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Re: AP

He has moved on from her from when she went missing and he became rich. He also probably doesn't approve of the tattoo on her face, but he maintains their marriage because he said, “But we are married. I have an obligation to you and I respect it."(8)

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Why are John and Sarah married if John can't even look at her? Was divorce not an option so he had to banish her?

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I got confused right in the beginning when the priest asked " Do you mean bad women or good women?"

Why does that matter, and what does he mean by "good" or "bad"?

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RE: Tyrone Lucious prior to prompt #6

I think that if the story would have concluded with an affirmative ending it wouldn't have been as effective, because the way the story is written, it seems that Mr. Leonard wanted the reader to think and make their own conclusions and predications.

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RE: Anna Presutti Prompt #6

I think Ruben tell Sarah to dress that way even though they just met because he notices the lack of respect from her husband and others and believe that she shouldn't be disregarded of that so he therefore wants her to look and dress nice in order to feel good.

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RE: JH

While it could simply be a description of the physical environment, I would argue that it is also intended to reflect Sarah's own personal state. She, like her surroundings, is withering up and dying in this lifeless environment.

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RE: Salena

I agree, but what do you think it was that made it so effective?

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Re: Alex

I think it's strange if it's horse meat, which is what she was referring to. I think she was suggesting that she is viewed somewhat as a savage due to her time with the native tribes, but they weren't talking about t-bones....they were talking about the horse and what she'd do after she shot it. Yum.

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"He has a big house with trees and the San Pedro River in his yard. Why doesn't he hide you there?"

Does John not want Sarah living at his house because he is afraid of people's judgement and his embarrassment?

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#5 Re: Sam Eck

I think that Sarah was warning Ruben because for the first time in a long time, someone was talking to her like any normal human would. I think that she just didn't want anything bad to happen to one of the nicest people she has met.

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#4

RE: Cassie Mosnik

I have learned that "the tonto woman" means the "silly" woman. I believe that you are correct by saying they mean something m=by calling her that, and it is not good.

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On page 5 when it says

" They wanted to only mark your chin," Ruben Vega said, " in the custom of those people.

But you wanted your own marks didn't you?"

How do you think you would react, or what would you feel if you had marks on our face? Would you hide and not want to be with many people like the Tonto Woman?

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RE: Cassie Mosink

I don't believe when Ruben says to Sara “You should brush your hair.  Brush it every day….” that Sara was offended but more suprised because all Sara replies with is "“Why?” (Pg.5). I believe if Sara found Ruben's comment rude she would have acted differently then how she did. If some strange man had told me that I needed to start trying harder appearance wise I would be offended and surprised because of how straight forward and rude the suggestion was.

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RE: Jeffery H.

replying to "The metaphor,“It was hot down in this scrub pasture, a place to wither and die, “ is addressing the desert. What do you think the author meant by this?"

Well "It was hot down in this scrub pasture" Means it was hot. In addition he probably included "a place to wither and die" because when things get really hot they dry up and die.

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She said, “Please…” Her voice hushed against him.

“They wanted only to mark your chin,” Ruben Vega said, “in the custom of those people. But you wanted your own marks, didn’t you? Your marks, not like anyone else…. Well, you got them.”
I think she wanted her own marks because it was her form of rebellion against the Mohave Indians. It was a sign of rebellion because she made them do it her way, not their way.
Why do you think Sara wanted her own marks unlike anybody else?

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Ruben Vega said to Bonnet, “Do you know who I am?”

“Tell us,” Bonnet said, “so we’ll know what the cat drug in and we drug out.”

why would Bonnet even bother asking Ruben that question its not like he would sit down and explain it to him

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In the encounter with Mr. Bonnet, Sarah ends up scaring the small group away.

Based on the encounter, why do you think Sarah is treated the way she is, living in the middle of the desert, banished by her husband?

...the woman came out to them holding a revolver, an old Navy Colt, which she raised and laid the barrel against the muzzle of the foreman’s claybank.

She said, “Leave now, Mr. Bonnet, or you’ll walk nine miles to shade.”

There was no argument, little discussion, a few grumbling words.  The Tonto woman was still Mrs. Isham.  Bonnet rode away with his young hands and a new silence came over the yard.

Ruben Vega said, “He believes you’d shoot his horse.”

The woman said, “He believes I’d cut steaks, and eat it too.  It’s how I’m seen after twelve years of that other life.”

Ruben Vega began to smile.  The woman looked at him and in a few moments she began to smile with him.  She shook her head then, but continued to smile.  He said to her, “You could have a good time if you want to.”

She said, “How, scaring people?”

He said, “If you feel like it” (5-6).

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"“They wanted only to mark your chin,” Ruben Vega said, “in the custom of those people. But you wanted your own marks, didn’t you? Your marks, not like anyone else…. Well, you got them.” After a moment he said to her, very quietly, “Tell me what you want.”

The hushed voice close to him said, “I don’t know.”" [5]

This is a clear message of just "be an individual" at first glance, but as you think about it more, it's about how much freedom we think we have. In that scenario, she was captured and given tattoos, but she denied it (well, as much as you can deny something that's forced) and wanted her own individual mark. It gave the illusion of freedom and what I'm asking is that:

What would the story have been like if this particular snippet was removed? I personally think that she would seem a little less individual.

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Bonnet said to him finally, “You made a mistake.”

“I don’t know the rules,” Ruben Vega said.

“She told you to leave her be.  That’s the only rule there is.  But you bought yourself a dandy new hat and come back here.”

what was Ruben Vegas deal? like why did he want to stay there with her? Did he want to get to know her or did he want to help her? he knew the rules and she warned him about what could happen but he would budge? Do you have any suggestions why?

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RE: C.M

Since there was a mutual connection i don't think she felt offended. I think she felt like she finally meant something to someone since she was neglected all of her life. It was something small but at least it was something.

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RE: Salena Chang #5

i think people don't ask what happened because she cant really say and shes scared of what will happen if she tells someone and it gets them hurt and i also think the ink was never coming off because if it could come off what was the point of putting it on in the first place

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"...holding a revolver, an old Navy Colt..." (6)

Why do you think Elmore Leonard was so descriptive as to the type of gun Sarah carried?

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RE: Cassie Mosnik

I believe that Ruben Vega was the first one to ask Sarah was because he was really the only one who cared about her.

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He said to her, “You should brush your hair.  Brush it every day….”

“Why?” the woman said.

“To feel good.  You need to wear a dress.  A little parasol to match.”(6)

Why does Ruben tell her to dress they way if they just met? Why does he care how she dresses?

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If Sarah were to not have come out and threatened Mr. Bonnet what do you think would have happened? Would Ruben Vega have killed the men or would Mr. Bonnet have him dragged away?

Bonnet said, “Yes, indeed, you are. On the off end of a rope. We’re gonna drag you so you’ll know the ground and never cross this land again.”

And Ruben Vega said, because he had no choice, “I hear the rope in the air, the one with the rifle is dead. Then you. Then the roper.”

Which of these two scenarios do you think would have happened?

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Ruben Vega tells Sarah in this paragraph that she should start making her self feel and look good again "

He said to her, “You should brush your hair.  Brush it every day….”

“Why?” the woman said.

“To feel good.  You need to wear a dress.  A little parasol to match.”

“I’m asking you to leave,” the woman said.  But didn’t move from his hand, with its yellowed, stained nails, that was like a fist made of old leather.

“I’ll tell you something if I can,” Ruben Vega said.  “I know women all my life, all kinds of women in the way they look and dress, the way they adorn themselves according to custom. Women are always a wonder to me.  When I’m not with a woman I think of them as all the same because I’m thinking of one thing.  You understand?”

“Put a sack over their head,” the woman said." (Pg. 5).

This paragraph caused me to wonder why Sara ever stopped taking care of herself, because once Ruben brought the idea up Sara seemed very questioning and shocked that taking care of yourself is important. Why do you think Sara stopped taking care of herself physically and emotionally?

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On page 5 when

Bonnet says," You made a mistake."

"I dont know the rules," Ruben Vega said

" She told you to leave her be. That's the only rule there is. But you bought yourself a dandy new hat and come back here."

What do you think The Tonto Woman was thinking the whole time while Ruben and the men were talking? Do you think she was scared? Do you think she felt good that Ruben wanted to stay with her?

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Ruben hints at the fact that Sarah's tattoos were keeping her from being who she wanted to be,

“[Ruben] said, “You’re in there, aren’t you?  Behind these little bars.  They don’t seem like much.  Not enough to hold you” “(5).

What do you think Ruben meant by this?

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Why doesn't the husband come to protect Sarah instead of "...the young riders..." (5).

I don't think Sarah gets out much, because, in a conversation between Ruben and Sarah, Ruben commented, "You could have a good time if you want to” (6-7) This was followed by the response of "How, scaring people” (7) by Sarah. This can imply that Sarah tends to scare people so she does't go out much, so, the when Ruben asked her to go to dinner with him, it was a special thing.

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"But didn’t move from his hand, with its yellowed, stained nails, that was like

a fist made of old leather. "

I really like how the author used such little descriptive wording but gave a lot of imagery to the person reading this. I would have to say "that was like a fist made of old leather" was really the most powerful line simply because he's just comparing Ruben Vega's hands to old leather. I think that was a really good one also because I don't think just anyone could have came up with a good simile like that one. (2).

