Cattle Drive to Abilene | All Star Western Theatre (04-15-47)

Summary

Podcast Summary: Old Time Radio Westerns – Cattle Drive to Abilene | All Star Western Theatre (April 15, 1947)

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Overview

In this episode of the Old Time Radio Westerns podcast, host Andrew Rhynes presents a digitally restored classic from the golden age of radio: Cattle Drive to Abilene, originally aired in 1947 by the All Star Western Theatre. The episode weaves songs, cowboy camaraderie, and a dramatic tale about three cowboys encountering danger, deception, and unexpected twists on a cattle drive to Abilene, Kansas. Featuring Foy Willing and the Riders of the Purple Sage, the show combines Western music with storytelling that captures the romantic grit of the Old West.

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Key Discussion Points & Story Breakdown

1. Opening Music and Setting the Scene (02:00–05:00)

• The host introduces Foy Willing and the Riders of the Purple Sage, who open with "Yippee a Yippee O," immediately immersing listeners in the Western mood.
• The cowboys, Foy, Al, and Jimmy, are tasked with driving cattle from the Lazy Bar Jay Ranch to Abilene, Kansas, embracing both the hardship and the adventure of the times.

2. Cowboy Banter and Preparations for the Drive (05:01–10:50)

• The trio exchanges friendly jibes about a previous visit to Abilene, humorous memories of losing money to a dancehall girl, and the resolve to save money this time around.
• The segment highlights the everyday realities and aspirations of cattlemen seeking better fortunes, with plenty of lighthearted ribbing.

3. Songs Reflecting the Cowboy Spirit (07:30, 10:55)

• Al sings "When It's Twilight on the Trail," joined by the others, echoing the peaceful, self-reliant spirit of life on the frontier.
  • Notable quote: “Never ever have a nickel in my jeans, never ever have a debt to pay, till I understand what real contentment means.” (10:55)

4. Arriving in Abilene—Temptation and Trouble at Spaulding’s Emporium (12:00–18:49)

• Jimmy and Al head to satisfy their hunger, while Foy wanders, wary of his own gambling history but quickly drawn into a “tearjacking routine” by a new character, Marie.
• Marie claims dire circumstances—a sick mother, a desperate need to keep her job—and convinces Foy to gamble at the roulette table to “impress her boss.”
  • Memorable moment: Foy’s attempts to help Marie quickly turn sour, as he loses all his money despite initially winning. Humor and caution ensue:
    • Foy: “Lost all your money? Is she kidding? Well, I started out to help Marie…” (19:05)
    • Al: “You’re the one that warned us against all the fancy tricks the gals would use to get our money, huh?” (19:15)

5. The Classic Western Double-Cross and Redemption (20:48–24:51)

• The next day at camp, Marie appears, urgently warning the cowboys that Spaulding and his men plan to rustle their herd overnight.
  • Marie: "Tonight, they plan to rustle your herd." (21:24)
• The trio devises a clever defense, hiding the herd down a creek bed and preparing to ambush the outlaws at a strategic boulder.
  • Foy: "There's a huge boulder at the mouth of the creek... when Mr. Spalding's bandits ride through, we'll throw guns on them and their goose is cooked." (21:44)

6. A Twist Revealed: The Real Marie (Jane) Strikes (24:19–25:25)

• Just as the heroes prepare to spring their trap, Marie/Jane turns on them at gunpoint, revealing herself as the leader of the rustlers.
  • Marie: “Pop your guns to the ground, quick.” (24:28)
  • Foy: “Say, Marie, you can't get by with this.” (24:34)
  • Her men tie up the cowboys and make off with the herd—Marie’s deception is complete.
• Reveals of real identity and motivations:
  • “[...] The men with her last night called her Jane... the notorious female bandit Hijacking Jane!” (25:25)

7. Aftermath and Reflections—Lessons on Trust (25:26–30:35)

• The sheriff and Spaulding convene to debrief. A letter arrives from Marie, expressing a hint of remorse and playful irony.
  • Letter (read by Foy): “Dear Curly, please believe me I’m sorry. You were so sweet about everything. When I tell my poor invalid mother about you, I know she'll be proud of our friendship. Perhaps we'll meet again someday. My love to Al and Jimmy, always, Marie, alias Hijack Jane. P.S. And don’t ever let anyone tell you that you don’t know all there is to know about women.” (29:15)
  • Al: "If I was you, I'd go bury my head in the sand or something." (29:40)
  • Foy’s final lesson: “If I ever hear tell of a man that says he knows all there is to know about women, I’m gonna hit him over the head with a wet crowbar for being so doggone stupid.” (30:00)

8. Closing Performance & Farewells (30:36–31:43)

• The Riders of the Purple Sage sign off with an energetic rendition of "Ragtime Cowboy Joe," ending the episode with upbeat Western style and camaraderie.

