his work. He is an earnest and a painstaking painter, though as yet he has not made a name for himself in the Art world. Perhaps once a week, a few of us congregate here and jabber on art topics. A party, such as was held last night, is most unusual for Locke to give though he often has smaller gatherings. He goes away a great deal—I don’t know where, but I fancy off on sketching tours—or perhaps to visit friends. I have often telephoned him here and received no answer. But that is the way with most of us down here. We are a lawless lot, so far as the laws of convention are concerned.”

“Then you know nothing, Mr. Post, concerning Mr. Locke’s family, relatives or more intimate friends?”

“Nothing at all.”

“And you have no idea where he is at this moment?”

“Not the slightest.”

Both Jarvis and Nick Nelson watched Post carefully as he made this last statement, but neither could detect by so much as the quiver of an eyelash that the man was telling other than the exact truth. Indeed, his whole manner and attitude was frank and straightforward, and Nelson, who was a good reader of character, felt that Post knew no more of Locke than he had declared.

Miss Vallon was questioned next.

Her story was much the same as Henry Post’s.

She gave the impression that she and Miss Cutler, Mr. Post and Mr. Locke formed a sort of informal quartette. That they dined together perhaps once a fortnight or so, and afterward spent the evening in Locke’s studio, discussing

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 the subjects in which they were all interested. Miss Vallon was already an illustrator of books or magazines. Miss Cutler was still studying—while the two men painted pictures without any definite idea of their ultimate bestowal.

“Did you never hear Mr. Locke mention a relative or a near friend outside your circle?” Babcock asked.

“No, not that I remember,” Miss Vallon replied, thoughtfully. “I may have heard him speak of his mother once or twice, but only in a reminiscent way; I don’t know whether she is living or not.”

So Miss Vallon’s knowledge was of no more help than Post’s.

The examiner turned hopefully to Pearl Jane Cutler.

That young woman had recovered her normal poise, and faced the listening group calmly, even coolly.

Hutchins watched her intently, for he had left her rather abruptly that morning earlier, finding his time was so short.

“Can you tell us, Miss Cutler, any more concerning the family or friends of Mr. Locke, than the other witnesses have?”

“No,” she said, quietly, shaking her bobbed hair and raising her wistful eyes to the face of the questioner.

Her intent regard disconcerted him a trifle, but he went on:

“You know him, casually, as Miss Vallon does?”

“Precisely in the same way,” she replied. “I have never seen Mr. Locke except in Miss Vallon’s company. We live in the same house.”

“Then I will ask you concerning another phase of the matter. Will you tell me of your finding Mrs. Barham’s body on the smoking-room floor?”

“Finding—What! I—I didn’t find”

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“Be careful, Miss Cutler—you will only make trouble for yourself by withholding the truth. You were seen—seen, bending down over the body of Mrs. Barham! Do you still deny it?”

Partly to intimidate his witness, and partly to hide his own disinclination to pursue this subject, Babcock frowned, sternly and spoke with severity.

But to his surprise, Pearl Jane threw up her head defiantly, and said: “Who saw me?”

“I see no reason to refuse an answer to that question,” Babcock returned; “it was the Chinaman, Charley.”

“Where was he?” said Pearl Jane, speaking almost conversationally and looking sharply at the Chinese boy.

Hutchins regarded the girl with surprise. What had so changed her attitude? Also, what revelations were about to be made?

“Where were you, Charley?” and Babcock turned to the servant.

“Light behind Missee Cutler,” he replied, stolidly staring straight ahead of him.

“And where was Miss Cutler?”

“In smokee loom—lookee allee time at dead lady.”

It was characteristic of the boy to use the broken English in time of embarrassment or emotion—and to use almost perfect English when calm and unperturbed.

“Was Miss Cutler alone in that room?”

“Gentleman at door. Lookee out on studio.”

“I will tell,” said Pearl Jane, speaking clearly and steadily. “I was in the small hall back of the smoking room—where the back stairs come up.”

“What were you doing there?”

“Only fixing my cap which had become disarranged—and assuring myself that my costume was all in order. There is a mirror there and a light.”

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“Go on.”

“And I heard an exclamation or two in the den—that is, the smoking room. The door was almost closed. I pushed it open, and looked in. I saw some one on the floor. Impelled partly by curiosity, partly by a desire to be of assistance, I went to look—yes, I did bend over the body—I did, I dare say, get a smear of blood on my sleeve—” the girl shuddered, “but that’s the whole truth. I ran away at once, when I saw what it was.”

“Why did you run away?”

“Fright, horror, shock. I have never seen anything like that before and I scarcely knew what I was doing. I ran and hid in a closet—for no reason but that I was beside myself with fear and terror.”

“Who was in the den?”

“I saw no one but some man, who was looking out of the door into the studio.”

“You touched nothing in the room? Moved nothing?”

“N-no,” but Pearl Jane dropped her eyes, and Hutchins thought he noted a little gasp of alarm. Yet, who could connect this child with crime? Moreover, her story tallied with Charley’s. He said he saw her bend over the body. She admitted it. Henderson was in the room at that time—at the studio door calling for some one to find a doctor.

Doubtless the girl did exactly as she recounted, doubt less, too, the Chinaman’s story was true and he did see her as he described.

There was, so far, not the slightest reason to suspect either of these two of any connection whatever with the crime itself.

To the question, “Who did it?” there could be no convincing answer until Thomas Locke could be found and made to speak for himself.

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However, there was one point on which Hutchins felt he must have light.

“Miss Cutler,” he said, easily, “are you and Mr. Locke especially good friends?”

The girl’s cheeks took on a deeper color, but she said coldly, “Will you state what you mean by that term?”

“Whew!” Hutchins thought to himself. “What has come over her? She’s been coached by somebody—and a mighty good job, at that.”

Aloud, he said, “I will—since you ask it. I mean, is there any romantic attachment between you?”

“No,” she replied, and her air was almost judicial; “no, not that. We are pals—good chums—fellow-workers—that is all.”

Except for the sudden blush the question had called up, the girl seemed entirely unmoved.

But Hutchins said to himself, “She’ll bear watching. She has turned from a hysterical baby to a self-composed young woman altogether too quickly! I believe she has had some word from Locke, somehow. Of course he will telephone to some one, as soon as he can manage it. Unless he is really the criminal and has vamoosed for good and all.”

“Well,” Nick Nelson said to his new friend, Jarvis, after hearing some more of this futile querying, “I don’t see as anybody can get anywhere. It isn’t the Examiner’s fault—nor yet Hutchins’—but they have nothing to work on. So far as we can gather, Locke is a proper, well-behaved citizen—but he mayn’t be at all. Now, he’s got to be found! Hang it all, man, nobody can drop out of existence like that!”

“Oh, it isn’t so difficult to hide,” Jarvis reflected. “I know Tommy, and I like him—in this casual way we all know him—but if he is a deep-dyed villain, and he may

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 be for all I know, he could easily keep himself hidden—even if he stayed right here in New York. Why, if he were to cut his hair short and raise a mustache, say, and lose his big glasses—his own mother wouldn’t know him. He is in no way a distinguished looking man—I mean, he isn’t distinctive looking.”

“Even as you and I,” Nelson said smiling.

Jarvis looked at him.

“Either you or I would find it harder to disguise ourselves than Locke,” he said; “we’re of stronger peculiarities.”

“But why do you think Locke is under necessity of such procedure?” Nelson asked; “do you assume that he is responsible for the crime?”

“I don’t quite say that,” Jarvis returned, slowly, “but I don’t see any other way to look.”

“What about that girl?” Nelson asked; “the little, pretty one?”

“Pearl Jane? Oh, she’s an innocent baby. I know her. She did get into the room—and she doubtless felt curiosity—or maybe wanted to be helpful, thinking some one had fainted. She’s all right—that child, but she is in love with Tommy.”

“And he with her?”

“That I don’t know. Maybe. But there’s nothing positive about it. I’m romantic—and I’ve thought lately I sensed a dawning romance there; but maybe not—maybe not.”

And now the authorities were looking over the trinkets found at or near the scene of the crime.

No one present claimed the glove or the fan or the mask or the vanity case—but the examiner was not surprised.

They were all of small value, and to claim them might

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 lay an innocent guest open to annoying questions that would mean nothing after all.

The only thing that the detective had any hope of using was the glove. He felt vaguely that much could be learned from a woman’s glove, but though he had examined it carefully inside and out, he could read nothing from it. To him it was a glove—a long, white kid glove—that was all.

The beads, the spangles, too, all merely meant the presence of various guests who had worn them—they were in no way indicative.

Hairpins—what could be read from them?

Had any of the other women a chance to enter and lean over the body?

Not that Babcock knew of.

Then there was the foolish little tinsel dagger, there was a man’s glove, several cigarette stubs—oh, pshaw, none of these things could mean anything. The thing to do was to find Thomas Locke, and it must be done.

Doctor Babcock voiced this as his ultimate conclusion. He declared that, in his opinion this consideration and discussion of hairpins and men’s gloves got them nowhere. Now, he would only ask questions that definitely concerned the personality, the character, and the possible whereabouts of Locke himself. And he asked that if anybody knew anything—anything at all, bearing on those things, he would immediately disclose such knowledge.

There was a slight stir in the back part of the room, and a feminine voice said, “I may be able to tell something of interest.”

The speaker was a quiet looking little woman, who gave her name as Eleanor Goodwin. She stated that she lived in the house next door, and that being often lonely, she frequently amused herself looking out of her windows at her neighbors.

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“And you did this last evening?” Babcock asked hopefully.

“Yes—all during the arrival of the guests and off and on afterward.”

“You saw anything of interest?”

“It all interested me,” said Miss Goodwin, who seemed to be a pathetic creature, “because I have little excitement in my own life. I watched the guests arrive, because I caught many a glimpse of the beautiful or funny costumes, and it gave me a glimpse of gay life.”

“And later,” Babcock did not wish to hurry her unduly, but he did want to know if she had seen anything of any importance.

“Well, later, I should say about ten-thirty, I saw Mr. Locke come out and come down the steps.”

“You know him?”

“By sight, oh, yes. I do not know him to speak to. Well, he went over west, toward Fifth Avenue, and he got on to a Fifth Avenue bus.”

“You’re sure of this?”

“Positive.”

“Inside, or on top?”

“He went up on top. I saw him ascend the stairway as the bus moved on.”

“Thank you. Miss Goodwin, this may be helpful. Now did you see anything after that?”

“Yes, very soon after I saw a lady come out and go away all alone. I thought it strange she had no escort and I watched her.”

“Did she get on a bus?”

“No; she went in the other direction—over east. I lost sight of her at once.”

“Can you describe her at all?”

“Only that she was not very tall—a little plump—no,

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 not that, but not so overly slender as some—and she had on a dark cape. However, it blew apart a little and I could almost discern her costume.”

“What was it?” and more than one person present listened intently for the answer.

“I shouldn’t want to swear to this, but I rather fancy she represented ‘Winter.’ Her dress was white and sparkling, and her slippers were white with spangles like hoarfrost. And on her head was a sort of glistening headdress that sparkled, too.”