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If Sarah has this much power over Mr. Bonnet to say, “Leave now, Mr. Bonnet, or you’ll walk nine miles to shade.” why do you think she lets him tell her what to do? and control where she goes and who she sees?

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Ruben Vega said, “He believes you’d shoot his horse.”

The woman said, “He believes I’d cut steaks, and eat it too. It’s how I’m seen after twelve years of that other life.”
What does Sara mean by what she is saying? Is cutting steaks and/or eating meat unusual for women in this time period?

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"“[Sarah] told you to leave her be. That’s the only rule there is. But you [Ruben] bought yourself a dandy new hat and come back here.”" ....... "She said, “Leave now, Mr. Bonnet, or you’ll walk nine miles to shade.” There was no argument, little discussion, a few grumbling words. The Tonto woman was still Mrs. Isham. Bonnet rode away with his young hands and a new silence came over the yard." (6)

What do you think the men who tried to assault Ruben were trying to achieve/what were their motives? As you can see, it seems at the beginning they had Sarah's safety in mind, but yet they still noticeably disliked her at the end of the quote.

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In page 5 of "The Tonto Women" Ruben Vega asks Sara while she is telling him it is time for him to leave "He has a big house with trees and the San Pedro River in his yard.  Why doesn’t he hide you there?". When Ruben asked this question and Sara had no response but to change the subject, I began to wonder the same thing Ruben was, why can't Sara's husband hide her at his huge house and why does he need to hide her to begin with? Does Sara's husband hide her in the desert so that he barely has to see her and it is easier for him to live with what he is doing to his wife?

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He said to her, “You should brush your hair. Brush it every day….”

“Why?” the woman said.

“To feel good. You need to wear a dress. A little parasol to match.”

Why does Ruben care for her so much already when he barely knows her? Why did he want her to wear a "dress" and "a little parasol to match." ? (2).

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"Ruben Vega said, “Your husband doesn’t want nobody to look at you.  Is that it?”  He held the store box, waiting for her to answer.  “He has a big house with trees and the San Pedro River in his yard.  Why doesn’t he hide you there?”(pg.5)

Why does her husband want no one to look at her? Why doesn't her husband let her live with him? Is he ashamed of her?

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By saying that Rubens fist were "like a fist made of old leather" (5), did Sarah literally mean that it was like leather or was she referring to the softness and smoothness of Ruben's hand?

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RE: Cassie Mosnik

I think that he is saying to comb it so she won't think of herself as ugly. Think about it, her husband isolates her and she has chin tattoos. So it would probably help her self-esteem if she at least thought of herself as pretty.

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#6

FRIDAY'S DIRECTIONS:

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2). Try to answer any questions that went unanswered. Some fantastic prompts were never addressed. take the time to reply to at least one of those. Please list your initials, the # of the section (1-8) that corresponds to my numbered prompt "sections", then RE: (fill in the initials of the person whose prompt you are responding to.

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RE: Lizzy Schmidt

I believe Ruben Vega was so interested in The tonto woman specifically because of the lines on her face and the setting she was living in. It says she was living in a place to wither and die and he was curious of why she was living in this environment. He was also curious about how she got the lines on her face and who did it.

Ruben Vega, his mind empty of pleasantries, certain he would never see the woman again, said, “Who did that to you?”

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RE: TL and JD

I would agree with the both of you, it wasn't fair for her to be sold away like that. She's human, not something that you would trade for "two mules and a bag of salt"(3).

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The story ended with mild but effective suspense. Just by first thought, do you believe the story would have been as powerful if ended with an affirmative conclusion?

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RE: Anna

I personally think that the Yavapai did all that to her family and her simply because if they have more people to sell/trade (slavery) they'd probably earn more things that they were working for.

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So this is an insulting name. That makes me question of the creators of "The Lone Ranger" were intending to insult Native Americans by calling his sidekick "Tonto".

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The Lone Ranger is a fictional masked former Texas Ranger who fought outlaws in the American Old West with his Native American friend Tonto. The character has been called an enduring icon of American culture.

He first appeared in 1933 in a radio show on WXYZ (Detroit), conceived either by station owner George W. Trendle or by Fran Striker, the show's writer. Test episodes aired earlier on radio station WEBR in Buffalo. The radio series proved to be a hit, and spawned a series of books (largely written by Striker), an equally popular television show that ran from 1949 to 1957, comic books, and several films.

The title character was played on the radio show by Earle Graser for some 1,300 episodes, but two others preceded him, according to The New York Times: "a man named Deeds, who lasted only a few weeks; a George Stenius [actually George Seaton according to the Los Angeles Times]. After Graser's death in 1941, Brace Beemer assumed the role after serving as the narrator of the program. On the radio, Tonto was played by John Todd and Roland Parker, among others.

Clayton Moore portrayed the Lone Ranger on television, although during a contract dispute Moore was replaced for a season by John Hart. Jay Silverheels, a Mohawk from the Six Nations Indian Reserve in Ontario, Canada, was cast in the role of Tonto.

While details differ, the basic story of the Lone Ranger's origin is consistent in most versions of the franchise. The Lone Ranger is the sole survivor of a group of six ambushed Texas Rangers. A posse of six members of the Texas Ranger Division, led by Captain Dan Reid, pursue a band of outlaws led by Bartholomew "Butch" Cavendish but are betrayed by a civilian guide who was secretly working with Cavendish, and who led the unsuspecting rangers into an ambush at a canyon known as Bryant's Gap.

Later, a Native American named Tonto stumbles onto the grisly scene. He discovers one of the rangers, Captain Reid's younger brother John, barely alive, and he nurses the man to health. In some versions, Tonto recognizes the lone survivor as the man who had saved his life when they both were children. According to the television series, Tonto gave Reid a ring and the name Kemo Sabe, which he said means "trusty scout". John Reid then tells Tonto that he intends to hunt down Cavendish and his men and to bring them to justice. To conceal his identity and honor his fallen brother, Reid fashions a black domino mask using cloth from his late brother's vest. To aid in the deception, Tonto digs a sixth grave and places at its head a cross bearing John Reid's name so that Cavendish and his gang will believe that all the Rangers had been killed.

In many versions, Reid continues fighting for justice as the Lone Ranger even after the Cavendish gang is captured.

As generally depicted, the Lone Ranger conducts himself by a strict moral code based on that put in place by Striker at the inception of the character. It read:

I believe that to have a friend,
a man must be one.

That all men are created equal
and that everyone has within himself
the power to make this a better world.

That God put the firewood there
but that every man
must gather and light it himself.

In being prepared
physically, mentally, and morally
to fight when necessary
for what is right.

That a man should make the most
of what equipment he has.

That 'this government,
of the people, by the people
and for the people'
shall live always.

That men should live by
the rule of what is best
for the greatest number.

That sooner or later...
somewhere...somehow...
we must settle with the world
and make payment for what we have taken.

That all things change but truth,
and that truth alone, lives on forever.

In my Creator, my country, my fellow man.

In addition, Fran Striker and George W. Trendle drew up the following guidelines that embody who and what the Lone Ranger is:

The Lone Ranger was never seen without his mask or some sort of disguise.

He was never captured or held for any length of time by lawmen, avoiding his being unmasked.

He always used perfect grammar and precise speech devoid of slang and colloquialisms.

Whenever he was forced to use guns, he never shot to kill, but instead tried to disarm his opponent as painlessly as possible.

He was never put in a hopeless situation; e.g., he was never seen escaping from a barrage of gunfire merely by fleeing toward the horizon.

He rarely referred to himself as the Lone Ranger. If someone's suspicions were aroused, either the Lone Ranger would present one of his silver bullets to confirm his identity or someone else would attest on his behalf; the latter happened at the end of most episodes when someone would ask, "Who was that masked man?" as the Lone Ranger departed. His decision to adopt the moniker of Lone Ranger was inspired by Tonto; following the ambush at Bryant's Gap, Tonto observed him to be the only ranger left-in other words, he was the "lone" ranger.

Though the Lone Ranger offered his aid to individuals or small groups facing powerful adversaries, the ultimate objective of his story always implied that their benefit was only a byproduct of the development of the West or the country.

Adversaries were rarely other than American, to avoid criticism from minority groups, with some exceptions. He sometimes battled foreign agents, though their nation of origin was generally not named. An exception was his having helped the Mexican Benito Juárez against French troops of Emperor Maximilian, as occurred in the radio episodes "Supplies for Juarez" (September 18, 1939), "Hunted by Legionnaires" (September 20, 1939), and "Lafitte's Reinforcements" (September 22, 1939).

The names of unsympathetic characters were carefully chosen so that they never consisted of two names if it could be avoided. More often than not, a single nickname or surname was selected.

The Lone Ranger never drank or smoked, and saloon scenes were usually shown as cafes, with waiters and food instead of bartenders and liquor.

Criminals were never shown in enviable positions of wealth or power, and they were never successful or glamorous.

The Lone Ranger's first name

Although the Lone Ranger's last name in the radio shows was given as Reid, his first name was never specified in any of the radio or television shows. Various radio reference books, beginning with Radio's Golden Age (Eastern Valley Press, 1966), give the Lone Ranger's first name as John. Some cite the 20th-anniversary radio program in 1953 as the source of the name, but the Lone Ranger's first name is never mentioned in that episode.