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Notable Quotes & Timestamps

• Foy (on losing money at the roulette table, to Marie):
  “Look, Marie, I'm in over a hundred dollars. Besides, Al and Jimmy are going to be walking over this way most any minute.” (18:06)
• Al (on being fooled):
  “And you're the one that warned us against all the fancy tricks the gals would use to get our money, huh?” (19:15)
• Marie (warning about the rustlers' plan):
  "Tonight, they plan to rustle your herd." (21:24)
• Foy (on Marie’s warning):
  "There's a huge boulder at the mouth of the creek... when Mr. Spalding's bandits ride through, we'll throw guns on them and their goose is cooked." (21:44)
• Marie (revealing her true color):
  “Pop your gun to the ground, quick.” (24:28) “Especially the blonde, curly haired one. I'm very fond of him." (25:01)
• Sheriff (on Marie’s real identity):
  “It’s also the notorious female bandit Hijacking Jane.” (25:25)
• Marie’s letter:
  “Dear Curly, please believe me I’m sorry... Perhaps we’ll meet again someday. My love to Al and Jimmy, always, Marie, alias Hijack Jane.” (29:15)
• Foy (lesson learned):
  “If I ever hear tell of a man that says he knows all there is to know about women, I’m gonna hit him over the head with a wet crowbar for being so doggone stupid.” (30:00)

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Episode Highlights & Memorable Moments

• Marie’s manipulation (13:40–18:49): The dynamic between Marie and Foy, as she lures him into gambling, is both entertaining and packed with “Western noir” atmosphere.
• The triple-cross (24:19–25:25): The final reversal—Marie’s betrayal—delivers classic Western drama and a cautionary tale about trust.
• Musical interludes ("Yippee a Yippee O," "Twilight on the Trail," "Ragtime Cowboy Joe"): The harmonious songs offer breaks from the action and reinforce the Western mood.

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Structure by Timestamp

• [02:00] – Introduction, opening performance by the Riders of the Purple Sage
• [05:00–10:50] – Cowboy dialog, preparation for the cattle drive, banter about previous mishaps
• [10:55] – "Twilight on the Trail" performance
• [12:00–18:49] – Arrival in Abilene; Foy’s run-in with Marie and the roulette table con
• [19:46] – Exit from Spaulding’s Emporium, lessons on avoiding temptation
• [20:48–24:51] – Marie’s urgent warning about the cattle rustlers, planning the defense
• [24:19–25:25] – Betrayal by Marie/Jane, loss of the herd, and the capture of the cowboys
• [25:26–30:35] – Sheriff investigation, reveal of Marie as Hijack Jane, moral lessons and Marie's letter
• [30:36–31:43] – Ending music ("Ragtime Cowboy Joe"), farewells and closing credits

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Tone and Style

This episode mixes lighthearted cowboy banter, musical interludes, and a plot filled with misdirection, heartfelt moments, and a signature Western twist. The dialogue is playful and laden with period charm—what at first seems a lesson in vigilance turns into a lesson in humility and the unpredictability of others, especially when love and money are at stake.

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For listeners seeking a blend of classic Western storytelling and music, with wry lessons about trust and self-knowledge, this restored episode stands as a vibrant ride back into radio’s frontier days.