“Yes?” and the examiner turned quickly to Kate Vallon. “Do you know of any one who came dressed as ‘Winter’?” he said, hoping to catch her off her guard.

But Miss Vallon was seemingly quite ready to answer.

“There were three or four ‘Winters’ here,” she said, thoughtfully. “Two of them I know, but I don’t think they went home early. I can give you their names.”

Babcock was a bit regretful at her willingness, for he feared it meant merely a case of a “Winter” who went early to keep another engagement. Also, this tallied with the doorman’s story of the lady in white who left, frankly saying she was “going on” to keep another appointment.

He sighed, thanked Miss Goodwin again, assured her that he would call on her if he felt she could tell him anything more, and then returned to his statement that Mr. Locke must be found.

He declared that there was no conclusion possible but that Mrs. Barham had come to her death by the blow of the bronze book-end, at the hands of some person or per sons unknown. But that evidence pointed strongly to the supposition that Mr. Locke was implicated in the matter.

He said further that there "was a stain on the monk’s robe worn by Mr. Locke, which had been practically proved to be a stain of blood.

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He therefore urged every possible effort on the part of any one desirous of furthering the ends of justice to do anything in his power to find the missing man, and stated that the insistent efforts of the police would be made toward that end.

He ordered a continuous guarding of the premises by the police, for he felt it quite likely that Mr. Locke would try to effect a clandestine entrance to his home on some errand.

And he warned his hearers that it was possible that Mr. Locke had already disguised himself, and that when or if found, he might be a decidedly different looking man.

He said further that he was empowered by Mr. Barham, through his friend and counsel, Mr. Nelson, then present, to offer a reward for any information that would lead to the discovery and capture of the murderer.

He said the details of this reward were not yet ready for the public, but he mentioned it in hope of bringing out some otherwise unavailable data. And, he added that though all present were now dismissed, yet some would be questioned again, and he asked them to be in readiness at any time for such interviews.

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 was adopted to express " God," and that, or rather , was not used in its place? The reason is obvious. Because a knowledge of the true God was to be imparted through ideas intelligible to men of simple minds; for "to the poor the Gospel is preached." They never could hold only by the intellectual worship of a "Spirit" as "Spirit only," which they could not possibly understand, apart from his "personal attributes;" nor could they pledge their allegiance to any but to a "personal God." Nay, we see that even Plato (De Leg. L. x.), after having discoursed to the admiration of all, on the "," inseparable from the "" in God, seeks in Heaven One to whom he may assign that divine Soul. Then, turning his eyes from the Sun, and his hope from his indefinite and uncertain and, he fixes upon his own personal God, and bows at last to the ruling wisdom, mind, and soul, of.

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text:
Wikisource:WikiProject Film/Drafts/In Old Arizona

User: SnowyCinema

File: In Old Arizona with Edmund Lowe.webm

Author: Irving Cummings and Raoul Walsh

Publisher: Fox Film Corporation

Year: 1928

PD: PD/US|film=yes

Note:

Cat: Sound film, Western film

00:01

00:13

00:19

00:30

There's the bus.

Whoa!

Hello, [Felly].

Hello, there.

Who!

Hi, how is everything going?

Fine.

Uh, hold a seat there for me! I'll be right there.

Well, good-bye, old boy. Good-bye to you. I enjoyed your company very much, and I'm coming back here to stay among people of such good breeding as you are.

Hurry up, folks, 'cause I'm in a hurry.

Listen. Some of these foreigners have to be put in their place, you know that? And I'm the bucko that can do it!

Does this coach go to Gallup?

Yes'm. Get right in. I'm late now.

Well, good-bye, Nelly.

Good-bye!

Put that coat in mothballs, and send on the blue dress that's hanging in the closet. Well, good-bye.

Good-bye!

Take care of your rheumatism, and don't each too much meat.

Oh, get in!

Hey, don't let the cat out at night, and be sure and cover our bird with wools. Well, good-bye.

Good-bye!

Say, I wonder if I have everything.

I hope you have.

Um, well, where am I gonna sit?

Where's a man usually sit?

Hahahahahahahahaha!

I don't think I'm gonna like these other passengers!

Oh, get in there!

That gold box in all right?

GILA-TOMBSTONE STAGE

Now, Nelly, don't forget to put the cat in the mothballs! Hahahahahahaha!

You!

Good-bye, Nelly!

Good-bye, Amy!

Bye! Good-bye! Good-bye!

$5,000.00 REWARD!"The Cisco Kid"HOLDUP AND ROBBERY A POSTAL STAGE

Hehehe! Five thousand dollars for my head, huh? Never. My friend, we are in very dangerous business. We must work quick. This gun, he liable to bark many, many times. But he is the best friend I got, uh, next to you, my friend, yes. Let's go to work, huh?

Hyah!

Halt! Put up your hands!

Keep 'em up.

For the love of St. Patrick, what's this?

Everybody come out of the coach.

Oh, there you are.

A holdup—we're lucky if we get away with our lives!

Oh, I shouldn't have come on this trip. I told-

Keep the mouths closed.

Throw down the guns.

Now, throw down the gold box.

Phil, get your feet out of the way, here, before we get shot.

All right, here it is! Here it comes.

Gracias. Keep 'em up. Keep the hands up.

Ahh!!! I think I'm going to faint!

If you do, you'll fall on your ear.

The pretty lady—come here.

Who? Me?

Uh, no, the other pretty lady.

Oh, for pity's sake! Hahahahaha!

Come here.

Everybody get back in the coach.

Oh! He might get me!

You have nothing to fear.

Everybody, in the coach.

Come on, get in the coach. Come on, get in the coach.

Keep 'em up.

I don't know how you live so long and act so foolish, my friend. ¡Ojos del tonto!

Ah, is very pretty pin you've got. It look very beautiful on my girl. I take it. Ah, but, first, I give you gold for it.

Oh, say, ¡gracias! ¡Gracias!

Go.

Keep 'em up!

He didn't rob any of us.

Ah, lady. I never rob the individual. I am so sorry. I cannot travel with you in this very dangerous country. Uh, but, I wish you, a very safe and pleasant journey. Adiós.

Good-bye, bandit. Hahaha!

Be on your way! Quick!

Whoa!

Well, Bill, I guess we're out of shootin' distance from that fella now. Say, did that there bandit rob any of you folks?

No, he didn't rob any of us.

Well, if I hadn't been so busy with that there gold a-gettin' it out for him, I'd have killed that fella and I'm not a-lyin'.

I'm mighty glad to see you throw down that gold box. You know, there's nothing like being liberal with other people's money. Come on! Let's get a-goin'!

Giddy up!

By golly, my friend. Heh! You and me are going to have lots of fun. I buy for you new blanket, new shoes, and a good dinner. Then we go to see my girl. Yes, sir, we are going to have one fine time.

Hehehe!

It says in here John L. Sullivan is going to quit drinkin'. Did you read that, Hen'y?

I don't believe in them newspaper stories. Probably ain't true anyhows.

Look! Here comes that old stagecoach, sure enough.

My golly!

Hey, those boys are hoofin' up fast.

That's for sure.

Whoa!

Hello, there, old boy!

Hello, there.

Hi, Charlie.

Hello, Bill.

Hello.

Boys, I was held up down there at the Devil's Pincushion by that Cisco Kid. And I sure would have killed that fella, too, if my gun hadn't have hung, wouldn't I, Bill?

You sure would have.

Where's the colonel at?

He's inside. Go and see him, Charlie.

Hmm.

Say, there's got to be something done here about this Cisco Kid. He held up my stagecoach down here and took my Wells Fargo box. He didn't harm nor rob any of my passengers, but he like to scared all of them to death.

Hmm. Where'd you see him?

I met him down here off in the desert, what they call the Devil's Pincushion.

Oh, Orderly.

Yes, sir?

Tell Sergeant Dunn to report to me at once.

Yes, sir.

I'll tell you the facts—what I'd have done. If my gun hadn't have hung on me, I'd have shot him myself.

Yes, I know, Charlie. I know just how you feel about things like that.

Am I faded?

Sure.

Come on, sweetheart. One pass for papa. One, that's all. I'll shoot the works. Read 'em and grieve. Ha! That's my baby! Rich and ricey, nice and spicy. All right, come on, pay me some of that coin, you guys.

Oh, I see where President McKinley is gonna send a bunch of you boys down to Cuba.

Yeah, so I understand.

Come on, sweetheart. My Brooklyn baby needs new shoes. Ha! Dynamite! Another natural for Big Casino.

Hey, what's the idea? Did you walk through a pasture or somethin'?

Sergeant!

Get out of my life, Hard-Luck.

Come on. Ada from Decatur crossed the equator. Ha!

Hahahahaha! It's a four! Hahahahaha!

Hey, listen, Bad-News, if I never see you again, it'll be soon enough for me.

Gee, but the colonel wants you.

Well, why didn't you say so? That's different.

So long, boys. I hear my master's voice.

Yeah, but your point is four.

Well, what do you want me to do, cry? Geez.

Hey, can you imagine? Just because he's got stripes, he thinks he's a zebra. I never saw a guy like that-

Sarge! Sarge!

What?

I've got a great idea.

You do the playing, I'll do the interrupting, and we'll split.

Are you trying to make a dishonest soldier out of me?

Dishonest? Well, holy gosh!

Sergeant Dunn reporting for duty, sir.

Sergeant, the Cisco Kid's back in our territory. He just held up the stage coming in from the south. It's up to our outfit to get him. I want you to take a squad of men and go into wolf country. Camp at the rio and work west.

Yes, sir.

And don't get the idea this is any picnic! This is not the usual type of cattle rustler. He's smart and he's brave and he's a killer. And you don't need to worry about any court-martial, if you shoot first and argue afterwards. Do you understand?

Yes, sir.

Then get going.

Yes, sir.

Charlie, thanks very much for the information. He'll bring him back dead or alive. Well, I'm darn glad of that. And I'll bring over a pistol the next time I come, too.

Hello, Hester!

Howdy!

Morning, Mrs. Doolittle. How's Henry?

Fine, thanks.

That's good.

Well, good morning.

Well, boys, he's done it again. This time it was a stagecoach.

Who did what?

It's your lone bandit. Why, he come tearin' down the gulch and held up the stage all by himself.

What'd he get away with this time?

He took the Wells Fargo box and all the gold that was in it.

What? I just a-send my wife eighty-seven dollars to Sicily by the Wells Fargo.

Well, you can kiss that good-bye. When this here Cisco Kid does a job, he does it right.

I wish I had my hands on him. I do good job a-myself.

We've got to form a vigilante committee, and hang him to the highest tree. And I'm going to start it! They say he'll shoot you as quick as he'll look at you! But if I ever meet him face-to-face, I'll kill him like I would a dog!

What? You would kill somebody?

You heard me!

I'd kill him too. First I try to get my eighty-seven dollars a-back.

Huh?

You lose eighty-seven dollar, my friend? Tsk, tsk, tsk, tsk. That is too bad. I hate to see working man lose so much money. Uh, this Cisco Kid, he's very bad egg, I guess, huh?