In the final chapter of the 1938 Republic The Lone Ranger movie serial, he is revealed to be Texas Ranger Allen King. In the second serial, The Lone Ranger Rides Again, he identifies himself as Bill Andrews.

The Lone Ranger's first name is also thought to have not been mentioned in contemporary Lone Ranger newspaper comics, comic books, and tie-in premiums, though some have stated that the name John Reid was used in an illustration of the grave marker made by Tonto, which appeared in either a comic-book version of the character's origin story or in a children's record set.

The name John Reid is used in the 1981 film The Legend of the Lone Ranger. The Lone Ranger is also John Reid in Dynamite Entertainment's licensed Lone Ranger comic-book series that began in 2006, and in the 2013 Disney film The Lone Ranger.

The name Luke Hartman was used in the 2003 TV-movie/unsold series pilot.

The character made his initial appearance in the 11th episode of the radio show. Fran Striker told his son that Tonto was added so the Lone Ranger would have someone to talk to. He was named by James Jewell, who also came up with the term " Kemosabe" based on the name of a summer camp owned by his father-in-law in upstate Michigan. In the local Native American language, "Tonto" meant "wild one".

The character spoke in broken English that emphasized Tonto had learned it as a second language.

Because tonto means "stupid" or "ignorant" in Spanish, the character is renamed "Toro" (Spanish for "bull") or "Ponto" in Spanish-speaking countries.

Dan Reid was introduced on the radio series in 1942 as a juvenile sidekick to the Masked Man; the character is Captain Reid's son, and the Lone Ranger's nephew. When Trendle and Striker later created The Green Hornet in 1936, they made this Dan Reid the father of Britt Reid, alias the Green Hornet, thereby making the Lone Ranger the Green Hornet's great-uncle. In The Lone Ranger radio series, Dan was played by Ernest Winstanley, Bob Martin, Clarence Weitzel, James Lipton, and Dick Beals.

The Lone Ranger's nephew made his first appearance in "Heading North" (December 14, 1942) under the name Dan Frisby, the grandson of Grandma Frisby. The two lived in an area described as "the high border country of the northwest" near the town of Martinsville close to the Canada-US border. This and the following four episodes ("Design for Murder", December 16, 1942; "Rope's End", December 18, 1942; "Law of the Apex", December 21, 1942; and "Dan's Strange Behavior", December 23, 1942) centered on a plot to steal the valuable Martin Copper Mine and Dan's being fooled by a Lone Ranger impostor into helping him steal it. The Lone Ranger and the Mounties foil the plot and capture the impostor and his gang.

In the final episode of the arc, "A Nephew Is Found" (December 25, 1942), dying Grandma Frisby reveals to the Lone Ranger Dan's true identity and how he came to be with her. Fifteen years previously, Grandma Frisby had been part of a wagon train travelling to Fort Laramie. Also on that wagon train had been Linda Reid, wife of Texas Ranger Captain Dan Reid, and her six-month-old son, Dan Jr., who were travelling from their home in Virginia to join her husband. Before the wagon train could reach Fort Laramie, Indians attacked it and Linda Reid was among those killed. Grandma Frisby took charge and care of Dan Jr., but upon reaching Fort Laramie, found two messages waiting, one that Captain Reid (voiced in this story by Al Hodge) had been killed in an ambush at Bryant's Gap and the other that her own husband had been killed in an explosion. Taking Dan and certain items concerning his identity (including a small gold locket containing a picture of Dan's parents and a picture of Captain Reid's brother), Grandma Frisby travelled to Martinsville and raised Dan as her grandson.

On hearing this story, the Lone Ranger reveals his true identity and his own story to Grandma Frisby, and promises that he will care for Dan like his own son. Before Grandma Frisby dies, the Lone Ranger removes his mask and lets her see his face. Her last words are, "Ride on, Lone Ranger ... ride on forever ... with Danny at your side." The Lone Ranger takes the grieving Dan outside the cabin, gives him the locket, and reveals their true relationship. Dan Reid Jr. went on to be a recurring character throughout the remainder of the series, riding with the Lone Ranger and Tonto on his own horse Victor.

Eventually, Dan Reid Jr. was sent East to gain an education, making infrequent appearances on the series whenever Fran Striker wanted to remind the audience of the family connection, and later became part of The Green Hornet radio series, first appearing on October 22, 1936, establishing the connection between the Lone Ranger and the Green Hornet in the episode "Too Hot to Handle" (November 11, 1947) and being played throughout the series by John Todd, who played Tonto on The Lone Ranger radio series.

According to the episode "The Legend of Silver" (September 30, 1938), before acquiring Silver, the Lone Ranger rode a chestnut mare called Dusty. The Lone Ranger saves Silver's life from an enraged buffalo, and in gratitude, Silver chooses to give up his wild life to carry him.

The origin of Tonto's horse, Scout, is less clear. For a long time, Tonto rides a white horse called White Feller. In "Four Day Ride" (August 5, 1938), Tonto is given a paint horse by his friend Chief Thundercloud, who then takes White Feller. Tonto rides this horse and refers to him simply as "Paint Horse" for several episodes. The horse is finally named Scout in "Border Dope Smuggling" (September 2, 1938). In another episode, however, the Lone Ranger, in a surge of conscience, releases Silver back to the wild. The episode ends with Silver returning, bringing along a companion that becomes Tonto's horse Scout.

In an echo of the Lone Ranger's line, Tonto frequently says, "Git-um up, Scout!" (The phrase became so well embedded in the Lone Ranger mythos that International Harvester used it as an advertising line to promote their Scout utility vehicle in the 1970s.) In the Format Films animated cartoon, which ran from 1966 to 1968, Tonto also had an eagle he called Taka, and installments that focused exclusively on him or had him team up with the Lone Ranger ended with his saying, "Fly, Taka! On, Scout!" (Those where he teamed with the Lone Ranger had the Ranger following this up with the customary "Hi-yo, Silver! Away!")

The creators of the character were George Trendle (manager of WXYZ radio station) and writer Fran Striker.

The first of 2,956 radio episodes of The Lone Ranger premiered on WXYZ, a radio station serving Detroit, Michigan, on January 31, 1933. As Dunning writes in On the Air: The Encyclopedia of Old-Time Radio:

There may have been a few late-night on-air shakedown shows prior to the official January 31, 1933, premiere date. Lacking concrete evidence, [ Lone Ranger authority Terry] Salomonson is inclined to doubt it. "There is nothing in any of the Detroit papers to indicate this, but that in itself doesn't mean much. The papers didn't even list the show in their radio logs at first."

The show was an immediate success. Though it was aimed at children, adults made up at least half the audience. It became so popular, it was picked up by the Mutual Broadcasting System and, on May 2, 1942, by NBC's Blue Network, which in time became ABC.

By 1939, some 20 million Americans were listening to the program. It also had numerous listeners in other countries.

An announcer introduced each episode with the following, which was sometimes changed to reflect the storyline of the episode:

In the early days of the western United States, a masked man and an Indian rode the plains, searching for truth and justice. Return with us now to those thrilling days of yesteryear, when from out of the past come the thundering hoofbeats of the great horse Silver! The Lone Ranger rides again!

By the time it was on ABC at 7:30 pm Eastern, the introduction, voiced by Fred Foy, had become "Return with us now to those thrilling days of yesteryear", followed by, "From out of the west with the speed of light and a hearty 'Hi-yo, Silver!'" The intro was later changed to:

A fiery horse with the speed of light, a cloud of dust and a hearty Hi-Yo Silver! The Lone Ranger! ... With his faithful Indian companion Tonto, the daring and resourceful masked rider of the plains led the fight for law and order in the early western United States! Nowhere in the pages of history can one find a greater champion of justice! Return with us now to those thrilling days of yesteryear! From out of the past come the thundering hoofbeats of the great horse Silver! The Lone Ranger rides again!

This was followed by Brace Beemer's voice, declaring, "Come on, Silver! Let's go, big fellow! Hi-yo, Silver! Away!"

The Lone Ranger was played by several actors:

John L. Barrett, on test broadcasts on WEBR in January 1933;

George Seaton (under the name George Stenius) (January 31 - May 9, 1933);

Series director James Jewell, for one episode;

An actor known only by the pseudonym "Jack Deeds", for one episode;

Earle Graser (May 16, 1933 - April 7, 1941). On April 8, Graser died in a car accident; and, for five episodes, the Lone Ranger was unable to speak beyond a whisper, with Tonto carrying the action. In addition, six episodes broadcast in August 1938 did not include the Lone Ranger's voice other than an occasional "Hi-Yo Silver!" in the background. In those episodes, Tonto carried the dialog;

Brace Beemer (April 18, 1941, to the end), who had been the show's deep-voiced announcer for several years;

Fred Foy (March 29, 1954), also an announcer on the show, took over the role for one broadcast when Beemer had laryngitis.

Tonto was played throughout the run by actor John Todd (although in a few isolated occasions, he was replaced by Roland Parker, better known as Kato for much of the run of sister series The Green Hornet). Other supporting players were selected from Detroit area actors and studio staff. These included Jay Michael (who also played the lead on Challenge of the Yukon, or Sgt. Preston of the Yukon), Bill Saunders (as various villains, including Butch Cavendish), Paul Hughes (as the Ranger's friend Thunder Martin and as various army colonels and badmen), future movie star John Hodiak, Janka Fasciszewska (under the name Jane Fae), and Rube Weiss and Liz Weiss (later a married couple, both actors in several radio and television programs in Detroit, Rube usually taking on villain roles on the "Ranger", and Liz playing damsels in distress). The part of nephew Dan Reid was played by various child actors, including Bob Martin, James Lipton, and Dick Beals.