Transcript

[A]

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[B]

The Bakers of Weber's Bread present your All Star Western. The. Song under. From Hollywood comes your All Star Western Theater, starring America's great Western singers, Boy Willing and the Riders of the Purple Sage, with songs and a story of the West. My name is Cotton Seed Clark, and here are the writers of the Purple Sage. Yippee a Yippee O In the day home we go For a cowboy has to sing and a cowboy has to yell Party parts would break inside of him at the gate of the home corral. When each new day is born I go riding whippy while I roll Whippy O and the sun in the hills goes hiding that when I Get home. Yippee a yippee O In the day home we go For a cowboy has to sing and a cowboy has to yell or his heart would break inside of at the gate of the home corner. Sam. The writers of the Purple Sage turn now to a song they figured you'd be liking to hear. Along about this time of day. They blend their fine western voices to a simple rendition of a very popular western song of today. That's how much I love you. Now if I had a nickel I know just what I do. I spend it all for candy and I give it all to you. I spend it all for candy. I give it all to you. Cause that's how much I love you baby. That's how much I love you. Now if you were a picture I'd hang you on the wall. I'd sit where I could see you and I'd never move at all. I'd sit where I could see you and I'd move at all. Cuz that's how much I love you baby. That's how much I love you. Now if you were a kitten with pretty glossy fur. I'd pick you up and stroke you and I'd listen to your purr. I'd pick you up and stroke you and I'd listen to you purr. Cause that's how much I love you baby. That's how much I love you. Now if you were a horsefly and I an o grey mare I'd stand and let you bite me, I'd never move a hair. I'd stand and let you bite me and never move a hair. Cause that's how much I love you baby. That's how much I love you baby. All Star Western Theater story time. That means another adventure of the wide open spaces with our three singing stars, Boy Willing Al Slowey and Jimmy Dean, the riders of the Purple Sage. For today's story, let's go back to the Old west. Back when the lack of conveniences and accommodation forced the cowboy into trials and hardships that were someday destined to become extinct. When trucks, railroads and modern invention would replace such labors, our three riders of the Purple Sage Foy, Al and Jimmy have just left headquarters of the Lazy Bar Jay Ranch, where they've been working with a bit of news that could be weighed as either good or bad orders to start a cattle drive into Abilene, Kansas. If you ask me, it's going to be mighty hot driving that herd into Abilene this time of year. Oh, but think of all the fun we'll have when we get there. Well, beefing about it ain't going to help none. Well, we better check with that foreman and see if they've got the driving shape to pull out. About 4 o' clock in the morning. We better be ready to ride. The earlier the better. Come on, let's get going so we can hit the hay as soon as possible. I know, you overgrown pet on steak. That'll do it, boys. That'll do it. Now let's let him down for the night. Man, that coffee really hit the spot. Yeah, you can just pour me another cup for saying that. Pour it yourself. Right now I'd like to be in Spalding's Emporium in Abilene. Well, we got two days and nights of hard driving before you'll have that pleasure. And don't forget what happened to you when we was in Abilene two years ago. Yeah, and it happened in Spaulding's Emporium. Say, I wonder whatever become of her name was Mimi, wasn't it? You got a good memory. Anybody that let one of those dancehall girls talk him out of his money at a roulette table ought to be back in the third grade. I never went to the third grade. I can believe that too. Yeah. You know, if it hadn't been for. For and me, you'd still be there working yourself out of death. All right, let's forget the whole. That was two years ago anyway. Well, just be sure you don't let it happen again. Cause we gotta save what money we can make off of this trip if we ever expect to get to California. Now you're talking sense. You know, I'm for going on the money, saving free and beginning right now. That's the first sensible thing you said. Say right now, Sloy. How about singing us a little song with that guitar of yours? Well, just soon too. Eat a plate of fried chicken. Well it be oh just commenced to begin and if it's good, maybe Dean and me will join in with you. When it's twilight on the trail and I jog along the world is like a dream and the ripple of the stream is my song. When it's twilight on the cliff and I risk once more My feeling in the sky and the grass on which I lie is my soul. Never ever have a nickel in my jeep Never ever have a debt to.

[A]

Pay.