He's bad, all right.

And plenty dangerous too.

They say the gals are all crazy about him. Ha! That's funny.

Funny? Haha. I don't know. He may be very handsome.

Probably just a dirty greaser.

Oh. You have never seen him, no?

No, but we're going to. Come on, Joe. Let's get this vigilante committee started. We'll make this town safe, anyway.

Yes. We'll get Cameron, Randolph, and Turner, and the rest of the gang. We'll round him up before the night is over.

It took me six a-months to save that eighty-seven dollars, and now it's all gone.

My friend, up in the hills, I have find much gold. Ha! I tell you what I do. You fix for me a nice bath, with nice, sweet soap; nice, new towel; and then, when I go away, I make up to you all the money you lose. Hehehe!

Grazie, Signore! You are very kind!

Uh, thank you. That's enough!

No more costumers today! Only you!

Now I fix a fine-a tub.

Hehe! That's right, my friend. Hehe!

Just a minute.

Come in, my friend.

Are you the barber?

Hahaha! No. No. I'm the victim.

Oh. Haha! Well, what's the idea of locking the door?

Shh. Haha! This barber fellow, I don't know, but he's much scared—bandit!

Oh, yeah?

Yeah.

Hahahaha! Well, you tell him he don't have to worry from now on.

Oh, that is good news.

Yeah.

From now on, everybody should not be afraid. Haha! I'm glad you come.

Yeah.

You got nice big gun too, huh?

Yeah, well, that ain't no cap pistol you're carrying.

No, here...no, this is.. Hey, Giuseppe!

No, no. No more costumer!

"Costumer"? What do I look like, a dressmaker?

Yeah... Oh, dress-... Haha! That's funny. Hahaha! Hey, Giuseppe, business is business. Now, you take care of this gentleman. Yeah. Uh, you are next.

Oh.

Thank you.

All right.

Hey, Giuseppe! I take my bath now!

Almost-a ready.

Hey, you got any more perfume?

No, no more.

Oh, excuse me. Maybe you use perfume, huh?

For my women, nothing but Jockey Club. For me, nix.

Hahahaha! Well, for me, you see, I go around so many different kinds of people, I got to protect myself.

Hahahahahaha!

Hehehe! And now for nice, good, hot bath.

Yeah, well, don't burn yourself, Fauntleroy.

Ah, Giuseppe, you got my bath all ready.

Everything, sir, very nice—soap, towel, brush, everything-a nice.

Yes, that's fine.

I stay, a-scrub your back?

Oh, no! I'm too ticklish. Hahaha! Thank you very much.

Hahahahahahahaha!

Hey, Garibaldi, hurry up.

Go. Take care of my soldier friend. Give him anything he wants.

Si, Signore. Anything you like. Anything.

Ah, by golly! This is luxury.

You

You dropped-a this.

Yeah.

You?

Me and the belle of Greenpoint.

Say, she's got more in a minute, than Lillian Russell has in an hour.

But she's-a too skin.

Too skin? Listen, she has more curves than a scenic railway. Hehe.

I like 'em a-fat.

Fat dames are old-fashioned—old-fashioned!

Just the same, I like 'em a-fat.

All right, all right, Garibaldi, you can have 'em fat. Hahahaha!

Who is that gent in there?

He's a-nice a-fellow. He's a-big a-gold and silver-a man from the hill.

Oh. Say, listen. Do you happen to know anything about a fellow they call the Cisco Kid? I understand he drops into this town occasionally. I'm very anxious to see him. Do you know him?

Do I know about him? Say, I'd like to meet him just a-once, and that would be enough. Just a-once!

Well, meet him with that, not me. Geez. Haha!

Say, he's a-got a nice a-voice, that fellow.

Nice? He must have promised you a big tip. Geez.

Want a shampoo?

No.

What a singe?

Singe? Say, what do you think grows on my dome, pinfeathers?

Want a tonic-a?

No tonic-a. Shave-a.

Hey, Pop, where's the sergeant?

He just went on up to the barbershop.

The barbershop? Hahahaha! What for? Wait till he sees the gals in this town. Haha! Why, the old connoisseur is liable to burst right out crying. Talcum powder and witch hazel.

Well, he has to smell sweet, doesn't he?

What's the matter with the gals in this town?

Talcum?

No. No sissy stuff.

Haha! Hehe! Gettin' dolled up, eh? Well, we've been all over town, Sergeant. You won't like it here.

No? Why not?

Well, all the dames we've seen is fat.

Yeah, there ain't a skinny ankle in town.

Just a lot of old, broken-down warhorses. The sun's bleached 'em.

Yeah, the sun and peroxide. Say, don't they make any pretty girls anymore?

Say, listen, you roughnecks, get down to business and cut out the dames, see?

Oh, there ain't no better business than dames.

Get back to camp now, pronto, understand?

Yes, sir.

Yes, sir.

Say, what did I say to him?

I don't see why-

You're the big a-boss, huh?

That's right, kiddo.

LODGING

This little frontier town of ours, will soon be a thriving, prosperous city of the great Southwest. The railroad is coming in down here, and it's up to us to suppress the bandit, the outlaw, and the desperado.

If the sheriff can't do it, and the army won't do it, then it's up to us to drive him out of here.

There, boys! There's the proper spirit right there!

Ah. Well, now, I feel very good. How you feel, Sergeant?

All right.

Oh, excuse me. I forgot to introduce myself. My name is Conrado Sebastián Rodrigo Don Juan Chicuelo. Hehehe! Ah, but the girls, they call me "Conejito".

That mean "Little Rabbit". Hahahahaha!

Oh. Little Rabbit, huh? Are you that fast?

Hehehe! No, no.

Well, my name is Mickey Dunn, and the girls call me "Big Casino". Mitt me.

Oh, thank you.

What do I owe you, Garibaldi?

Oh, no, never mind. No, this my treat.

Oh, fine.

Sure. I bet.

Now, my friend, I give you all the dollar. That make up all the money you lose.

Grazie, Signor. Grazie.

Poor fellow. Somebody steal his money. Hmm. I got no use for that kind of thief.

You're right. I'd like to get my hands on him.

Adiós, my friend.

Good-a-bye.

Is that your horse?

Uh, that is my horse.

Ah, he's a fine-looking animal.

Ah, this fellow Yaqui, he's the best friend I ever got.

Yeah?

What you say, my friend? I meet you down to the saloon at, uh, oh, at three o'clock, huh?

Three o'clock?

Yeah.

Right. What are you going to do in the meanwhile? Call on the señoritas?

Hehe! No, no. Only one for me. Oh, I like lots of señoritas, but, I love only one.

Same with me—one at a time. That's only fair to the sex. Know what I mean?

Hahaha!

Adiós, my friend.

So long, "Little Rabbit". Hehehe!

Hehe!

Well, I'll be blowed. Hehehe! "Little Rabbit".

Come on, my friend.

Well, if it ain't the old village blacksmith himself.

Hello, Sergeant.

Hello, there, Little Rab-... Well, Pop, did you give the old boy a new pair of patent leather shoes?

Yeah, all around. She's ready and waiting for you. Cost you eighty cents.

Good.

Good morning, Mr. Higgins.

Good morning, Matilda.

Good morning, Matilda.

Say, you know any people around these parts?

I reckon I know almost everyone.

You know a fella they call the Cisco Kid?

Hahahaha! Say, that was him you just shook hands with over there.

What? I just shook hands with him?

Sure. That was the Cisco Kid himself. Hahahahahaha! Hahahahaha! Ahahahahaha! Ahaha!

Well, I'll be-

Shut up, ya jackass!

el conejito ...

Well, what you want, eh?

El Conejito is coming. He's here at the corral right now.

?

Gasp! Hold him there! Keep him there! Hurry! Hurry!

Come out. Come out!

What's the matter?

Go! Get out quick!

Why?

Don't make talk! My lover, he come and he kill you! Quick!

Sigh, ¡Dios mío!

What kind of greeting is this? You stand there as though I was the devil himself.

Sí, sí. Welcome home, my very good friend.

Gracias. Where is Tonia Maria?

I tell her. She come.

Well, I must go feed my horse. Ah, who will feed me? I'm hungry. Get me ham and eggs.

Sí, sí.

Plenty eggs, huh?

Sí.

What's the matter with you? Uh, you cannot move? I must give you start, huh?

No. No, señor.

That old woman is getting crazy.

He does not suspect?

No. But someday he will catch you.

Then what?

You will have a flower in your hand, but you will not smell it.

Then all your troubles will be over.

So will yours.

Yeah?

¡Conejito! ¡Conejito!

?

Hey, my Tonia.

Ah, my Conejito!

Ah, you always come to meet me. What's the matter? What you been doing, huh?

Never mind that. Where you got that perfume? You been with other woman, eh?

Ah, no, no, no.

Don't tell me that.

Haha! My Tonia.

?

Hey, hombre!

Hehehe! Tonia Maria. Tonia. You cannot heed from me, little peaches. I find you wherever you go. Ah, Tonia, I have not been with a woman, you little silly. I get this perfume from the barber.

So you will smell nice for other girls, eh?

Ah, no, no. I care about nobody but you.

How I can be sure?

I swear. I swear, it is only you. Ah, Tonia Maria, I would not so much as look at these other women.

You swear?

I swear—look—by the name of my mother. Ah, Tonia.

¡Conejito! ¡Conejito! How do you like a-them? Turned over?

Turned over?

The eggs.

Turned over.

Hehehe!

Yeah. Ah, Tonia Maria, I love you like nothing else in this world. Every time I go away, I come back and find you more beautiful, more divine. Ah, the touch of your hand is like the touch of an angel. And your kiss, ah, your kiss...

Dios mío, it is good be home again. I have been in the hills so long alone I get to talking to myself.

You got something for me?

"You got something for me?"

"You got something for me?" Hahaha! Come down here. I show you. Did I ever come back unless I bring you something? Look.

Oh! It is lovely!

No. It is you who are lovely. By golly, I'm dry. You got something for drink? I got you some nice, cool vino, eh?

Sí, sí. Lots of vino, and ham and eggs.

Well, nobody, he can cook ham and eggs like you.

Sí, sí. Ham and eggs, nice.

Hey, we keep this door locked while I'm here, you understand?

Siempre.

Mm.

Mm! That-a smells good.

Smells good.

Ahh. ¡Dios mío! You are pretty as ever.

Hahaha!

Oh. No matter how old they get, they never lose hope.

Who you say is pretty?

Hahaha! You, mi favorita. Only you.

Here is your vino.

To tú, my flower of love.

Ahh. That hits the spot.

Makes you, uh, warm, eh?

I don't need anything to make me warm. Come here! I could squeeze you to pieces. I'm crazy for you.

Why not? I am lovely.

Lovely. All the day and the night when I ride over the desert sand, you are always in my mind. In the winds, your rippling laughter. And in the night, your sad, sweet smile among the stars. I count the hours till I can come back and hold you in my arms again. These words too damn beautiful for that old woman to hear.

Haha! Sí, sí.

Ah, come here.

¿Qué?