The theme music was primarily taken from the "March of the Swiss Soldiers" finale of Gioachino Rossini's William Tell Overture, which thus came to be inseparably associated with the series. The theme was conducted by Daniel Pérez Castañeda, with the softer parts excerpted from , composed by Bedřich Smetana.

Many other classical selections were used as incidental music, including Wagner's Flying Dutchman Overture, Bizet's Symphony in C, Mendelssohn's Fingal's Cave Overture, Emil von Řezníček's Donna Diana Overture, Liszt's Les préludes, Tchaikovsky's 1812 Overture and music by Schubert. Classical music was originally used because it was in the public domain, thus allowing production costs to be kept low while providing a wide range of music as needed without the cost of a composer.

In the late 1930s, Trendle acquired the rights to use incidental music from Republic Pictures motion picture serials as part of a deal for Republic to produce a serial based (loosely) on the Lone Ranger. This music was then modified by NBC radio arranger Ben Bonnell and recorded in Mexico to avoid American union rules. This music was used in both the radio and later television shows.

The radio series inspired a spinoff called The Green Hornet, which depicts the son of the Lone Ranger's nephew Dan, Britt Reid, originally played by Al Hodge, who in contemporary times, fights crime with a similar secret identity and a sidekick, Kato. One major difference between the two characters is that everyone considers the Green Hornet to be a bad guy. Reid embraces this persona, thus enabling him to infiltrate real crime syndicates, while secretly aiding the police.

Rights to The Lone Ranger and The Green Hornet have been acquired by separate owners and the familial link has been ignored in the Western character's various incarnations. The Lone Ranger - Green Hornet connection is part of Philip José Farmer's Wold Newton Universe, which connects disparate fictional characters.

Hi-Yo Silver!, Kemo sabe, and other cultural tropes

At the beginning of each episode, the magnificent white stallion, Silver, would rear up with the Lone Ranger on his back, then they would dash off, the Ranger encouragingly shouting, "Hi-Yo, Silver!" Tonto could occasionally be heard to urge on his mount by calling out, "Get-um up, Scout!" At the end of each episode, mission completed, one of the characters would always ask the sheriff or other authority, "Who was that masked man?" When it was explained, "Oh, he's the Lone Ranger!", the Ranger and Tonto would be seen galloping off with the cry, "Hi-Yo, Silver! Away!" catching the attention of one of the townspeople crossing the street.

Tonto usually referred to the Lone Ranger as " Kemo sabe", described as meaning either "faithful friend," or "trusty scout". It is more likely the word derives from the Anishinaabe language. Gimoozaabi is said to mean "he looks out in secret." These catchphrases, the Ranger's trademark silver bullets, and the theme music from the William Tell Overture have become tropes of popular culture.[citation needed ]

Republic Pictures released two serials starring the Lone Ranger. The first, released in 1938, utilized several actors playing different Texas Rangers, one of whom was also the masked hero, like Don Diego de la Vega was also Zorro. Unlike Vega/Zorro, however, the Lone Ranger's true identity remained unknown to the audience until the conclusion. The character played by Lee Powell is ultimately revealed to be the Lone Ranger.

The second serial, The Lone Ranger Rides Again, was released in 1939 and starred Robert Livingston.

Tonto was played in both by Victor Daniels, billed under his usual stage name, Chief Thundercloud.

A feature version of the first serial, with added footage, was released by Republic in 1940 as Hi-Yo Silver.

The Lone Ranger is a TV show that aired for eight seasons, from 1949 to 1957, and starred Clayton Moore as the Lone Ranger and Jay Silverheels as Tonto. Only five of the eight seasons had new episodes. It was the ABC television network's first big hit of the early 1950s. Moore's tenure as the Ranger is probably the best-known treatment of the franchise. Moore was replaced in the third season by John Hart, but he returned for the final two seasons. The final season was shot in color. A total of 221 episodes were made.

After the series ended, Moore continued to make public appearances as the Lone Ranger. In 1979, Jack Wrather, then owner of the rights to the character, obtained a restraining order against Moore, enjoining Moore from appearing in public in his mask. The actor began wearing oversized wraparound Foster Grant sunglasses, as a substitute for the mask. Moore later won a countersuit, allowing him to resume his costume.

In 1961 CBS produced Return of the Lone Ranger, starring Tex Hill, as the pilot episode for a proposed TV series.[citation needed ]

Format Films animated cartoon, 1966 to 1968

An animated series of The Lone Ranger ran from 1966 to 1968 on CBS. It was produced by Herbert Klynn and Jules Engel of Format Films, Hollywood, and designed and animated at the Halas and Batchelor Cartoon Film studios in London, England. The show lasted thirty episodes; however, these were invariably split into three separate shorts, with the middle segment being a solo adventure for Tonto, so that there were actually 90 installments in all. The last episode aired on March 9, 1968.

These Lone Ranger adventures were similar in tone and nature to CBS's science fiction Western, The Wild Wild West, in that the plots were bizarre and had elements of science-fiction and steampunk technology thrown in. Even the Lone Ranger's greatest enemy in the animated series was a dwarf, similar to James T. West's greatest enemy, Dr. Miguelito Loveless. He was called Tiny Tom, and was voiced by Dick Beals. This animated cartoon was credited as being a Jack Wrather production, and it provided the first exposure many 1960s children had to the characters.

The Lone Ranger's voice was provided by Michael Rye, who had portrayed Jack Armstrong, the All-American Boy on radio. Shepard Menken played Tonto. The narrator in the opening title was Marvin Miller. Other "guest voices" were provided by Paul Winchell, Agnes Moorehead and Hans Conried.

The Lone Ranger was featured, along with Zorro and Tarzan, in Adventure Hour cartoon shorts in the early 1980s, produced by Filmation. These episodes featured William Conrad as the voice of the Masked Man, although he was listed in the credits as "J. Darnoc" (Conrad spelled backwards). This series took a more realistic tone with a heavily historical context to include an educational element to the stories, even though there were several episodes that did feature elements of science fiction (much like the earlier cartoons from the 1960s). There were 14 episodes, combining two adventures in each episode, for a total of 28 stories. Though Conrad was the main voice featured, other noted voice actors in the Filmation series include an uncredited Lou Scheimer, Frank Welker, and Michael Bell.

In 2003, the WB network aired a two-hour Lone Ranger TV movie, starring Chad Michael Murray as the Lone Ranger. The TV movie served as the pilot for a possible new series. However, the movie was greeted unenthusiastically; the name of the secret identity of the Lone Ranger was changed from "John Reid" to "Luke Hartman", and while an empty grave was still alongside those of the five dead Rangers, its supposed occupant was unidentified, and the hero maintained his unmasked identity, as well, becoming a cowboy version of Zorro, as in the first film serial. Ultimately, the project was shelved, with the pilot aired in telefilm form during the summer season due to Murray's popularity with the target audience of the network.

Clayton Moore appeared in character in an episode of in 1958. John Hart appeared in an episode of . An episode of The Greatest American Hero, titled, "My Heroes Have Always Been Cowboys," had a special appearance by John Hart as The Lone Ranger. In the story, superhero Ralph Hinkley is despondent over his failures, and considers giving up, until he is encouraged by Hart's retelling of the Lone Ranger's exploits.[citation needed ]

After the end of the television series, Clayton Moore and Jay Silverheels starred in two feature films, The Lone Ranger in 1956 and The Lone Ranger and the Lost City of Gold in 1958.

The Lone Ranger and the Peace Patrol

In 1958 the Lone Ranger appeared in the eight-minute-long documentary, "The Lone Ranger and the Peace Patrol". Presented and narrated by Clayton Moore, it revolves around purchasing U.S. Savings Stamps, a child's version of Savings Bonds. The main focus is to get children to invest in the stamps. The narrated segment culminates with the inaugural ceremonies on the grounds of the Washington Memorial before a crowd of thousands of children and their parents.

The Legend of the Lone Ranger (1981)

At the time of the 1981 release of the film The Legend of the Lone Ranger, the company that owned the rights to the character, Wrather Corp., filed a lawsuit and obtained a court injunction to prevent Clayton Moore from appearing as the Lone Ranger, and then gave a cameo to his TV replacement, John Hart. The film itself was a critical and commercial failure. It starred Klinton Spilsbury in his only motion picture appearance. His lines were overdubbed by James Keach. The part of Tonto was played by Michael Horse.

Moore, who never appeared publicly without his mask, was enjoined in the lawsuit from wearing it and, in protest, he began wearing oversized sunglasses that were the approximate size and shape of the mask. In a sequence in the movie, John Reid, a newly graduated attorney, is travelling west in a stagecoach to meet his brother. Another passenger announces his intent to make his fortune from his invention of sunglasses. The stage is robbed and the inventor killed. As John Reid lays the dead man on the floor with the broken dark glasses, yet another passenger says, "So much for American opportunity."

In 2013, Walt Disney Pictures released The Lone Ranger, starring Armie Hammer as the Lone Ranger and Johnny Depp as Tonto. Directed by Gore Verbinski, the film is an origin story of the two characters and explores the duo's efforts to subdue the immoral actions of the corrupt, and to bring them to justice, in the American Old West. The film, produced with an estimated budget of $225 million, was received negatively by American critics and performed poorly at the box office.

