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?3igxied and produced h
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I HE'S AT "DOC'S HOUSE/ A COUPLE OF
V THE BOYS OUST BROUGHT HIM IN/
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\g0lff?gY/Af& TO DOCBffOWrt'S MOUSS, AA/N/£'Fff/LS .
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[V\X fix you some A\ HOT SUPPER WHILE , SOUNDS GOOD, )
&TAGG GOES TO ,/
vANNIE.' /
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' HE ISN'T IN THE HOUSE
OR THE OFFICE;' "
MUST BE IN' ..THE BARN,'
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TAGG'S SURE WE KNOW ^
THERE ISN'T ANY JIMMYPETER .' HE MEANS HE'S
WITH SLICK PAUL.' /
DON'T YOU SEE, SV LOFTY? .—
f SURE,' THAT'S IT.' SLICK
MUST'VE BROUGHT TUE
NOTE,THINKIN'HE WAS ,
THROWIN' US OFF THE *
. TRAIL 1 9UT WHAT DOES^n &VA/B0tV MEAN f
^
\ mm
\a^\-"- :
3 yW\
yb^LH.. m/.
UP1
JPAWSCOV MEANS 7A66'S AT THE OLDJASON RANCH.' I'M GOING OUT THERE MOW l
ALONE.' YOU AND THE BOYS STAY HERE /
...PLEASE, LOFTY/
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ApTg/Z PFfiST; FEiQZ-SPUREED RIDE,
MME RESCUES WE JASON P/iNCfJ. .
£§NM£ CWriOUSLY SE0&CUES Tt4£EMPTYW1W/N6SAND ENDS MEP D!5tiPPO/NT!N6 UMTW 7XE 0LD3P~EA>. .
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£$5 AAW/£ £XOMtN£S TM£ STALL '5 FLOOR',
SfJS 55E5 f} MOV/N6 SHADOW.
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WE'LL KNOW FORSUfcE IN ACOUPIAMINUTES! I HEARA STAGE NOW!
youe.
MASK.'
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IWHAPPAYA KN0W/THI5 GAL IN THE\
WATCH IS ALMOST A DEAP \
1
RINGER FOR PORA.DOWN I
AT THE JUNCTION )
j'
rSO WHAT?I'M MORE
rNTERESTEDIN WHAT'S
IN THAT BOX
/mE.TOO! BUT WE WON'TTAKE TIME TO OPEN IT
NOW! WE'LL CUT THEHORSES LOOSE AN'VAMOOSE BEFORE ANY-BODY HAPPENSALONG'
Jl^BS THEBANDITS HAV£ GOA>£..
I'M A PEACEFUL
OJY, EP! BUT ROBBIN
A PRIVER-1 AND
TAKIN'HIS LAS".
FIFTEEN CENTS
I'LL SET THATPAIR, SO HELP
'-' HOW'LL VOU 1RECOGNIZE THEM?THEY WERE MASKEDAND THEIR HORSESWEREN'T MARKED
,
ANY SPECIAL WAY.'
'AND I'M STARTIN1 SOON AS I COLLECT
. MV PAV FROM THE OFFICE ANP TELLTHE SUPER: I'M rp- —TAKIN
1
A SHORT/ BE CAREFUL IT
LEAVE OF rd DOESN'T TURN OUT
\ ABSENCE'
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A LITTLE LATE&, AfTES A SHAVETo CHANGE HIS APPEARANCE. ..
, THAT COUOTE SAIDSOMETHING ABOUT THE ,
JUNCTION-' COULD BE,
WHERE THEV HANS OUT.1
BUT I WONDER WHICHJUNCTION HE MEANT?/
MUSKRAT ORBEAVER?
MfTEP. SCOUTING MUSKDAT JUNCTIONWITHOUT ANU LUCK
too bad; a pal of mine
said maybe. she'd knowof a job in these parts!
i sure need one!
A FEU DAVS LATE£... [*£?=.;
'Vtk SEAT, ACE! IT SURE
^TOOK SOME DOW TO THROW I
OFF THAT POSSE!,
,
/RIGHT! NOTHIN'TO WORRYABOUT NOW BUT SOMENEW DUDS! RECKONDORA'LL BE SLAD TOSELL US SOME
-
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Young Billy Cole eyed the stranger .dis-
mounting at the hitchrack with the curiosity
always aroused by new arrivals in the fron-
tier mining camp of Sunburst.
The man was a redhead, powerfully built
and whiskered. He swept the dozen or so
onlookers with a contemptuous glance,
slapped the twin Colts hanging from his
gun belt, and swaggered to the swinging
doors of the Red Dog Cafe. Throwing them
open, he roared to those inside:
"The name's Bisbee! Hank Bisbee! An'
beginnin' right now, I'm takin' over as chief
in this here camp!"
Billy's mouth sagged open. The men in
Sunburst, rough miners all, were quick to
anger; they drew, and fast, at the slightest
provocation. Tensely, he waited for the ex-
pected gunshot.
But it did not come. Bisbee vanished be-
tween the swinging doors. And the street
loiterers crowded in for a look over the
doors' tops, 3y standing on tiptoe, Billy
was able to see into the cafe, too.
Bisbee was Strutting back and forth, twirl-
ing his guns with practiced hand3. "You
musta heard o' ME!" he was bellowing. "An'
if you ain't, take a squint at the notches on
my shootin " irons—NINETEEN of 'em!" Hs
holstered his guns and banged a powerful
fist on the bar. "Gimme some service—an'.
be quick about it!"