[B]

Till I understand what real content must mean Yes, I was born that way when it's twilight on the bridge and my voice is still Please plant this heart of mine Underneath the lonesome pine on the hill when it's twilight on the trail. To get a little sleep. Now, you said two sensible things. Well, then, let's hit the haze. Boy, if we keep this up, we'll be in Abilene long before dark. Yeah, we've made mighty good time the past couple of days. Yeah, you know, I just can't wait to get my hands on one of them big store cook, steak all Spalding Emporium for me. Food and fun. And don't forget to stay away from that roulette table. Don't worry. I've learned my lesson. And it's still a good place to have a good time. Yeah, not to mention the pretty gal. Boy, oh boy, I can't hardly wait. It's a balding, here we come. Whoa. Oh. Oh, I'm starving to death. Now, hold on a minute, you guys. Now listen, before we go in, just remember what I told you. Take it easy with your money. Those gals in there use some mighty clever tricks to get you in front of that roulette table. Yeah, Then it's too late. All right, all right. Come on, let's go, Ziggity. This is a life for me, boy. Hey, you know, I'm gonna find me a table and order a steak about the size of six. Well, I'll go with you on that steak business, Dean. How about you for it? You guys go ahead and eat. I'm gonna move around and see if I can run across anybody I know. And don't forget what I told you about gambling. Ah, quit harping on the subject. Come on, Dean, let's eat a whole cow. Yeah, you're talking. Mother. See that fellow roaming around over there like a lost cat?

[C]

You mean the blonde curly haired boy?

[B]

Yeah, that's who I am. Looks like he'd go for a tearjacking routine. Go to work on him.

[C]

I know my men. He's like putty in my hand. And I know my men. Oh. Oh, I'm sorry.

[B]

Well, excuse me, ma'. Am. I didn't see you.

[C]

It was my fault. I. Oh, I don't know what to do.

[B]

Look here, you're crying. What's wrong? You.

[C]

You wouldn't understand.

[B]

Now, just hold on. Maybe I would. There must be some reason for those tears.

[C]

It's just that I. That is. Oh, please, leave me alone.

[B]

Now look, Meg, you don't look like the kind of a girl that you'd be in a place like this. I'd like to help you.

[C]

I'm afraid it's too late to be of help. You see, I. I had to go to work and this is the only place where I could get a job.

[B]

I see. And you just can't take it.

[C]

I'm afraid it's much more than I bargained for.

[B]

Well, what are you supposed to do?

[C]

Mr. Spalding says I'm to try to get the men to play roulette. And I suppose I don't know how like the other girls. And I've got to keep my job. It means everything to me.

[B]

Well, I'm afraid you got me there. But I still think you're not the kind of a girl to be working here.

[C]

I can't be too particular. You see, my. My mother's an invalid and the doctor bills and, well, everything piling up, I. I just got to keep my job. Why, I haven't had a customer at the roulette table all evening.

[B]

Gosh, I wish I knew how I could help you. William. First, you better get your things together. You're not suited to handle this type of job.

[C]

But, Mr. Spalding, please, my mother.

[B]

All right, all right. But I'll give you just one more chance. Let me see you get busy. That guy ought to be herding sheep in Mexico.

[C]

But what can I do?

[B]

Look, honey, if it'll help any, I'll walk over to the table with you and play four or five dollars.

[C]

Oh, would you?

[B]

For you, I will. Now, as a rule, I don't go near one of those doggone things. But you're on the spot, and I'll do it for you and your mother.

[C]

Oh, you're so good. You don't know what this means to me.

[B]

Wait a minute. Just a minute.

[C]

Are you looking for someone?

[B]

Yeah, my two partners. Oh, I see them way over there on the other side.

[C]

Well, perhaps they would like to play.

[B]

Oh, no, no, no. And mind you, I'm just gonna play a few dollars just to impress your boss.

[C]

Oh, I'll never forget this big deal.

[B]

Well, come on, let's go over to the table.

[C]

You're a stranger here?

[B]

Yeah, we just drove a herd of cattle in the market. We made count just a couple of miles east of town. And the 22 on the Radisson winner. Barry. Better luck next time. Make room for the little lady and the gentleman right in here. Yeah, that's fine. Give me $5 worth of chips, please. Did I hear you say $5?

[C]

He just wants to play a few dollars there. He's a friend of mine.

[B]

All right. In that case, here. Your chip, friend. Thank you. Here's the five. Now, get your money down, folks. Around and round the little wheel goes. Where it stops, nobody knows.

[C]

Put a dollar on number 14.

[B]

All right, honey, here goes.

[C]

Oh, you don't know what this means to me.

[B]

Number 14 is the winner. Yeah, friend, you're a very lucky man. Now get your best down. Round and round she goes.

[C]

Try number 12 this time.

[B]

Maybe you're good luck to me.