The series also inspired numerous books, comic books, and records.

The first Lone Ranger novel appeared in 1936, and eventually 18 volumes were published, as listed below. The first book was written by Gaylord Du Bois, but the others were written by the character's primary developer, Fran Striker. Striker also re-edited and rewrote parts of later editions of the first novel. First published between 1936 and 1956 in hardback by Grosset and Dunlap, these stories were reprinted in 1978 by Pinnacle Books.

In 2012, Moonstone Books published the novel The Lone Ranger: Vendetta, written by Howard Hopkins.

1. The Lone Ranger (1936)

2. The Lone Ranger and the Mystery Ranch (1938)

3. The Lone Ranger and the Gold Robbery (1939)

4. The Lone Ranger and the Outlaw Stronghold (1939)

5. The Lone Ranger and Tonto (1940)

6. The Lone Ranger at the Haunted Gulch (1941)

7. The Lone Ranger Traps the Smugglers (1941)

8. The Lone Ranger Rides Again (1943)

9. The Lone Ranger Rides North (1943)

10. The Lone Ranger and the Silver Bullet (1948)

11. The Lone Ranger on Powderhorn Trail (1949)

12. The Lone Ranger in Wild Horse Canyon (1950)

13. The Lone Ranger West of Maverick Pass (1951)

14. The Lone Ranger on Gunsight Mesa (1952)

15. The Lone Ranger and the Bitter Spring Feud (1953)

16. The Lone Ranger and the Code of the West (1954)

17. The Lone Ranger and Trouble on the Santa Fe (1955)

18. The Lone Ranger on Red Butte Trail (1956)

Not considered part of the 18 series:

The Lone Ranger Rides (1941) (Fran Striker) First published in 1941 by Putnam Books

The Lone Ranger: Vendetta (2012) (Howard Hopkins), ISBN 978-1936814152

From 1935 to 1950, 13 Big Little Books were published.

The Lone Ranger and his Horse Silver (1935)

The Lone Ranger and the Vanishing Herd (1936)

The Lone Ranger and the Secret Killer (1937)

The Lone Ranger and the Menace of Murder Valley (1938)

The Lone Ranger and the Lost Valley (1938)

The Lone Ranger and Dead Men's Mine (1939)

The Lone Ranger and the Black Shirt Highwayman (1939)

The Lone Ranger and the Red Renegades (1939)

The Lone Ranger Follows Through (1941)

The Lone Ranger and the Secret Weapon (1943)

The Lone Ranger on the Barbary Coast (1944)

The Lone Ranger and the Silver Bullets (1946)

The Lone Ranger and the Secret of Somber Cavern (1950)

Three Little Golden Books were published.

The Lone Ranger (1956)

The Lone Ranger and Tonto (1957)

The Lone Ranger and the Talking Pony (1958)

In, 1993, Perennial published the anthology The Lone Ranger and Tonto Fistfight in Heaven, a collection of short stories by Sherman Alexie.

In 2012, Moonstone Books published the anthology The Lone Ranger Chronicles, edited by Matthew Baugh Starr with stories by Johnny. D Boggs, James Reasoner, Mel Odom, Bill Crider, Matthew Baugh, Tim Lasiuta, Joe Gentile, Paul Kupperberg, Dennis O'Neil, Kent Conwell, David McDonald, Thom Brannon, Troy D. Smith, Chuck Dixon, and Richard Dean Starr, stories incorporating famous characters of the western, such as Cisco Kid, Wyatt Earp and Doc Holliday.

The Lone Ranger and Tonto Fistfight in Heaven, 1993, Perennial, ISBN 978-0-06-097624-8

The Lone Ranger Chronicles, anthology edited by Matthew Baugh Starr, 2012, Moonstone Books, ISBN 978-1936814237

In 1938, King Features Syndicate debuted a comic strip about the Lone Ranger, initially written by Fran Striker, himself. When the time involved proved too much, Striker left the strip and it was turned over to Bob Green, later followed by Paul S. Newman and others. The strip began with art by Ed Kressy. In 1939, art chores were handed over to Charles Flanders, who remained with the strip until 1971, when the strip ended.

In 1981, the New York Times Syndicate launched a second Lone Ranger strip, written by Cary Bates with art by Russ Heath. It ran until 1984. In 1993 Pure Imagination Publishing collected two of the storylines and put them in a comic book.

Cover of The Lone Ranger#1 (Jan-Feb 1948), the first comic book version of the character published by Dell Comics. Art by Mo Gollub

Western Publishing, with its publishing partner Dell Comics, originally published some stand-alone "Lone Ranger" stories in 4 of Dell's "Large Feature Comics" (1939-1941) and in 7 issues of Dell's "Four Color Comics" series (1945-1947). ("Lone Ranger" stories also appeared in miscellaneous issues of Ace Comics, March of Comics, Future Comics, King Comics and Magic Comics, all anthology-type comic book titles.)

In 1948, Dell launched an actual "Lone Ranger" comic book title which began with #1 and lasted for 145 issues. This series originally consisted of reprints from the newspaper strips (as had all previous comic book appearances of the character in various titles from David McKay Publications and from Dell). However, new stories by writer Paul S. Newman and artist Tom Gill began with issue #38 (August 1951). Some original content was presented as early as #7 (January 1949), but these were non-Lone Ranger fillers. Newman and Gill produced the series until its final issue, #145 (July 1962).

Tonto got his own spin-off title in 1951, which lasted 31 issues. Such was the Ranger's popularity at the time that even his horse Silver had a comic book, The Lone Ranger's Famous Horse Hi-Yo Silver, starting in 1952 and running 34 issues; writer Gaylord DuBois wrote and developed Silver as a hero in his own right. In addition, Dell also published three big Lone Ranger annuals, as well as an adaptation of the 1956 theatrical film.

The Dell series came to an end in 1962. Later that same year, Western Publishing ended its publishing partnership with Dell Comics and started its own comic book imprint, Gold Key Comics. The new imprint launched its own Lone Ranger title in 1964. Initially reprinting material from the Dell run, original content did not begin until issue #22 in 1975, and the magazine itself folded with #28 in 1977. Additionally the same year, AB published a three-part Swedish Lone Ranger story in Hemmets Journal.[citation needed ]

In 1994, Topps Comics produced a four-issue miniseries, The Lone Ranger and Tonto, written by Joe R. Lansdale and drawn by Timothy Truman. One of the major changes in this series was the characterization of Tonto, who was now shown to be a very witty, outspoken, and sarcastic character, even willing to punch the Lone Ranger during a heated argument, and commenting on his past pop-culture depictions with the words, "Of course, quimo sabe. Maybe when we talk I should use that 'me Tonto' stuff, the way they write about me in the dime novels. You'd like that, wouldn't you?".

The first issue of a new Lone Ranger series from Dynamite Entertainment by Brett Matthews and Sergio Cariello shipped on September 6, 2006. It was started as a six-issue miniseries; but due to its success, it has become an ongoing series by the same team. On September 15, 2006, Dynamite Entertainment announced that The Lone Ranger #1 had sold out its first printing. A second printing of the first issue was announced; a first for the company. The series has received an Eisner Awards nomination for best new series in 2007. magazine awarded the publication the "Best Western Comic Book of the Year" in their 2009 Best of The West Source Book! And in 2010 Dynamite released "The Lone Ranger Avenges the Death of Zorro".

The second volume of the series by Dynamite was issued in January 2012. Written by Ande Parks and drawn by Esteve Polls, it ran for a total of 25 numbers, with the last issue being released in June 2014.

Apart from the ongoing series, Dynamite released several miniseries starring the Lone Ranger, such as The Lone Ranger and Tonto (4 issues, written by Brett Matthews; John Abrams with art by Mario Guevara) in 2008; Snake of Iron, a 5-part by Chuck Dixon and Steve Polls published in 2012, and Vindicated, 4 issues by Justin Gray and Rey Villegas in 2014.

In 2016, The Lone Ranger teamed-up with the Green Hornet in a 5-part miniseries written by Michael Uslan with art by Giovani Timpano.

A Dynamite "Lone Ranger" third volume, written by Mark Russell and drawn by Bob Q, was released in October 2018 and ran 5 issues.

All of them from Dynamite Entertainment, include:

The Lone Ranger Vol. 1 (160 pages, Collects The Lone Ranger #1-6)

The Lone Ranger Vol. 2 Lines Not Crossed (128 pages, Collects The Lone Ranger #7-11)

The Lone Ranger Vol. 3 Scorched Earth (144 pages, Collects The Lone Ranger #12-16)

The Lone Ranger Vol. 4 Resolve (Collects The Lone Ranger #17-25)

The Lone Ranger Vol. 5 Hard Country (Collects The Lone Ranger Volume 2 #1-6)

The Lone Ranger Vol. 6 Native Ground (Collects The Lone Ranger Volume 2 #7-12)

The Lone Ranger & Tonto (128 pages)

The Lone Ranger: Snake of Iron (92 pages)

The Lone Ranger Omnibus (632 pages)

The Lone Ranger: Vindicated (112 pages)

The Lone Ranger: Death of Zorro (128 pages)

In 1937, eight issues of The Lone Ranger Magazine (pulps) were published by Trojan Publishing, with stories written by Fran Striker. The series was recently reprinted as facsimiles by Adventure House Publishing.

