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THE CAPTURE OF PAPA GATO
THIS is to explain how young Theodore Pinney, after his meteoric début in the P. I. constabulary—consisting in nothing less than the capture of Papa Gato, fierce bandelero, who for years had terrorised the region of the Taal—squatted into a fat civilian job and forsook all dreams of glory. And it's not at all about young Pinney, but mostly about his mother, the widow.
"The widow;"—by that short, somewhat ominous and not too respectful cognomen she was known by all the bureau—the educational, of course—from superintendent to lowest clerk; and throughout the archipelago by men departmental and non-departmental. This name, based on fact, like most things based on fact, was a lying thing. Close your eyes and say "widow"; the vision is of something subtle, arch and tantalising—lustrous eyes, comely form (somewhat pudgy), kittenish ways. But she was long and lean and angular; her bosom was arid and her tongue triple-forked. "Old-maid" would
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