Listen, go down to the saloon, find out how many soldier or sheriff there are in this neighborhood. And, also, find out how many is look for me, ¿sí? You keep the eyes and the ears open, but the mouth closed.

?

Right now, this very dangerous place for me.

I'll look out-a for you.

Here.

Gracias, Conejito. Gracias.

Yeah. Hey, no coñac. Vino, please.

Uh, now, what was I saying to you?

You were telling me how beautiful I am.

Hehehe! I don't got the words enough. Probably you get the idea that I love you.

Something is burning!

You bet your life something is burning.

The ham and eggs!

Hahaha!

Ahh...

Tonia Maria?

Huh? What you want?

?

Hey!

Hey.

Two beers and a whiskey. Two beers and a whiskey.

How are you? What'll you have?

Say, I know you. Usedn't you be at the old Chatham Club in Chinatown in New York?

Sure, I was. I used to be the bartender there.

Sure you was. Don't you remember me?

Usedn't you wear a brown derby?

Sure, I used.

How are you?

All right.

What's the matter, girlie? Why are you crying, huh?

It's that durn song. It's breaking my heart!

Oh, no.

I wish I hadn't left my husband!

Well, I'll have the gent stop it.

No, don't do that. I enjoy it. It's terrible sad, though, ain't it?

Yeah, it sure is. Hehehe!

He puts so much soul into it.

Is that what he's putting into it? Hehehe!

Bravo. Bravo.

Where you from, girlie?

Boston.

Well, you're a long way from home.

Thank goodness.

Say, uh, you know any gentlemen around here?

Gentlemen? Where do you think you are?

Now, don't get sore. Anybody can make a mistake. That's why they have rubbers on lead pencils.

What's the idea of the uniform? Is there a war?

Say, are you trying to show me a good time? Hehehe!

I don't like soldiers.

No? That's tough. And I don't like sailors either.

Ha! There goes the navy. Hehehe!

What do you prefer, traveling men?

Oh, all men are bums!

Say, you, get up and shake a hoof with those customers.

Oh! Didn't I tell you all men are bums?

Haha! It's a cruel world, girlie, a cruel world.

Come on, come on.

Say, since when were you in Chatham Square, Corporal?

Oh, no. Sergeant, Sergeant.

Hahahaha! Ah, music, wine, and love. Hehehe! I don't know which one I could give up if I'd have to. Heh! Maybe I could do without music and wine, but love—hehehe—I've got to have all of it.

By golly, I just remember, I got date with soldier fellow down at the saloon. Hehehe! Ah, he's very nice fellow. I like him very much. But I'm afraid if I keep this date, I will have to kill him. Ah, he is so charming, too. I hate to do this. Hehe! >/b I tell you, you go down to the saloon, you tell him you meet stranger in post office, and that he give you this message. Say the gentleman, Señor Chicuello, he go out of town, huh? Hahaha!

Sí, sí.

All right.

What you do while I am gone, eh?

Oh, I think I take little nap. I ride all night, no sleep, no rest, and plenty dangerous. Everybody look for the Cisco Kid and nobody catch him. Haha! This Cisco Kid very smart fellow.

Hmm.

Hehehe! Come out. You must hurry now.

¿Presto? You lock door?

I lock him. Good-bye.

Hmm, hmm. Now for good sleep.

Ahh...

Yes, I take care of him. It is no trouble for me at all.

Gracias. Eres muy amable [...]

Don't cry, baby. Don't cry. I take care of you. Oh, no, no. Wait a minute. I be back. I be back.

By golly, whose baby is this?

Uh, señora.

Yes?

Come here.

Yes, yes, yes.

Where's Chicuello?

Yo no tiendo ... I no speak English. No. No speak English.

You can't get anything out of these coyotes. He's heading for there soon and there's where we'll get him. Come on.

Hello, sweetheart. Would you buy your mama a drink?

Hasn't mama had enough, huh?

Please? One drink?

Coochie, coochie.

Oh, you cheapskate.

Hahaha!

Hello, sweetheart. I want a drink.

You want a drink?

Yes, I want a drink.

Say, bartender, give this Georgia Jane something, will you?

Where do you want it, Ace, in the woods?

Hahahahahaha!

I have a message for you.

Yeah? How do you know it's for me?

This message is for the handsomest man in town.

Well, you're on the right street, sister. Speak up.

Señor Chicuello, the man you meet this morning, is called out of town.

Oh. Is that so? It's a swell world.

This place is terrible rough place for nice girl to come.

Oh, it is?

These women are very bad.

No.

These women are very common.

Hehe! You wouldn't fool me?

No, I wouldn't fool you.

Haha!

I hate to see a nice soldier like you get mixed up with bad women.

Well, girlie, I'm glad you warned me. Come on, sit down, have a drink.

You speak to me?

Yeah.

What you trying to do, make fun of me, eh? Let me tell you this. I am the prettiest girl in town.

Well, what am I supposed to do now, drop dead? Hehehe.

You are a conceited fool.

Yeah? Well, you're no shrinking violet, baby. Haha! You can't understand any man not falling in love with you, huh?

Well, what is the matter with me?

Turn around, let's see. Hehehehe!

You think my favors are cheap, eh? You think I'm like these other women, eh?

How do you know what I think?

I don't care what you think!

Well, that makes everything square, baby. Maybe I'm not like these other men, either.

Maybe you are a saint, a soldier saint, eh? That is funny. Haha! The last soldier who come to this town was carried out on a stretcher.

Well, you've still got that stretcher. Hehehe!

A soldier saint. That is funny.

Now, that's as funny as a cry for help.

Hello, Sergeant.

Hello.

Looking for someone?

Sit down.

Can I help you?

Say, who is that girl?

You'd be surprised.

Yeah?

Huh. By golly, you get lots of love letters all the time, huh?

No, no. This from my sister in old country.

Yeah, I wish I had sister. I got nobody.

Where you come from, Conejito?

Well, I tell you. My mother, heshe [sic] is born in Portugal. And my father...my father, shehe [sic] is come from San Luis Obispo. Ah, my father... Ha! He terrible smart man. Yeah. Ah, but my mother...beautiful like a rose. >/b I run away from Portugal when I was this big. I never see them no more. And now, well, I am sorry.

You are very mysterious.

Mysterious. Life is full of mysterious. Yesterday and tomorrow. The rainbow's end and the moonbeam's kisses. Who knows?

All the time, your life is in danger.

My life? Haha. What is my life, after all? The warm breath of a few summers, and the cold chill of a few winters and then— By golly, I think I need a drink, huh?

Eehehehehehehehehehe!

Hahahaha! Hahahaha!

Elenita! Elenita! Excuse me. I come for my baby.

This your baby? Haha. I go bring him...her...I bring it to you right away.

Gracias, señor.

How much you take for him in gold?

What you say?

Haha. She say she only got seven others. She cannot part with this fellow.

Hahahahahaha!

Ah, look at him. Hahahaha! Oh, he is so sweet. The most precious things in the world cannot be bought with gold. Haha! The tender touch of a little baby's fingers, the light in the woman's eyes, and the love in a woman's heart. That-

Maybe you better take him, huh?

Where the devil's this Tonia Maria?

Here!

Get my horse, pronto.

You see soldier?

Yeah. He smart-aleck. Stuck on himself. I hate that kind of man.

You make eyes at him?

Oh, you hurt my feelings.

Oh, well, I am sorry.

Oh, you go away so soon?

I must go to work. Come on, hold out the hand.

Sí.

Plenty of gold for mi enamorada.

Gracias.

All right. That is why I like to work so hard—so I can buy pretty things for my girl.

Where you go this time?

I know where there is lots of cattle on the Guadalupe. Soon I get rich. Haha! Then we go far across the sea to Portugal. >/b Yeah, that is beautiful place—Portugal. Nowhere is the sea so blue like the sky. Nowhere is the rose so red, and nowhere is the south wind so soft. >/b Of course, you got to remember I see this place when I was a kid. Ha! Every place look good to kid.

Maybe I don't like Portugal. Maybe I not be happy there.

Ah. Then we go wherever you want. But first, you got to be happy always. That is what I say to myself.

When you come back? Soon?

Uh, I don't know. Maybe I come back very quick. Sometimes in my business, I have to go places very quick. Well, good-bye, my sweetheart. >/b I always like to see you wave to me, when I ride away. Hehehehe! Good-bye, my sweetheart. Good-bye.

You bring me something?

I always bring you something when I come back.

Here. Good-bye.

Ah, Conejito.

Adiós. Adiós, my Conejito!

My Conejito. Portugal. Hahahaha!

Well, finally you got a kiss, eh? That should last you the rest of your life.

Say, is funny. What you think men like, huh? Big fat cows?

I think men like the big armful of woman. You? You so small, take three or four of you to give man appetite.

You crazy. I get any man I want. Just now, down at saloon, a soldier, he threw himself at my feet. Fine Americano soldier.

Hmm?

A officer. A general, he was. He look at me and he say, "¡Dios! What a beautiful figura that girl, he has got. I would walk over broken glass in my bare feet, for just one of her kisses." That's what he say.

He must have been drunk.

Hehe! Drunk? Yes, he was drunk, with love. Hahaha!

Gasp!

He say to me, "If you do not let me love you, I will kill myself."

Well, you're not gonna let me kill myself, are you, baby?

Hahaha! I am so sorry. We were just playing a little game. Won't you come in?

Will I? Can a duck swim, huh? Hehehe! Who's the old girl?

Hehehe! That is my cook.

Cook? Is she up on Irish stew?

We will excuse you.

Cook! ¡Dios mío! What next?

Hehehe!

Hehehe! She is very bashful. You don't mind?

Not at all, not at all.

Well, finally you change your mind, Mr. Soldier, eh?

When I'm wrong, baby, I admit it. Hahaha.

Yeah, you should. You were very bad to me in saloon.

I'm sorry. No gent can say more. Hehehe!

Well, of course I was a little fresh myself. I know that. Hehe!

Yeah, I should say you were. But big-hearted Mike forgives you.

Maybe...Maybe you like to come in house. Eh?

Eh, huh? Well, I'm practically in.

Pobre Tonia. Qué mal camino. ...

I get you some nice, cool vino, eh?

Red ink? Yes, ma'am.

Sí. Hahaha!

Put a little red ink in front of the old Sarge, and he'll begin to chat like Laura Jean Libbey.

You. You come this way...often?

Often? Say, I'm already runnin' for office in this town.

I would like to know if you got a girl.

Sister, I've been a hermit all my life. It's made me just a little bitter.

Aww. Hehe! You should not feel this way. You should...be cheerful.

Yes, huh? Hehehe! Baby, I see where I'm gonna be putty in your hands in no time!

Hahahaha! You ready?

You like some vino, eh? Huh?

Mhm. You bet I would. Hehehe!

To you—my soldier!

To you, muchacho.

Ahh! Nice, eh?

Yeah, that and the caress of a mule.

Would you like me to tell your fortune, eh?

Yeah. Sister, if that's in the system, gimme the works. >/b Hey. My soldier, huh? Swell. Hehe!

Ah! What is this? Huh?