In late 1930s Roy Meredith produced the first-known animated film based on Lone Ranger, in this silent film The Lone Ranger and Tonto capture a band of cattle rustlers and save the life of the rancher.

This cartoon was produced by Pathegrams on 16mm film and sold to the home market and libraries, which often showed cartoons as a prelude to the feature films they would play for children, much as they do videos now. It was a silent film, like most films produced for the home market in those days, and had dialog written on title cards, just as films of the silent era.

A video game version of The Lone Ranger was released by Konami for the Nintendo Entertainment System in North America in 1991. It is an action adventure game featuring three different perspectives: side-scrolling, overhead, and first-person exploration. The game loosely follows the plot of the 1981 film The Legend of the Lone Ranger, with the ultimate goal being the rescue of the President of the United States, whom the Lone Ranger's nemesis, "Butch" Cavendish, has kidnapped.

The Lone Ranger program offered many radio premiums, including the Lone Ranger Six-Shooter Ring and the Lone Ranger Deputy Badge. Some used a silver bullet motif. One ring had a miniature of one of his six-guns atop it, with a flint and striking wheel, as used in cigarette lighters, so that "fanning" the miniature pistol would produce a shower of sparks. During World War II, the premiums adapted to the times. In 1942, the program offered the Kix Blackout Kit.

Some premiums were rather anachronistic for a 19th-century hero. In 1947, the program offered the Kix Atomic Bomb Ring, also known to collectors as the Lone Ranger Atom Bomb Ring. This ring was a miniature spinthariscope that actually had a small amount of polonium-210 in it, which emitted alpha particles to produce scintillations on the zinc sulfide outer part of the ring. With its tailfin piece removed, though, the "bomb" body looked like a silver bullet.

The sponsor was General Mills, with its breakfast-cereal products: Cheerios, Wheaties, and Kix. In 1947, Cheerios produced a line of Frontier Town cereal boxes with the Lone Ranger likeness on the front of the box. Different versions of the boxes would have Frontier Town buildings on their backs to cut out. One could also send in ten cents and a box-top to get each of the four map sections of the town. These, as well as nine different boxes, were needed to complete the cardboard Frontier Town.

Besides the premiums offered in connection with the radio series, there have been many Lone Ranger commercial toys released over the years. One of the most successful was a line of 10-inch action figures and accessories released by Gabriel Toys in 1973. Board games were released by Parker Brothers: The Lone Ranger Game, in 1938, and The New Lone Ranger Game, in 1956.

In the 1939 Looney Tunes The Lone Stranger and Porky, supervised by Bob Clampett, the masked man comes to the rescue of stagecoach driver in distress, Porky Pig.

In 1940, Hugh Harman made a Lone Ranger parody for MGM Cartoons titled The Lonesome Stranger.

Jay Silverheels appeared as Tonto on The Tonight Show starring Johnny Carson in a comedy sketch in which Carson is interviewing Tonto for employment. The audio portion of this sketch was included in the LP Here's Johnny: Magic Moments from the Tonight Show, released by Casablanca Records in 1974.

Both Clayton Moore and Silverheels appeared as the Lone Ranger and Tonto in a commercial for Jeno's Pizza Rolls produced by ad man/satirist Stan Freberg. The commercial was a spoof of a then-current commercial for Lark cigarettes which also used the William Tell overture theme music.

A recorded routine by comic Lenny Bruce formed the basis for the 1971 animated cartoon, Thank You Mask Man, produced by John Magnuson Associates. This was an adult humor routine, comically implying a gay relationship between the Ranger and Tonto.

Parody versions of The Lone Ranger (called Lonely Rider) and Tonto appear as main characters in the 1971 Finnish western comedy The Unhanged ( Hirttämättömät). They were played by Vesa-Matti Loiri and Simo Salminen.

The Top Ranger is a parody produced by Disney starring Mickey Mouse (Top Ranger) and Goofy (Tonto-lone), with the story and illustrations by Marco Gervasio and published in an Italian comic book, #3005 (July 2, 2013).

"The Provolone Ranger", an episode of the Super Mario Bros. Super Show, featured Mario donning a mask to fight outlaws alongside of a speedy companion named Pronto. In a spoof of the Lone Ranger's habit of leaving before those whom he has helped can thank him, the episode ends with Mario returning to collect a reward of pasta.

In "Wild West Rangers", a two-part episode of Mighty Morphin Power Rangers, Pink Ranger Kimberly Hart ( Amy Jo Johnson) falls backwards through time to the Old West, where she meets look-alike ancestors of her fellow Power Rangers and other characters in the show. A hero called the White Stranger, a mask-less duplicate of Kimberly's boyfriend Tommy Oliver, the White Ranger (played by Jason David Frank) rides to the rescue on more than one occasion when danger threatens.

In "Who Was That Mashed Man", a 1987 episode from the fifth season of Night Court, an old actor who had played a Lone Ranger-esque character named the Red Ranger was being sued to prevent his appearing in public in costume by a movie company seeking to release a new movie based on the Red Ranger.

In The Land Before Time VI: The Secret of Saurus Rock (1998), the sixth film in The Land Before Time franchise, Littlefoot's grandfather tells the children, the legend about "The Lone Dinosaur", a legendary Longneck who protected the Great Valley from the most ferocious Sharptooth to ever live.

In VeggieTales, there is an episode that is a retelling of the story of Moses leading the Hebrews out of Egypt from the Book of Exodus, a sequel to "The Ballad of Little Joe" and a parody of the Lone Ranger called "Moe and the Big Exit" with Larry the Cucumber as the Lone Stranger, who is the parody of the Lone Ranger and is the episode's equivalent to the biblical Moses.

From its inception, George W. Trendle had legal ownership of the Lone Ranger and characters associated with the Lone Ranger through his company, The Lone Ranger, Inc. Trendle sold The Lone Ranger, Inc. to oil man and film producer Jack Wrather in 1954 for $3 million (equivalent to $27,011,000 in 2023). After Wrather died in 1984, his widow, Bonita Granville, sold the Wrather Productions properties to Southbrook International Television Co. in 1985 for $10 million (equivalent to $24,060,000 in 2023). Broadway Video acquired the rights in 1988. Classic Media acquired the rights in 2000. DreamWorks Animation acquired Classic Media in 2012 and renamed the division DreamWorks Classics. This was later acquired by NBCUniversal in 2016 for $3.8 billion (equivalent to $4,731,000,000 in 2023). Its Universal Pictures unit currently has the rights to the Lone Ranger.

The character was originally believed to be inspired by Texas Ranger Captain John R. Hughes, to whom the book The Lone Star Ranger by Zane Grey was dedicated in 1915. John R. Hughes was born on February 11, 1855, in Henry County, Illinois. At 14 years old, he made his way into Indian Territory and lived among the Choctaw, Osage, and Comanche. In 1886, at 31 years old, Hughes killed a number of men for stealing his and a neighbor's horses, and for a number of months, trailed the ones whom he did not kill. This would mark his first time actively participating in bounty hunter-like activities. Not long after that in 1887, Hughes assisted Texas Ranger Ira Aten in tracking and killing an escaped murderer. A month after, he was persuaded to join the ranks of the Rangers and served along the southwest borders of Texas, and at 38 years old, Hughes became the captain of Company D. Frontier Battalion. He went on to retire in 1915, after serving 28 years as a Ranger. He was dying and chose to end his own life at 92 years old on June 3, 1947, and was buried in Austin, Texas. Many could relate John Hughes to being the Lone Ranger due to his career as an actual Texas Ranger, and because he actually lived in Texas, unlike others who have been cited as possibilities. He learned the languages of the Native American tribes that he lived among for some time, which could make him a more competent ranger when traveling familiar territory to track down criminals and give him the ability to communicate with other native people. He went on to capture and kill many criminals without ever being injured in his 28 years as a Ranger.

In his 2006 Reeves biography Black Gun, Silver Star, historian Art T. Burton suggests one possible historical inspiration was Bass Reeves, the first Black deputy U.S. Marshal west of the Mississippi River. After escaping slavery during the Civil War, Bass Reeves spent the remainder of the war in Indian Territory, in what would become Oklahoma. After the Civil War, Reeves was appointed as a U.S. Marshal in Indian Territory, and then worked as a Marshal for 32 years. Burton suggests that Reeves's career as a lawman was widely known in his time and cites similarities with the Lone Ranger, including wearing disguises, having a Native American partner, riding a white or grey horse, giving out silver keepsakes, and possessing legendary marksmanship and horsemanship skills. Burton's theory is disputed for a number of reasons. Reeves was never a Ranger nor did he ever live in Texas, and it was a common practice of U.S. Marshals working in Indian territories to have Indian assistants and to use silver dollars as payments or tributes. Critics of the Bass theory also point out that it was common for pulp fiction writers to portray heroes as masked individuals. Ultimately, Burton notes that it is not possible "to prove conclusively that Reeves was the inspiration for the Lone Ranger", but he is "the closest real person to resemble [him]".

Other suggested inspirations were Zorro and Robin Hood.

Bisco, Jim, "Buffalo's Lone Ranger: The Prolific Fran Striker Wrote the Book on Early Radio", Western New York Heritage, Volume 7, Number 4, Winter 2005.

Grams, Martin, The Green Hornet: A History of Radio, Motion Pictures, Comics and Television, OTR Publishing, 2010.