Thus did Hank Bisbee establish himself
in Sunburst. As self-appointed "chief," he
did not have to work to live. Everyone was
glad to provide him with ail he could eat
and drink—for free. Even the roughest char-
acters gave him a wide berth and doubtful
respect. Nobody noticed that he chose the
weaker, more inoffensive men to bully. He
would provoke them, then sneer off the epi-
sode with a derisive, "Humph! HE'S not
worth wastin' a bullet on!"
To seventeen-year-old Billy, who believed
every word. Hank's stories of his exploits
set him up as a hero in the lad's eyes. This
swelled Hank's vanity, and he more or less
took the youth under his wing.
Like most frontier boys, Billy was a good
shot. But he wanted to be a better one. Most
of all, he wanted to be as quick on the draw
as Hank, and to shoot as straight. He kept
begging Hank to teach him.
"Okay, kid," Hank always replied. "Oneo' these days, when I've got time."
One morning. Hank was missing from his
accustomed chair in front of the Red Dog.
"He rode out toward Cedar Pass 'bout 20
minutes ago," the storekeeper told Billy.
Billy hurried for his horse. He would take
the short cut over the ridge, and pin Hank
down about the shooting lesson.
When Billy reached the rim of the Pass,
Hank was just entering it. As Billy started
down to intercept him. his blood froze. On
a ledge below crouched a cougar, tensing
for a leap,
"HANK! Look out!" screamed Billy, draw-
ing his own gun- "COUGAR!"
"EEE-YAAA!" screamed Hank— and fell
out of His saddle.t
Silly took quick aim and fired. His shot
caught the leaping cougar in mid-air. It fell
dead near Hank, crouched quivering on the
ground.
Billy spurred down to his hero. "Are you
okay. Hank?"
"Y-yeah," stammered Hank. "Thanks for
s-savin' my life."
"Why didn't YOU shoot?" frowned Billy.
Shamefacedly, Hank stumbled to his feet.
"I couldn't." he said. "My guns ain't loaded!
I've never even fired 'eml"
Billy took the story of the fallen idol back
to Sunburst, and Hank kept going—in theother direction. As one of the men later said.
Hank's prestige had "gone up in NO smoke"
from his notched, disused revolvers.
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j&0T£/?, /// T#e SH£g/fF'S CFF/CE.
' I SEE VOU'RE HOLDING J OVER AT PETE BAKER'S^. DOWN THE FORT, LOFTY// SPREAD .' TWO OF PETE'S,
WHERE'S UNCLE ? j-*\ BEST HORSES WEREv STOLEN LAST NIGHT.'
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YOU'RE NOT MYBROTHERS NOW .' YOU'RE
Oi/KAiVSj I BOUGHTYOUR SHARES IN THERANCH/ SOI CjW
i
TURN VOU OUT/
BUT SAFE'S HURT/ HE'S NOT FIT
TO RIPE .' AND THE- LAW'S HOT ONOUR HEELS .' THEY'LL AfAMG US.'
YOU'VE GOr TO LET U5 STAY HERE a
ONE MORE DAY/
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W/E T£LLS S/CK ABOUT Ttfe SHQOT/A/6 .
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THINK WE CAN CATCHLAFE AND SAFE SHAWIF YOU AND LOFTYAND I 60 BACKON FOOT
I WE'LL CIRCLE BACK TOWARD fHE HOUSE.' I
W IT'S WORTH A TRY ! \<£ >
I STAY HERE WITH 55-
fcTHE HORSES, BOYS/ ^ **«£,
t/^L M~r%^C ^ .7^Vn^Vi?^BS»^S uBri^Si
13\Wkzilp^m
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Each new issue of
GENEAUTRY
COMICS
See this greataction-filled
comic TODAY
only J0(
On sole new at your
favorite Dell Comics Dealer
is a real Western Adventure
DELL COMICS ARE GOOD COMICS
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The designs shown on ihis page are only a
few of the many used by Plains Indians. You
may wish to use some of them on your Indian
handicrafts, and should, therefore, learn the
meaning of them. Also, each should be
painted in its proper colors. Color arrange-
ments are indicated in the designs as follows:
horizontal shading, blue; vertical shading,
red; diagonal shading, green; dotted shading,
yellow; and black and white as indicated by
solid black and white areas. Most Indian de-
signs done on a white background represent
winter, or snow time. This is the great time
Oi the year when warriors achieve honors
and glory on the war trail. In war drawings,
blue or black often mean enemies destroyed,
and red indicates battle wounds inflicted and
received. Yellow represents horses, for dun-
colored war horses are highly prized. Green
is summer, or grass time. When used for re-
ligious and ceremonial purposes, these colors
assume somewhat different meanings. Blue,
then, means sky, waters, the west, and day-
time. Red represenis thunder, or the, setting
sun. Yellow is the dawn, sunup, or sunlight.
Black is nighttime; white is snow time. Most
Indian designs used on clothing are believed
to have powers to protect the wearer from
harm.
M A PLEDGE Ukii TO PARENTS
MMM
MmM....'.
M
The Dell Trademark is. and always has
been, u positive guarantee thut the comicnjiii'fiJi'fti- i>i-'-irii;i! :! ror.tui;:.* only clean::;<! v^.j.'.-.-Tjm .' aircmlc entertainment.
The Dell rorif ehunr.r.tex entirely, ratherthan regulate*, obivrtionable material
'/'.'.'fit's u;!iy ,;.';>;; your ,.:'n.',:.' hays a DellI'orr.ii- you rnn be sure it contains only
good fun. "DEM. COMICS ARE GOOD
is our credo and constant goal.
/^
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