Hey! That's my traveling bag.

Oh! Hehehe! Now I tells your fortune, eh?

Are you good at it, baby, huh?

Good? Anything I tell you, you can believe.

Yeah.

Ah, look! The first one. You are lucky.

Yeah. The Big Casino shoots another natural. Ahem!

There is...a very beautiful girl coming into your life—beautiful face, the most beautiful eyes, hair and teeth. She is a dream. And what a figura.

Figura?

Yeah! He got a shape just like "Venice."

Venice? That's in Italy, ain't it?

You are going to fall madly in love with her.

"Going to"?

Come here.

Hahaha! Tell me. Do you make much money, eh?

Enough for two, and maybe three, huh?

You like to look ahead, don't you? You are very...romantic?

Yeah? Well, you ain't doin' so bad yourself. Hehehehe!

Listen, baby. I'm gonna be transferred next month to Governor's Island.

Yeah?

Mhm.

Where is that?

Back to civilization—New York, right at your front door. Gee.

Oh, I'd like to see it. You take me there, huh?

Sister, that's the idea that's been gallivanting through my mind this very minute—you and me in New York together. Say, you'll love it. >/bAw, New York! Gee. Why in New York, you can get a glass of beer that high for a nickel—on ice, too. Hehe! >/b And the Bowery—baby, you ain't seen nothin' till you see the Bowery. Finest street in the world. Saloons and dance halls everywhere. Free lunch—all you can eat for nothin'. And the finest whiskey? Ten cents a throw. You can pour it yourself.

They got pretty clothes for girls there, eh?

Clothes? Hahaha! Baby, you can get the swellest pair of shoes in the world there, for two dollars. And hats? Well, you can get a hat for a dollar and a quarter with a feather that long. And petticoats? Oh, baby. Wait'll you see the petticoats. Every color under the sun. Girls show 'em on rainy days. Oh, rainy days! That's when you see the sights. Hehe! Hot tomato. Hahaha!

Oh, I would love to see it.

Yeah? You and me together. Is it a go, hmm?

Yes. It is a go!

Let's seal it with a kiss. One for Big Casino. Hmm?

... por Dios! ...

You mind your own business!

... a los dos!

You get out! Get out, quick!

She-devil!

Get out, you—

Oh, I hate that old woman! She's always so nosy!

Hahahaha! Hahaha!

She's always spying on me.

Yes?

Where's your camp? Far from here?

No, not very far.

I would love to see it.

You take me there?

Sure. You got a horse?

No. But I ride with you, eh?

Aw, that suits me, baby.

Please. I get my shawl, eh?

All right.

Hehehe!

I be with you in just a minute.

I am ready.

Yes? Oh, uh, don't you want to leave a note for, uh, somebody?

Why do you say this?

Well, I thought the old woman might worry.

Oh, let her worry. I hope she worries the rest of her life. The old cat!

Hehehe! Come on, baby.

Are there nice soldiers in the camp, eh?

Huh? Yeah. Perfectly nice.

Hehehe!

That's the Cisco Kid, all right.

What do you reckon he's gonna get for them steers?

About four thousand.

¡Olé!

Five thousand on his head and four thousand in his pocket. That's nine thousand for us. Say, all we gotta do is to trail him in the hills, and give him both barrels in the back. Why, it's the easiest money we ever got.

Now, he's heading through to Coyote Wells. Now, come on. Let's take to the pass.

¡Olé, camino! ¡Ándele, ándele!

Well, this is the place. Now, let's wait for him up on the bluff. Come on.

Thank you for the money, my friend. Good-bye. Good luck.

Ben, have you ever seen that fellow before?

No, I don't believe that I ever have.

Well, take a good look at him, because you'll never see him again. Those three cattle rustlers have been waiting for him. Two-to-one, they'll get him.

Beat him to it! Bring him down the first chance you've got.

There he is! Give it to him, Art!

Hey! You coyote, you! Tell him you meet the Cisco Kid. These other two fellows don't talk no more.

Go on, sister. Try it. You've got a swell voice.

I should sing it?

Sure, go ahead. Gurgle it. Give her a chord, Joe. Hahaha!

Now. Ta-da!

No, no. Not "the brewery". "The Bowery"! Hahahaha!

Go on, baby. Now. Ta-da!

Hahahaha!

Hahaha! "I don't think I go there some more!"

That's fine, baby, swell, huh? Sweetheart, you've got a voice like a Brooklyn sparrow. Hahaha!

I don't understand it. You tell me what a nice place this Bowery is, and that you're gonna take me there to show it to me. Then, in the songs, you say: "You don't think you go there some more." How you make that out, eh?

Hahahahaha! Say, I never thought of that. Whoo! Haha! >/b Hey, wait a minute. Where you goin', huh?

I go fix your place, eh?

Yeah?

I come right back.

All right, baby. Don't be long, baby!

Sweet as a peach.

I guess. Some worker. I gotta give you credit, Sarge. You sure can pick 'em.

Haha, love and duty—for once, they go together.

How do you mean, "together"?

You fellows know why we come up here.

Why, sure.

Hey. Listen. Now, this gal used to belong to the Cisco Kid, see? But when I came into her life, things changed.

Cut that out!

?

Mickey! Mickey!

Yeah? What do you want, sweetheart?

Come here.

Oh, I'm practically there. What's on your mind, sister?

Now I know why you come to my house. You come there looking for someone.

That's right, baby. I was lookin' for you.

Not the first time. The first time, you come looking for a man—a bandit!

How do you know?

I am not blind. Here is a paper, offering...

Wha...

...reward for him—a big reward. Is that the reason you make love to me? To get the man and the money?

Hahahahaha! No, no, no, no. No...

That is a lie. You are a cheat! I hope he kills you!

Hey, baby, now...

¡No me toques! No me quieres. ¡No me quieres!

Hey, wait a minute, sister! Gee!

Doesn't come to the level with this gal.

Oh, he ain't. He plays them all.

He's serious this time. This morning he asked me if I knew anything about buying furniture on the installment plan.

No!

Wanted to know how much it would cost, to furnish a flat in Flatbush.

Hmph! Say, don't let that fool you. Six weeks lets him out with any gal. Say, listen. He buys weddin' rings like you and me buy bananas. That is, if we bought bananas.

How much is this reward?

Five-thousand dollars. Say, you didn't think I was figurin' on any part of that, did you?

What do you mean?

Why, I was gonna turn the whole amount over to you.

Ahh! Haha! I did not know this.

Yeah?

Five-thousand dollars, all for me?

Why, certainly. I'll get a promotion out of this. Hehehe! And a gal, huh? That's enough for me, baby. You get the money, all of it.

Five-thousand dollars! Oh, the things I could buy with this. ¡Dios!

Yeah? Hehehe!

Hey. The sarge is framin' a nice surprise on this bandit. Only gonna take his life and his gal. That's all.

He ain't out of it yet.

Don't worry. Don't worry. He's the best shot in the army.

Well, he'll have to be, if what I hear of this Cisco Kid is true.

Yeah? Ahh—

When do you expect the Cisco Kid to come back?

Soon. Guadalupe is not very far. Yes. He will be back soon. Maybe you better take me home, eh? I tell you this. You will never capture him alive.

Yeah? Well, I ain't figurin' on capturin' him alive. Haha!

Hehehe!

Five-thousand dollars! I'll be rich! Rich! Come on. We go now, eh?

All right, baby.

Maybe you got better mantilla than this, eh?

No. This is the best one I got. It is very rare. It come from Seville.

Yeah? Huh. How much you take for him?

One hundred dollar in gold.

That is fine. I buy him. Hehehe! By gollies, you know I ride many miles just to find you. Yeah. I say to myself, "I cannot go home unless I bring something nice for mi enamorada."

Thank you.

Yeah, I can see her in this now. Beautiful like angel.

¡Adiós!

¡Adiós!

¡Adiós!

Adiós, amigo.

¡Adiós!

Soldier, in the house.

¡Dios!

Well, baby, that's what I call a perfect evening. Pardon me.

Ahem!

I love no one but you, my soldier. The Cisco Kid—hmph—I never, never loved him. I swear to you. Mickey, my love, he will come back soon. He will kill you on sight. You must not let him find you here. He is a beast. I wish he were dead. You must kill him. He tell me he would never be captured alive. He is desperate. Oh, I wish he were dead.

Will I get this reward money soon?

Haha. Sure you will, just as soon as they identify him.

I will send you a note by the old woman, when he returns—maybe tonight, about ten o'clock, my lover!

So long, my muchacha. Ten o'clock.

Yaqui, my friend. You remember I told you, I was great lady's man. Haha! That does not go now. I am not as good as I think I am. Hehe! And maybe I never was.

Coney Island! Brooklyn! The Bowery! Five-thousand dollars!

¡Dios mío!

Well, mi vida.

Ahh! My lover! I was afraid something might have happened to you. I was afraid you might not come back.

I would not disappoint you. Hehehe! I know how anxious you have been for me to come back.

Tonia. Tell me. Have there been anybody here looking for me, today?

Why, no, no.

No?

No!

Tonia Maria, this law is closing in around me. Tonight, I am sure that this life I live—it does not pay, but like the man who is caught in the whirlpool, I cannot get out. That is what a thief comes to know. He cannot rub out his past. Ah, he may be able to get away from these people, who hunt for him, but he can never get away from himself. I go on, Tonia, till the chapter here is finished, but I know in the end I will pay.

Tonia, we will go far away tonight together, huh? To Portugal! Ah, Tonia, I try. I try to start all over again, just for you.

Ah, that will be grand! But, I cannot get ready tonight—tomorrow.

Tomorrow?

Yes, mañana.

Well, you get ready for long, long journey. Get me wine. Get me vino.

Yes, I get you wine and fruit, eh?

Yes. I put my horse in corral.

Elenita! Elenita!

Where you been?

At the market.

In the wagon?

Sure, in the wagon.

Listen. Take this note to soldier. Ride in the wagon to his camp. Do you know where it is? Hurry, quickly. It's very important. Don't make talk. I explain to you when you get back. Here. Quick! Hurry! Hurry!

The old cat!

1:25:34-1:25:52

Say, listen. Why don't you fellas change the bill of fare once in a while? Beans, beans, beans. Geez. General Grant said, "Let us have peas."

What a memory that boy has got.

Eggs! Why don't you get some eggs?

Say, do you know that eggs cost fifteen cents a dozen?

Do you have to buy 'em?

Well, what do you want me to do? Lay 'em?

Hahaha! You can't do that.

For soldier.

Sí, Conejito.

Men all love Tonia Maria. You can get any man you want.

I did not tell you, I was to Yuma.

You got something for me?

Hehehe! The surprise of your life! Look.

A mantilla!

From Seville.

Oh, it is lovely.

Nah. It is you who are lovely. To tú, my faithful, loyal, constant sweetheart; to your eyes, with their warm devotion; and to your lips, with their warm kisses; and to the heart of you and all the other girls in the world who are true; I drink.

To you, my brave caballero, the bravest of the brave, my lover...

Hehehe! I'm sorry, Tonia. The wine was so strong, it make me cough.