Harmon, Jim, The Great Radio Heroes, Doubleday, 1967.

Holland, Dave (1988). From Out of the Past: A Pictorial History of the Lone Ranger. Holland House.

Jones, Reginald, The Mystery of the Masked Man's Music: A Search for the Music Used on the Lone Ranger Radio Program, 1933-1954, Scarecrow Press, 1987 (ISBN 0-8108-3974-1).

Osgood, Dick. Wyxie Wonderland: An Unauthorized 50-Year Diary of WXYZ Detroit. Ohio: Bowling Green University Press, 1981.

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The Lone Ranger is a fictional masked former Texas Ranger who fought outlaws in the American Old West with his Native American friend Tonto. The character has been called an enduring icon of American culture. He first appeared in 1933 in a radio show on WXYZ (Detroit), conceived either by station owner George W.

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RE: Anna Presutti

I don't think that Sarah actually has a choice, its up to her husband and I feel like her husband is ashamed of the mark on her face so he hides her from everyone until Ruben Vega found her and started to tell her that she had an opinion on being with who she wants and her husband didn't care until Ruben Vega brought her to the town and by the end Sarah didn't really want to be with her husband, I don't think he really cared for her until she showed up out of the blue.

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RE: Lizzy Schmidt

I believe Ruben Vega choose to stay with Sara even when everything told him not to ( his friends, Sara, and being held at gunpoint by Sara's husband's workers, etc.) because he really loved or had strong feelings for her. Even though Ruben could have many other women if he wanted to, proved by his dying confession, I believe Sara was something special to him. I think this because of all the different ways he showed her his affection, like this hint he made during the story:

"He moved around the table to take one of her hands in his, not caring what the husband thought.  He said, “You’ll do all right, whatever you decide.  Just keep in mind there’s no one else in the world like you.”(Pg.10)

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RE: TG @ JH

Good points and great question. I thought of Ruben's warning to Sarah that she would dry up and blow away if she remained where she was. I think this goes a bit deeper than simple dialogue. He's speaking of her spirit and the very real risk that she would be forgotten if she remained tucked away in the desert. I would argue that this description is even more effective considering she is, in a sense, becoming just like her surroundings. In other words, her home with the rusty pump is an extension of her.

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RE: Tyrone Lucious

"[Ruben]...went out with a good conscience to take some of her husband's cattle" was placed in the last sentence because earlier, during dinner, Ruben said, "Do you want me to tell you the truth, why I came here? To steal some of your husband's cattle."

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RE: Lizzy Schmidt

There is an extraordinary chance that Ruben Vega had a "more than friends" attraction to Sarah, as plainly shown in the film. Ruben appeared to attempt in saving Sarah and her husband's relationship, but I suspect otherwise.

I know these observations and assumptions are way outside of the box but you never know...

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RE: Alex Cvetanovic

I think he doesn't even want to look at her so that's why he doesn't keep her on his property. I think the husband is ashamed of Sarah so that could also be another reason that he doesn't want to look at her or keep her on his property. Another suggestion is that I think the husband still loves her so that's why he doesn't want anybody looking at her, and why he hides her.

"Sarah said, “John, can you look at me?”

He said, “Of course I can.”"

I inferred that he obviously wasn't looking at her when he was talking to her.

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On page five when Ruben Vega says, " You should brush your hair. Brush it everyday...."

" Why?" The women says

"To feel good" - Ruben responds.

What would you say or do if someone said that to you? Would you feel offended or would you be happy that someone is trying to help you? why?

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Re: Anna Presutti

I think that he is embarrassed to be around Sarah. He doesn't like the fact that her face is tattooed, and neither do other people, which could be a reason that she was banished to the desert. He could still take care of her by bringing her supplies, since she is still his wife, even if they don't still live together. Also, I think she married her husband before she was taken as a slave, so feels some obligation to protect her even if he doesn't live with her.

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Why does everyone treat her (Sarah) so unkindly? I mean yes she has the blue lines on her face on her chin but why doesn't anyone just ask what happened to you? Or, what happened? Couldn't Sarah just remove the tattoo off of her face or was the ink permanent?

“Yes, so when she died the spirits would know she was Mojave and not drag her soul down into a rathole,” Diego Luz said.

“Better to go to heaven with your face tattooed,” Ruben Vega said, “than not at all. Maybe so.” (Pg. 3).
From the story the two men talked it over for a small amount of time. I think the tattoo meant nothing bad at all. I agree with the two men about the tattoo because the tattoo isn't hurting anyone, it is actually helping her (Sarah) from what the two men has said.

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Re: AC-first question

The husband didn't treat her as a person at first. He thought of her as a burden he would have to deal with for the rest of his life. This is why he forced her into the desert-because he didn't love her enough to have her in his home. The husband even said, “But we are married. I have an obligation to you and I respect it."

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#4

I believe the theme of this section is that you should always respect another person's privacy because if you don't, they will be unhappy with you. I think this because, after Ruben Vega interrupted her, she said things like, “You’d better leave,” “You watched me,” and

“You’ve seen me and had your water,” the woman said, “now leave.”

What do you guys think the theme of this section is?

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Re: S.C.

I always thought Tonto was refering to Tonto from the Lone Ranger (not the Johnny Depp one mind you) but the actual Tonto from the old Lone Ranger shows. Tonto means dumb or fool in Spanish, which is definitely not the case with Sarah. But it's most likely referencing the Tonto River in Mexico, but again that also is kinda strange because the story said that after the Mojave killed her family, they took her north, and not south.

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@Salena Chang

The word Tonto means,"fictional character, the Native American companion of the Lone Ranger, a popular American Western character by George W. Trendle and Fran Striker." Her husband wouldn't be tontoman because he wasn't a man that was well known like Ruben Vega and a companion of the Native Americans. I think it probably it's because of the blue lines on her face and it tells a lot about her because this story/movie is based on what happened to Sarah and all the mysteries on what happened to her face.

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Re: Alex Cvetanovic

I think that Sarah's husband would decide to hide her in the desert because he didn't want to be anywhere near her. The markings on her face put her out of place, and many people would get mad at him if they found her on his property. It would have been better and easier for him to just banish her, then just provide for her, because even if people find her, then they can't put any charges against him for treating her unfairly since she was banished.

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Her husband? He banished her,” Diego Luz said, “like a leper. Unclean from living among the red niggers. No one speaks of her to him, it isn’t allowed.” from this part of the story i'm wondering if her "husband" was ashamed of her and wanted to hide her because he didnt want people to see what happened to his wife but im not sure, why else would someone just banish someone from everyone they know?

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RE: T.L.

In the movie, it shows him going straight to the church after the shootout. In the book it says that the ordeal with Sarah and her husband happened a few years ago. So he would have stolen cattle a few years ago.

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RE: Salena Cheng

Tonto means "silly" or "stupid" in Spanish. I believe they call her the tonto woman because she is out of the ordinary. She is out of the ordinary because of the lines on her face. Some people believe that people who are different are silly. Her husband would not be the tonto man because he is normal.

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RE: Chi Nu Vang

I strongly believe that Sarah was worth plenty more than "two mules and a bag of salt." It was a sad thing back then because women had very minimal rights for everything. Women had a low level of significance and were treated unfairly. To sum that all up, she did not deserve to be sold away like that, as well as anyone else.

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Re: JH

I think the author was showing that Sarah was put in an area where it wasn't nice to live in. I believe that she was put there so nobody would ever see her, and when it says, " ...a place to wither and die, “ shows she was put there until she would die.

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RE Chi Nu Vang: no person has a value on them. A person's life is priceless and shouldn't be traded or given away. A persons life is worth more than anything. So no it was not fair for her to be sold. Slavery is not right and is cruel and unjust.

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Bonnet said to him (Ruben Vega) finally, “You made a mistake.”

“I don’t know the rules,” Ruben Vega said.

“She (Sarah) told you to leave her be. That’s the only rule there is. But you bought yourself a dandy new hat and come back here.” (5)
If the Tonto woman warned him 3 or 4 times, and he asked Diego Luz about her why would he ignore everyone? There are other woman so why was this one so important to him that he had to ignore all of the comments saying NOT to?

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When they talk about her husband banishing here in the desert Diego goes “Look at her,” Diego Luz said.  “What choice does she have?”(pg.4)

I don't get why he says ““What choice does she have?”” Her choice is to live with her husband. Why did he marry her? If he is going to make her live out in the desert by her self when he gets to be in this nice expensive house. Wouldn't the husband want his wife to live with him?

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@Jackson Damkot

I believe Sara liked the way Ruben just came out and said 'Who did that you" when speaking about the tattoos on her chin. I think this because after Ruben asks Sara about the marks the author writes "She cocked her head in an easy manner, studying him as he studied her, and said, “Do you know, you’re the first person who’s come right out and asked.” (Pg. 3). I think she was happy that Ruben was direct while asking about the tattoos because if I were her I would get annoyed with strangers constantly staring at a mark on my face and then acting like it's not there, instead of having a chance to tell my side of the story.

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What does "Tonto" mean? Would her husband be the "Tonto" man? Or was she labeled that title because of her blue lines drawn on her face?