Hahaha! It don't make me cough.

¡Ándele, ándele!

The old woman.

Listen, you better be careful, Sarge. You know, you're liable to get into some trouble.

Now, listen, you fellas, keep quiet. No funny business, now, you understand?

I didn't say anything.

What's the matter with the guy?

Who is the old woman?

Ah, she lives with the gal.

Well, he'd better look out for them foreigners. They do things different.

Hahaha!

Señor.

Gracias, senoraseñora [sic]. I guess I know who it's from.

Anda, caballo.

"He is here, but he is going away tonight. He is frightened. He thinks the posse knows his hiding place. When he goes, he will be disguised as a girl. He will wear my clothes, and on his head, a large, white mantilla. I will wear his clothes, and ride away."

"Come at ten o'clock tonight. Do not fail. Shoot quick and straight. A hundred kisses, Tonia Maria."

Hey, here's something else.

"Remember, he will wear a large, white mantilla. You will be able to see it from a distance."

You get the idea, boys? The bandit's gonna try to escape tonight in a girl's clothes.

Well, this is empty.

You have more, eh?

No, no. No. I have had...enough.

The job's finished, boys. I get my man tonight—get him alone.

You better let us go with you, Sarge.

No, sir. I've got a particular reason for wanting to turn this trick all by myself. So long, boys! The old sarge has got a new gal, and she's a pippin.

Hey, we ought to go along with him anyway.

Nah, nah. Didn't I tell you he was the best shot in the army?

Oh, well...

I think it is getting dangerous for me to stay here.

I better go. I send for you. Adiós.

No, no! You must not go. You must not. I will not let you! I will not let you!

You must stay here tonight. I am afraid to be here alone. Tomorrow, you can go. But I will not let you go tonight.

Hmm. Such anxiety is touching. Hehehe!

You are so beautiful. I could not refuse you, anything. Hehehe!

Ah! We should have gone to Portugal tonight.

I better look around outside to make sure there is no danger. I...

Somebody is out there!

Gasp!

Adiós, my beautiful angel. That is what you are, and what you will be—an angel.

When I ride away, you stand outside where I can see you, and wave good-bye to me. Then I know you love me. If it is to be the end, I want to know that you are thinking only of me. My beautiful angel.

Adiós. Adiós.

Don't forget to wave to me when I ride away.

Adi—

Ahh!!!

Her flirtin' days are over, and she's ready to settle down.

1:35:41-1:36:19

1:36:14


text: Index:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf

title: Index:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf


text:
Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/1

Phra Bat Somdet Phra Paramin Maha Bhumibol Adulyadej gives a great royal command by which He orders with His pleasure that it be announced as follows:

Whereas it is appropriate to have a law on administrative procedure;

Therefore, by and with the advice and consent of the National Assembly, He orders with His gracious pleasure that the following Act be enacted:

This Act is called the "Administrative Procedure Act 2539 BE".

This Act shall come into force upon expiry of one hundred and eighty days from the day following the day of its publication in the Royal Gazette onwards.

The procedure for the performance of administrative affairs under all laws shall be as herein designated, save where any law designates a specific procedure for the performance of any administrative affair and provides a criterion which guarantees fairness or standard in the performance of a public affair not lower than the criterion herein designated.

The dispositions of paragraph 1 shall not apply to the processes of and periods of time for the filing of appeals or protests as designated by the law.

This Act shall not apply to—

title: Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/1


text:
Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/2

 the National Assembly and the Cabinet;

the institutions exercising specific powers under the Constitution;

the consideration exercised by the Prime Minister or a Minister in the works directly related to the policy;

the trial and adjudication of cases by courts and the carrying out of works by authorities in the course of the trial of cases, the legal execution, and the depositing of property;

the consideration and ruling of petitions and the giving of instructions according to the law on the Council of State;

the carrying out of works in relation to the foreign policy;

the carrying out of works in relation to the public affairs of the military or authorities that participate with the military in performing operational duties of defending and protecting the security of the Kingdom against threats from both inside and outside the Country;

the carrying out of works in the criminal justice process;

the carrying out of activities by religious organisations.

The application of the provisions of this Act to any activities or agencies other than those designated in paragraph 1 may be exempted by a royal decree enacted upon a proposal of the Administrative Procedure Commission.

In this Act—

"administrative procedure" refers to the preparation and action of an authority for adoption of an administrative order or regulation, and includes any administrative action under this Act;

"administrative proceeding" refers to the preparation and action of an authority for adoption of an administrative order;

"administrative order" refers to—

the exercise by an authority of a power under the law which results in the establishment of a legal relationship between persons, with a view to creating, changing, transferring, reserving, terminating, or producing an effect upon the status of a right or duty of a person, whether permanently or provisionally, such as the giving of an instruction, the giving of permission, the giving of approbation, the ruling of an appeal, the giving of certification, or the granting of registration, but not including the issuance of a regulation;

other matters as designated by ministerial regulations;

title: Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/2


text:
User:SnowyCinema/Arizona

Other language phrases in In Old Arizona (1928) that I couldn't make out.

1
06:37 (in the context of the guy being shot at for not keeping his arms up)

I don't know how you live so long and act so foolish, my friend. [ohos de la tuk]

Ah, is very pretty pin you've got. It look very beautiful on my girl. I take it. Ah, but, first, I give you gold for it.

Oh, say, ¡gracias! ¡Gracias!

Possibilities

 * 1) Sounds like "Ojos de la" something.
 * 2) Maybe "¡Ojos del tonto!" (eyes of the fool)? But it sounds like there's a "a" sound before the "t" so this doesn't make sense.

 * I hear "¡Ojos de la cruz!" (eyes of the cross) or "¡Ojos de las cruces!" but I'm not sure either. -Ser

2
29:50-30:07

All I could make out was "El Conejito", the name of the bandit, and Tonia's name.

 * "¡Virgen santísima! El Conejito llega como loco. ¡Lo mata!" (Holy Virgin Mary! The Conejito is approaching like mad. He's going to kill him!) -Ser
 * "¡Tonia, Tonia, ven, por Dios! ¡Ven corriendo, Tonia! ¡Ven, muévete!" (Tonia, Tonia, come, gosh! Run here, Tonia! C'mon, move!) -Ser

3
30:12

Et e comar, right now, maderidios.

 * "¡En el corral, *right now*, Madre de Dios!" ([He's] In the pen, right now, Mother of God!) -Ser

4
31:54-32:00

 * "Ínflate, pava, que ya te pelarán. Así paga el diablo a quien bien le sirve." (Pump yourself up, you turkey, soon they'll pluck you. Thus the Devil pays whoever serves him well.) -Ser

5
32:24-32:29

..., Dios mío.

 * "¡Pero qué tonto, que te vas a matar tú solo, Dios mío!" -Ser

32:34-32:46

Hey, hombre! ...

 * "¡Qué hombre! ¡Vete con tu mami, no escandalices, cierra la boca! No escandalices tanto y vete con tu madre, Jesús, animal." -Ser

6
[How do you like the eggs? Turned over? etc.]

33:57-33:59

Siempre ...

 * "Siempre la misma malicia." -Ser

7
34:28-34:34

 * "¡Un demonio! ¡Que los parta y les llegue a los dos, que estoy loca, con tanta música!" -Ser

8
37:55-

No chapul?

 * "No te apures." -Ser

9
39:52-40:04 after scene change

 * "...Una cebolla riquísima, seño. Mire nomás qué cebolla más linda tengo..." -Ser

10
46:24-46:36

...

 * "¡Elenita, Elenita! ¿Quieres hacerme el favor de cuidarme mi *baby*?" -Ser

Yes, I take care of him. It is no trouble for me at all.

Gracias. Eres muy amable [...]

 * "Gracias, eres muy amable, te lo agradezco mucho." -Ser

11
47:12

Yo no tiendo ... I no speak English. No. No speak English.

 * "Yo no entiendo lo que me quieren decir. Yo no sé lo que están ustedes preguntando, yo no entiendo, *I don't speak English*." -Ser

12
52:58-53:13

Rapidfire conversation between the two women.

 * "¡Gracias, señor!" -Ser
 * Conversation is unintelligible as the two women talk over each other. The phrase "toda la mañana" ([for] the whole morning) occurs several times. -Ser

13
53:17-53:23

More rapidfire

"What you say?"

[....]

 * "¿Pero qué se ha creído usted que yo le voy a vender a mi hijo? Por todo el oro del mundo no lo vendo." -Ser

14
53:57-54:00

Background speaking

 * Very unintelligible. -Ser
 * After he says, "Fetch my horse, pronto", a woman says, "Ya voy, ya ahora te lo traigo." -Ser

15
59:01-59:10

Pobre Tonia. Qué mal camino. ...

 * "Pobre Tonia, qué mal camino. Cántaro que va muchas veces a la fuente, al fin se rompe." -Ser

16
1:04:28

... por Dios! ...

 * "Pero Antonio, ¡por Dios! ¿Quieres suicidarte?" -Ser

You mind your own business!

... a los dos!

 * "Imagínate que vuelve y te ve con ese hombre, ¡los mata a los dos!" -Ser

17
1:12:08

Ambu cierno! Ambu cierno!!!

 * "Embustero. ¡Embustero!" -Ser

title: User:SnowyCinema/Arizona


text: Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/24

title: Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/24


text:
Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/23

 In holding a meeting, written minutes of the meeting must be kept.

If there is a dissenting opinion, the dissenting opinion and the reasons therefor shall be recorded in the minutes, and if members in the minority submit dissenting opinions in writing, those dissenting opinions shall also be recorded.

A ruling of a commission for ruling of disputes must contain the signatures of the members of the commission who make it.

If any member has a dissenting opinion, he shall have the right to express his dissenting opinion and include it in the ruling.

The Rules of the Office of the Prime Minister on the Performance of Public Affairs by State Agencies in the Interest of the People 2532 BE shall be deemed to be the rules laid down by the Cabinet in accordance with section 33 of this Act.

All the applications for administrative orders received by authorities before the coming into force of this Act shall be considered by the authorities in accordance with the criteria designated by the laws or regulations governing them.

Once administrative courts have been established, the provisions of section 48 shall be repealed.

title: Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/23


text:
Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/3

 "regulation" refers to a royal decree, ministerial regulation, ministerial announcement, local byelaw, rule, regulation, or other provision which is generally applicable without being intended for any specific case or person;

"commission for ruling of disputes" refers to a legally established commission which is organised and invested with a procedure for ruling upon legal rights and duties;

"authority" refers to a person, body of persons, or juristic person that exercises or authorised to exercise an administrative power of the State for the carrying out of any action according to the law, irrespective of whether or not being part of the system of a public service, state enterprise, or other state affair;

"participant" refers to a person who files an application or objects to an application, a person who is subjected or about to be subjected to an administrative order, or a person who has joined an administrative proceeding for the reason that his rights would be affected by the effects of an administrative order.

The Prime Minister shall be in charge of the execution of this Act and shall have the power to issue ministerial regulations and announcements for the execution of this Act.

Those ministerial regulations and announcements shall come into force upon their publication in the Royal Gazette.