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RE: JD

If I were Sarah, I wouldn't be angry if someone blatantly asked me about my "markings" because I think she's tired of people beating around the bush and avoiding the elephant in the room. Earlier in the story, she was studying Ruben to see if he thought of her "Like there was nothing unusual about her countenance. Like it was common to see a woman with her face tattooed..." stating that she wants people to look at her like a normal person. Instead, I would probably feel content at the fact that someone was interested to see, not only, what the tattoo was about, but was also able to look past it.

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Re: JD

I wouldn't be angry at him, but i would be embarrassed. I would be surprised since he is the first one to ask.

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RE: Anna Presutti

i think that Ruben Vega wanted to help her honestly, he didn't want to leave and leave her on her own again, because towards the end her "husband" comes back but Ruben Vega has a conversation with her that involves thinking about what she wants, he wanted to take the risk because he wanted her to see that she has a say in what she wants and nobody has to choose it for her.

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Near the end of page four, Ruben visits Sarah again. The conversation goes as well as most would think

"She [Sarah] said, “You shouldn’t be here.”

Ruben Vega said, “Your husband doesn’t want nobody to look at you. Is that it?” He held the store box, waiting for her to answer. “He has a big house with trees and the San Pedro River in his yard. Why doesn’t he hide you there?”

She looked off again and said, “If they find you here, they’ll shoot you.”" [4]

Ruben Vega comes back and asks why are you hidden, is it because of your husband? She gives no answer and just says leave or they will shoot you. It strange to think she is warning him of Bonnet and his posse, (judging from the circumstances of their first meeting)

Now what I'm wondering is, why did she warn him at all? Is it just a morale code or is it because that she thinks hes different from the posse that just harasses her?

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Re: Jackson Damkot

I wouldn't be angry about it because from what Sarah said, he was the first one to ever come out and ask. That would show that he was a decent person, when everyone else had just decided to change the subject or ignore her. The fact that Ruben even talks to her is something that most other people don't do, like when they go out for dinner later in the story, and everyone gets up to leave.

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RE: Isabelle Stengel

I think they marked her because being a slave is already like going to the "rathole". It's like they wanted to use her and when they were done they marked her for the souls to know that she already did her time in hell, just on Earth. I don't really know if that is why they marked her but that's just my point of view.

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The blue lines on her face were like claw marks, though not as wide as fingers: indelible lines of dye etched into her flesh with a cactus needle, the color worn and faded but still vivid against her skin, the blue matching her eyes.

I really like the way the author used simile to describe the blue lines on her face. It adds to the great use of imagery in the story.

Ruben Vega said, “Your husband doesn’t want nobody to look at you. Is that it?” He held the store box, waiting for her to answer. “He has a big house with trees and the San Pedro River in his yard. Why doesn’t he hide you there?”

She looked off again and said, “If they find you here, they’ll shoot you.”

I wonder why the husband doesn't want to hide her on his property. He has enough space so that nobody will see her. Does anybody have any suggestions?

I also think Sara avoided answering Ruben Vega's question because she too has no idea why she is living where she is rather than her husband's property.

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Do you think the Tonto Woman (Sarah) was worth as much as "two mules and a bag of salt" (3)? Why or why not? Also, was it fair for her to be captured and sold away like that by the Mojave to the Tonto Apaches?

(A Mojave)

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I was slightly confused when the story stated "[Ruben] left her there in the dinning room...and went out with a good conscience to take some of her husband's cattle." That last sentence drew me back because of the fact that the story began without saying anything about cattle. That made me question if that was intentional by the author or just an error.

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Re: SE from yesterday- I think he had set himself apart from the others by treating her just as equally as himself as well as she said, "Do you know, you’re the first person who’s come right out and asked", when he asked, “Who did that to you?”. This showed what his true interests were.

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"They clubbed her parents and two small brothers to death and took the girl north with them."(4) I don't understand why the Yavapai went through all that trouble when in the first place they were only looking for food. Why couldn't they have just stole the food instead of "clubbing" her whole family to death and then selling her to the Mojave as a slave. Why do you think the Yavapai went through all that trouble?

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"The blue lines on her face were like claw marks, though not as wide as fingers: indelible lines of dye etched into her flesh with a cactus needle, the color worn and faded but still vivid against her skin, the blue matching her eyes." This sentence of the story helps to create the look of the Tonto Woman and how the marks on her skin compare to her eyes, as seen in the film.

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The metaphor,“ It was hot down in this scrub pasture, a place to wither and die, “ is addressing the desert. What do you think the author meant by this?

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"The Tonto woman, Diego Luz said".  Everyone called her that now.(4) Why did everyone call her "The Tonto Woman"?

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In the story when it says "Everyone called her that now" Everyone is calling her the " Tonto Woman" What exactly does that mean? Is it saying something mean about her? I think by calling her that, they mean something by it, but not a good thing.

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When Ruben asked about Sarah's blue marks on her face.. I thought it was fairly rude to ask what has happened or in another wording asking,

Ruben Vega, his mind empty of pleasantries, certain he would never see the woman again, said, “Who did that to you?” When he has asked her she felt a weird feeling as if she didn't want to answer his question. She also was not happy about him asking her.

It was in her eyes and in the tone of her voice, a glimpse of the rage she must have felt. No trace of fear in the memory, only cold anger.

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In the film Sarah's husband looked scared when Ruben Vega left. Was he scared or is that just the way he acts?

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RE: Anna Presutti

From the looks of the result of the story, Ruben had strong faith and hope with Sarah in which he would refuse to leave Sarah alone. Ruben would have rather been shot than to leave and allow Sarah to suffer.

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If you were Sarah would you have been angry at Ruben Vega for coming straight out and asking, "Who did that to you?" If you wouldn't be angry how would you react otherwise?

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RE: Anna Presutti

I think that he wanted to stay because he was so amused about her; her looks, her actions, her words, her thoughts. Ruben didn't listen to her because he couldn't. He was to intrigued by everything. " When he didn’t move, the woman came out of the doorway into light and he saw her face clearly for the first time" There was no going back now because he saw her clearly. He saw the marks and he was too curious to leave.

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“Oh, that’s a nice design you have there. Where did you have it done?” That would be one way – if you couldn’t say something interesting about the weather or about the price of cows in Benson." i want to know why he cares so much about the design on her chin if he already knows information about it, he already knows where it came from why does he question Sarah so much about it? maybe hes trying to start conversation but why does he have to bother her out of all people?

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@Anna Presutti

Well I think that he was just too curious about her and her tattoos to just leave and left to wonder what was her story. Imagine if that you met someone with a large, peculiar tattoo across their forehead, would you just want to be polite and not mention it, or would you want to question "why would you want to have some other persons art across your face?"

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I've always wondered why Sara's husband thought he had to banish her? His wife might have been kidnapped to be kept as a slave and has the marks across her face to prove it, but that doesn't mean her husband has to disrespect her as well. I thought of this question while reading this paragraph:

“Her husband?  He banished her,” Diego Luz said, “like a leper.

“He makes her live there alone?”

“She’s his wife, he provides for her.  But that’s all.  Once a month his Segundo named Bonnet rides out there with supplies and has someone shoe her horse and look at the animals.”

“But to live in the desert,” Ruben Vega said, still frowning, thoughtful, “with a rusty pump…”

“Look at her,” Diego Luz said.  “What choice does she have? "(Pg. 4).

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#5

The "window" for pages 3 and 4 is now open. Please continue to blend direct quotes INTO your questions, prompts and observations. Challenge yourself to spread out beyond the types of prompts that you've been posting up to this point. Try to focus on the specifics of style. Consider imagery (similes, metaphors, personification), setting, specific word choice, etc.

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I think Elmore Leonard was trying to state the anger that sarah was feeling that it caused her to react by saying, “I told them if you’re going to do it, do it all the way. Not like a blue dribble”

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When Sarah warns Ruben by saying, "You'd better leave", why do you think he refused to listen to her? Was he curious about her?

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What do you think Sarah meant when she stated “And look like they were eating berries” (3) when Ruben talked about the Mojaves tattooing "their chins only" (3)?

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Judging from the quote:

She [Sarah] said, “The others look. They come and watch.”

He wasn’t sure who she meant. Maybe anyone passing by. He said, “You see them watching?"" [2]

It seems that she deals with perverted strangers watching her while she bathes. The question I'm asking is:

What made Ruben Vega seem like someone different from the other men that watch her? That he talked to her? That he actually acknowledged her face other than her breasts?

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Ruben Vega really wants to know about her and the marking on her face by asking questions like, “Who did that to you?” and “How old were you?”. Why do you think Ruben Vega wants to know these things about her?

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"When he didn’t move, the woman came out of the doorway into light and he saw her face clearly for the first time. He felt a shock within him and tried to think of something to say, but could only stare at the blue lines tattooed on her face: three straight lines on each cheek that extended from her cheekbones to her jaw, markings that seemed familiar, though he could not in this moment identify them" (2).

If you were Ruben Vega at this moment what would you say to the women? Why would you say that?

McG - You need to put the quotation marks after "them". See if you can work the quote into the same sentence as your question.

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Why would Ruben decide to ask Sara who tattooed her face, ”Ruben Vega, his mind empty of pleasantries, certain he would never see the woman again, said, “Who did that to you?” ”(3)?

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Why was Ruben so certain that he would never see her again, there is always a chance he will. And why do you think it was okay to ask such a impolite question, "Ruben Vega, his mind empty of pleasantries, certain he would never see the woman again, said, “Who did that to you?”" (3)