There shall be a commission called the "Administrative Procedure Commission", composed of a person as the President and the Permanent Secretary for the Office of the Prime Minister, the Permanent Secretary for Interior, the Secretary General of the Cabinet, the Secretary General of the Civil Service Commission, the Secretary General of the Council of State, and not less than five but not more than nine other qualified persons as Members.

The Cabinet shall appoint the President and qualified Members from amongst the persons expert in legal science, public administration science, political science, social science, or administration of public affairs of the State, but they must not be holders of political positions.

The Secretary General of the Council of State shall appoint a Secretary and Assistant Secretaries from amongst the public officials of the Office of the Council of State.

A Member appointed by the Cabinet shall hold his position for a term of three years. A Member who has retired from his position may be reappointed.

title: Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/3


text: Talk:Lines, on the Death of Bishop N. K. Whitney


text: Talk:Ode to Deseret

title: Talk:Ode to Deseret


text: Page:Gospel of Mark in West-Saxon.djvu/1


text: Page:Gospel of Mark in West-Saxon.djvu/2


text: Page:Gospel of Mark in West-Saxon.djvu/3


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text: Page:Gospel of Mark in West-Saxon.djvu/6


text: Page:Gospel of Mark in West-Saxon.djvu/7


text: Page:Gospel of Mark in West-Saxon.djvu/8


text: Page:Gospel of Mark in West-Saxon.djvu/9


text: Page:Gospel of Mark in West-Saxon.djvu/11


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text: Page:Gospel of Mark in West-Saxon.djvu/19


text:
Page:Constitution of India (9 Sep 2020).pdf/5

ARTICLES


text:
Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/4

 In the case where a Member has retired from his position by rotation but no new Member has yet been appointed, such Member shall perform the duties for the time being until a new Member is appointed.

Apart from retirement by rotation according to section 8, a Member appointed by the Cabinet retires from his position upon removal by a resolution of the Cabinet or upon any of the causes under section 76.

The Office of the Council of State shall serve as the secretariat of the Administrative Procedure Commission, which is responsible for administrative works, meeting works, conduct of studies and research, and all activities related to the works of the Administrative Procedure Commission.

The Administrative Procedure Commission has the following powers and duties:

to monitor, oversee, and provide advice concerning the works carried out by authorities in the execution of this Act;

to provide to authorities counsel concerning the execution of this Act as requested by them, subject to the criteria designated by the Administrative Procedure Commission;

to issue written summonses requiring authorities or any other persons to appear and give explanations or opinions for consideration;

to propose the enactment of royal decrees and issuance of ministerial regulations or announcements in accordance with this Act;

to produce reports concerning the execution of this Act and submit them to the Cabinet from time to time as appropriate, but at least once a year, in order to develop and improve to the performance of administrative affairs by increasing its fairness and efficiency;

others as assigned by the Cabinet or Prime Minister.

An administrative order must be made by the authority who has the powers and duties therefor.

The following authorities shall be prohibited from conducting administrative proceedings:

title: Page:พรบ วิ ปกครอง ๒๕๓๙ (๐๑).pdf/4


text: Page:Gospel of Mark in West-Saxon.djvu/107


text:
Page:Manual of the New Zealand Flora.djvu/605

Vitex.] Calyx 5-toothed or -lobed. Corolla-tube short; limb oblique, 2-lipped; lobes 5, the lowest one usually larger than the rest. Stamens 4, didynamous, usually exserted; anther-cells distinct. Ovary 2–4-celled; ovules solltary or 2 in each cell; style filiform, shortly 2-lobed. Drupe globose or obovoid, more or less succulent; endocarp bony, usually 4-celled. Seeds obovate or oblong, albumen wanting.

1. V. lucens, T. Kirk in Trans. N.Z. Inst. xxix. (1897) 525.—A large handsome tree 40–60 ft. high, with a massive trunk 2–5 ft. diam., and a large crown of spreading branches; branchlets tetragonous, glabrous. Leaves on long stout petioles 3–5 in. long; leaflets 3–5, shortly petioled, 2–5 in. long, elliptic-oblong or obovate, abruptly acute or almost acuminate, entire, quite glabrous, darkgreen and glossy. Flowers abundantly produced, dull-red, about 1 in. long, arranged in 4–15-flowered dichotomously branched axillary panicles. Calyx short, cup-shaped, truncate or obscurely 5-toothed. Corolla pubescent, 2-lipped; upper lip arched, entire or bifid; lower lip deflexed, 3-lobed. Drupe subglobose, bright-red, ⅔–¾ in. diam.; endocarp bony, 4-celled; seeds seldom more than 1 or 2.—V. littoralis, ''A. Cunn. Precur. n. 390 (not of Decaisne); Raoul, Choix, 43; Hook. Ic. Plant. t. 419, 420; Hook. f. Fl. Nov. Zel. i. 203; Handb. N.Z. Fl. 223; Kirk, Forest Fl.'' t. 105.

A much-branched shrub; branchlets slender, 4-angled. Leaves small, opposite, petiolate, entire. Flowers axillary, solitary. Calyx broadly campanulate, 5-lobed; lobes acute. Corolla-tube short: limb oblique, spreading, 2-lipped, 5-lobed; the lower lobe the largest. Stamens 4, didynamous, attached to the base of the corolla-tube, far exserted; anthers 1-celled. Ovary villous at the tip, 4-lobed, imperfectly 4-celled; ovules 1 in each cell, pendulous; style slender, arcuate, 2-fid; branches subulate, shortly stigmatose. Fruit small, sunk in the persistent calyx, 4-lobed to the middle, ultimately splitting into 4 hispid pyrenes. Seed solitary in each pyrene, laterally affixed; albumen wanting; cotyledons large.


text:
Page:Constitution of India (9 Sep 2020).pdf/6

ARTICLES


text:
Page:Manual of the New Zealand Flora.djvu/606

566

1. T. parvifolium, Hook. f. Fl. Nov. Zel. i. 203, t. 49.—An erect much-branched shrub 2–5 ft. high; branches slender, twiggy, more or less pubescent. Leaves rather distant, petiolate; blade ⅙–½ in. long, ovate or orbicular-ovate or ovate-spathulate, obtuse, membranous; petioles short, equalling the blade. Flowers about ⅓ in. long; peduncles short, 2-bracteolate. Calyx-lobes subulate. Corolla bluish, hairy. Fruiting-calyx ⅙ in. diam.—''Handb. N.Z. Fl.'' 224.

Littoral shrubs or small trees. Leaves opposite, quite entire, coriaceous. Flowers in contracted pedunculate cymes in the axils of the upper leaves or in trichotoraous corymbs at the ends of the branches. Calyx short, 5-partite, unchanged in fruit. Corollatube short and broad; limb of 4 or 5 nearly equal spreading lobes. Stamens 4, inserted on the throat of the corolla; filaments short; anthers shortly exserted, ovate, cells parallel. Ovary imperfectly 4-celled by a 4-winged central column; ovules 4, pendulous between the wings of the column; style usually short, bifid. Capsule broad, compressed, coriaceous, 1-celled, 2-valved. Seed solitary, erect, consisting of a large embryo with the usual integuments very feebly developed; cotyledons large, folded longitudinally; radicle inferior, villous; plumule conspicuous, germinating before the fall of the fruit.

1. A. officinalis, ''Linn. Sp. Plant.'' 110.—A shrub or small tree from 3 or 4 ft. to 15 or 25 ft. high or even more; roots putting up a multitude of stout asparagus-like suckers; branches spreading, the younger ones pubescent. Leaves 2–4 in. long, ovate or ellipticoblong or ovate-lanceolate, usually acute, narrowed into a short petiole, glabrous above and black when dry, hoary with a short dense pubescence beneath. Cymes contracted into small heads on erect angular peduncles. Flowers small, about ¼ in. diam. Bracts and calyx-segments densely silky-tomeutose. Corolla 4-lobed; lobes coriaceous, ovate, acute, silky externally. Ovary hairy. Capsule large, about 1 in. diam.—''Hook. f. Handb. N.Z. Fl. 224; Benth. Fl. Austral. v. 69; Kirk, Forest Fl.'' t. 130. A. tomentosa, ''Jacq. Enum. Pl. Carib. 25; A. Cunn. Precur. n. 389; Raoul, Choix, 43; Hook. f. Fl. Nov. Zel.'' i. 204. A. resinifera, ''Forst. Pl. Escul. 72; Prodr. n. 246; A. Rich. Fl. Nouv. Zel.'' 195.


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Avicennia.]

Herbs or shrubs, the stems and branches usually quadrangular. Leaves opposite or whorled, frequently replete with glands containing an aromatic volatile oil; stipules wanting. Flowers hermaphrodite, irregular, solitary or in small axillary opposite cymes or clusters which are often aggregated into terminal spikes or racemes. Calyx inferior, persistent, 4–5-toothed or -cleft, or 2-lipped. Corolla gamopetalous, hypogynous; limb more or less 2-lipped, rarely equal; lobes 4–5, imbricate. Stamens inserted on the corolla-tube, usually 4 and then often didynamous, sometimes 2 only; anther-cells separate or confluent. Ovary superior, of 2 connate deeply 2-lobed carpels and hence 4-partite, 4-celled; style simple, proceeding from between the lobes of the ovarv; stigma usually 2-fid; ovules solitary in each cell, erect, anatropous. Fruit enclosed in the persistent calyx, of 4 1-seeded nutlets. Seeds small, erect; albumen wanting or nearly so; radicle next the hilum.

Strong-scented perennial herbs; rootstock creeping, stoloniferous. Leaves opposite. Flowers small, often axillary and solitary in the New Zealand species, but in others frequently arranged in many-flowered whorls or clusters, which are often aggregated into terminal


text: Manual of the New Zealand Flora/Verbenaceæ


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ARTICLES


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 he who is a participant himself;

he who has been engaged or married to a participant;

he who is related with a participant as his ascendant or descendant of whatever degree, or his brother or sister or cousin within the third degree, or his relative by marriage within the second degree;

he who is or used to be a legal representative, or custodian, or representative, or agent of a participant;

he who is a creditor, or debtor, or employer of a participant;

others as designated by ministerial regulations.

When there occurs a case according 13 or a participant files a challenge stating that any authority falls under section 13, the authority in question shall suspend the proceedings of the matters concerned for the time being and notify his immediate superior in order that the said superior would further give an order thereon.

The filing of a challenge, the consideration of a challenge, and the replacement of the challenged authority with another authority shall be subject to the criteria and procedure designated by a ministerial regulation.

When there occurs a case according to section 13 or a participant files a challenge stating that a member of any commission having the power to conduct administrative proceedings has the described characteristic, the president of the commission shall convene the commission to consider the cause of the challenge. At such meeting, the challenged member must leave the meeting place after having explained the facts and answered the questions.

If a member of any commission having the power to conduct administrative proceedings is challenged, such commission shall be deemed to be composed of all the other members than the challenged member during the time he has to leave the meeting place.

If the meeting, by the votes of not less than two thirds of the unchallenged members, resolves to permit the challenged member to continue performing the duties, he shall be able to continue performing the duties. The said resolution shall be adopted by secret ballot and shall be final.

The filing of a challenge and the consideration of a challenge shall be subject to the criteria and procedure designated by a ministerial regulation.

In the case where any other cause than those provided in section 13 involves an authority or member of a commission having the power to conduct administrative proceedings and its serious nature would render an administrative proceeding biased, the authority or member shall be prohibited from conducting such administrative proceeding.

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568 spikes. Calyx campanulate or tubular, 5-toothed, throat naked or villous. Corolla-tube short, not exceeding the calyx; limb 4-lobed; lobes nearly equal or the upper one broader. Stamens 4, equal, erect, distant; filaments glabrous; anther-cells 2, parallel. Style shortly bifid. Nutlets dry, ovoid, smooth, not bordered.

1. M. Cunninghamii, Benth. in D.C. Prodr. xii. 174.—A fragrant perennial herb. Rhizome slender, wiry, prostrate, much branched, often matted; stems numerous from the rhizome, diffusely branched, pubescent, 2–12 in. long. Leaves shortly petiolate or nearly sessile, ⅙–½ in. long, broadly ovate or almost orbicular, obtuse, entire or with an obscure notch on each side, glandular-dotted. Flowers small, white, axillary, usually solitary but sometimes 2–3 in each axil; peduncles slender, variable in length. Calyx about ⅛ in. long, tubular-campanulate, densely hairy; teeth villous within. Corolla-lobes almost equal, flat, spreading, upper one shortly bifid. Stamens equalling the corolla or slightly exserted.—''Hook. f. Fl. Nov. Zel. i. 205; Handb. N.Z. Fl.'' 225. M. consimilis, Col. in Trans. N.Z. Inst. xviii. (1886) 264. Micromeria Cunninghamii, ''Benth. Lab. Gen. et Sp. 730; A. Cunn. Precur. n. 391; Raoul, Choix,'' 43.

Annual or perennial herbs or undershrubs. Flowers solitary or in pairs, axillary or in terminal racemes or spikes. Calyx campanulate, 2-lipped; lips entire, closed in fruit, the upper one bearing on its back a broad concave deciduous scale. Corolla-tube long, dilated above; limb 2-lipped, the upper one concave, entire or eraarginate, the lower convex, dilated, 3-lobed. Stamens 4, didynamous; anthers conniving in pairs, ciliate, lower 1-celled, upper 2-celled. Upper lobe of the style very short. Nutlets small, granular-tuberculate or smooth.

1. S. novæ-zealandiæ, Hook. f. Fl. Nov. Zel. ii. 335.—Stems slender, creeping and rooting at the base, erect or ascending above, sparingly branched, sparsely pilose or almost glabrous, 5–15 in. high. Leaves in distant pairs, on slender petioles ¼–¾ in. long; blade


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ARTICLES


text: Constitution of India (2020)/Part VI

title: Constitution of India (2020)/Part VI


text: Constitution of India (2020)/Part VII

title: Constitution of India (2020)/Part VII


text: Constitution of India (2020)/Part VIII

title: Constitution of India (2020)/Part VIII


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 The case under paragraph 1 shall be proceeded with as follows:

if the person in question finds himself fallen under such a case, he shall suspend the proceedings of the matters concerned for the time being and notify his immediate superior or the president of his commission, as the case may be;

if a participant files a challenge stating that the person in question is attacked by such a cause and the person does not find himself attacked thereby, he may continue the proceedings of the matters concerned but he must notify his immediate superior or the president of his commission, as the case may be;

the superior of the person in question or the commission having the power to conduct administrative proceedings of which he is a member, as the case may be, shall issue without delay an order or resolution as to whether or not he has the power to conduct administrative proceedings for the matters concerned.

The provisions of section 14, paragraph 2, and section 15, paragraph 2, paragraph 3, and paragraph 4, shall apply mutatis mutandis.

Any acts done by an authority or member of a commission having the power to conduct administrative proceedings before the proceedings in question are suspended in accordance with section 14 or section 16 shall not become invalid, but if it is found appropriate, the authority replacing the challenged authority or the commission having the power to conduct administrative proceedings, as the case may be, may renew any part thereof.

The provisions of section 13 through section 16 shall not apply in the case of urgent need where a delay would bring about damage to the public interest or irreparable damage to a right of a person, or where no other authority may replace the person in question.

If it later appears that any authority or member of a commission having the power to conduct administrative proceedings has been removed from his position due to lacking a qualification, or being attacked by a disqualification, or having been appointed unlawfully, this removal does not affect any acts performed by him by virtue of his powers and duties.

The immediate superior according to section 14 and section 16 shall include the person invested by the with the power of supervision or oversight if the authority in question has no direct superior, and the Prime Minister if the authority in question is a Minister.

A natural person, body of persons, or juristic person may become a participant to an administrative proceeding to the extent that his [or its] rights are affected or would be affected unavoidably.

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 A person capable of acting in an administrative proceeding must be—

a person who has attained majority;

a person who is capacitated to act in designated matters by a specific legal provision, even though he has not yet attained majority or his capacity is limited by the Civil and Commercial Code;

a juristic person or body of persons according to section 21, as the case may be, by acting through a representative or agent;

a person who is capacitated to act in designated matters by an announcement of the Prime Minister or person authorised by the Prime Minister as published in the Royal Gazette, even though he has not yet attained majority or his capacity is limited by the Civil and Commercial Code.

In an administrative proceeding which requires a participant to appear before an authority, the participant has the right to bring his own attorney-at-law or counsel into the administrative proceeding.

Any acts done by the attorney-at-law or counsel before the participant shall be deemed to have been done by the participant, save where the participant raises an objection at that time.

A participant may, in written form, appoint any person who has attained majority to do any designated acts in an administrative proceeding on his behalf. In this respect, the authority may conduct the administrative proceeding with the participant only when the participant has the duty to do the act in question in person and the appointee has been notified thereof.

In the case where an application is filed by more than fifty joint signatories or more than fifty participants file applications containing identical or similar texts, if any person is mentioned therein as their agent or could be understood therefrom to be as such, the person thus named shall be deemed the joint agent of those participants.

In the case where more than fifty participants apply for the same administrative order without designating any person as their joint agent according to paragraph 1, the authority in charge of those matters shall appoint the person approved by the majority of the participants as their joint agent. In this case, section 24, paragraph 2 and paragraph 3, shall apply mutatis mutandis.

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 (relevant to the proceedings) that, because of section 24, the person is not subject to any civil, criminal or administrative liability for making a particular NACC disclosure:

 * (a) the person bears the onus of adducing or pointing to evidence that suggests a reasonable possibility that the claim is made out; and

 * (b) if the person discharges that onus—the party instituting the primary proceedings against the person bears the onus of proving that the claim is not made out; and

 * (c) the court must deal with the claim in separate proceedings; and

 * (d) the court must adjourn the primary proceedings until the claim has been dealt with; and

 * (e) none of the following:

 * (i) any admission made by the person in the separate proceedings;

 * (ii) any information given by the person in the separate proceedings;

 * (iii) any other evidence adduced by the person in the separate proceedings;

 * is admissible in evidence against the person except in proceedings in respect of the falsity of the admission, information or evidence; and

 * (f) if the person or another person gives evidence in the separate proceedings in support of the claim—giving that evidence does not amount to a waiver of privilege for the purposes of the primary proceedings or any other proceedings.

(2) To avoid doubt, a right under section 126K of the Evidence Act 1995 not to be compelled to give evidence is a privilege for the purposes of paragraph (1)(f) of this section.

28 Protection has effect despite other Commonwealth laws

Section 24 has effect despite any other provision of a law of the Commonwealth, unless:

 * (a) the provision is enacted after the commencement of this section; and


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 :(b) the provision is expressed to have effect despite this Part or that section.


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316 render his inquiry at once extensive in its scope, and complete and accurate in its details,—it is not too much to say, that the returns must be regarded as the most perfect of the kind ever yet obtained in India, and, in general, worthy of the most assured and undoubting confidence. It was his earnest desire, as he himself tells us, to contribute “some facts illustrative of the moral and intellectual condition of a branch of the human family; and in the prosecution of this purpose he endeavoured to keep constantly present to his own mind, to the minds of his native assistants, and to the minds of all with whom he came into communication on the subject, the necessity of that rigid and undeviating adherence to accuracy of detail, which can alone give to alleged facts the sacred and salutary character of truth.”

We now proceed to furnish an epitome or abstract of the important information supplied in so authentic and trustworthy a form by Mr. Adam. And, in doing so, we shall find it convenient to adopt his own division of the subject into Elementary Education and Schools of Learning. First, then our business is with—

Public Schools.—Throughout all the zillahs or districts of Bengal and Behar, elementary education is divisible into two sorts, public and private, according as it is communicated in public schools or private families. We shall begin with the public schools, and consider these with reference successively to the following points, viz., the vernacular media of instruction; the school-houses; the teachers, their caste, means of support, qualifications, and age; the pupils or scholars, their class and caste, initiation, and period of attendance; the nature and amount of the instruction communicated; and the system of discipline.

1. The vernacular media of instruction. These are chiefly Bengali in the Bengal, and Hindi in the Behar, districts. In Burdwan, Bengali, and in South Behar, Hindi, are exclusively used; but in Midnapore, Uriya is largely employed as well as Bengali. In the city of Moorshedabad and the district of Beerbhoom, Hindi is used, to a very limited extent, in addition to Bengali; and in some parts of Tirhoot, TrihutiyaTirhutiya [sic], in addition to Hindi, prevails as the language of conversation, of verbal instruction, and of correspondence, but it is never employed as the language of literary composition. And here we must specially note a very remarkable fact elicited by Mr. Adam. It is this,—that the Bengali is “the language of the Musalman as well as of the Hindu population;” and that, though “the Hindustani or Urdu


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 Division 3—Protection from reprisals

29 What constitutes taking a reprisal

(1) A person (the first person) takes a reprisal against another person (the second person) if:

 * (a) the first person causes (by act or omission) any detriment to the second person; and

 * (b) when the act or omission occurs, the first person believes or suspects that the second person or any other person made, may have made or proposes to make a NACC disclosure; and

 * (c) that belief or suspicion is the reason, or part of the reason, for the act or omission.

(2) Detriment includes any disadvantage, including (without limitation) any of the following:

 * (a) dismissal of an employee;

 * (b) injury of an employee in their employment;

 * (c) alteration of an employee's position to their detriment;

 * (d) discrimination between an employee and other employees of the same employer.

(3) Despite subsection (1), a person does not take a reprisal against another person to the extent that the person takes administrative action that is reasonable to protect the other person from detriment.

30 Offences—taking a reprisal or threatening to take a reprisal

Offence—taking a reprisal

(1) A person commits an offence if the person takes a reprisal against another person.

Penalty: Imprisonment for 2 years.

(2) In a prosecution for an offence against subsection (1), it is not necessary to prove that the other person made, may have made or intended to make a NACC disclosure.


text: Index:Graffiti d'Italia (IA graffitiitalia00storrich).pdf