[C]

Oh, I'd like to see you break the house. Then I'd be working for you.

[B]

That'd be kinda nice. All right, I'll play. $2. Number 12 on the red is the winner. Twice in a row for this cowpuncher. Get your money down, folks.

[C]

Try number 22 this time.

[B]

You're the boss. Here it goes, ladies and gentlemen. Get your bets down. Get your bets down. Honey, I think a good luck charm. The wheels in motion, friends. Watch the little ball make money for the winners. And she stops on number 22 in the red.

[C]

Isn't that wonderful, friend?

[B]

This is your lucky night. Marie, if I'm not mistaken, you're my good luck charm. I'm going to play $5 on the next. Sorry, friend, your last big bet missed the boat. But don't give up the ship. You can't get even that way, you know. Look, Marie, I'm in over a hundred dollars. Besides, Al and Jimmy are going to be walking over this way most any minute.

[C]

But if you quit now, I'd feel that it was all my fault. I'll never forgive myself.

[B]

Now, look, Marie, I know it isn't your fault.

[C]

I feel number 13 is your lucky number. Why don't you try it?

[B]

Well, I've played all the rest of them. Maybe you got something there.

[C]

Try to even up on this one, sleigh.

[B]

Well, I might as well be broke. I reckon if I don't get that hundred back, I'll never hear the last of it.

[C]

Give him $100 on number 13, Pharaoh.

[B]

Now, just a minute.

[C]

Oh, I just know it will win.

[B]

There it goes, folks. Bet your way to fame and fortune. Get the bets down. Here goes. And the wheel is coming to a stop on number number three. Experts, number 14. Number 14 is the winner. Well, that cleans me.

[C]

I'm so sorry.

[B]

Hey, what's going on here? Oh, hello, Slowy. Dean, this is. This is Marie. You heard the man. Ask the question. What's the answer? Now, look, guys, this is. Now, wait, I can explain everything.

[C]

I'm so sorry you lost all your money.

[B]

Lost all your money? Is she kidding? Well, I started out to help Marie. Oh, don't Say any more? I've heard enough. This don't beat all I ever heard. And you're the one that warned us against all the fancy tricks the gals would use to get our money, huh? But, Marie, isn't that kind of.

[C]

What's up, Mike?

[B]

Some cattlemen at the bar look like mighty good prospects. Go on, give him the word. Turn. The tears aren't good. Just a minute, Marie. What? This act you've been handing me. Whatever it is, you deserved it.

[C]

I'm sorry, but I.

[B]

When a gal gets has to make her money that hard, she's really hungry.

[C]

Look, you. You can believe me or not. No, but it's over with. I'm sorry.

[B]

Save your tears for those other cattlemen kids. Come on, boys, let's get out of here.

[C]

Oh, please believe me. I'm really sorry.

[B]

And give my regards to your poor invalid mother. A fine stunt you pulled. Invalid mother, my eye. Well, I'll bet her mother play shortstop for the Brooklyn Dodgers. Now, look, it's all over. Yeah. And there's just one thing I gotta say. Yeah? I know you'll never gamble again. You just ain't a kid and I ain't. And anybody else that thinks they can get the first base making money the easy way is just as big a fool as I am. That's pretty doggone big if you ask me. Hey, you. Come. Somebody riding into our camp? That looks like a girl. It is a girl, all right. It's that Marie from Spalding place. Yeah. I wonder what she's up to. If I was her, I'd keep my distance. Just watch how quick I get rid of her. Oh, now, don't forget her poor invalid mother. Well, Marine, what are you doing here?

[C]

Mr. Willing? I want to talk with you. All of you.

[B]

I don't think there's much talking for us to do. Well, how's your poor old crippled mama feeling today?

[C]

Please, you've got to listen to me.

[B]

It's gonna be just a shade hard to believe anything you say. Speak your mind, kid, and then keep riding. Well, you see, it's like. How's the roulette table?

[C]

Will you please listen to what I have to say?

[B]

All right, kid, start reciting.

[C]

I'm not going to tell you again how badly I feel about last night. But after you boys left, Spalding's two men followed you back to your camp.

[B]

What are you getting at? Is this another trick of yours?

[C]

No, no, it isn't a trick trick. But I do know that Mike's balding had you trailed and Tonight, they plan to rustle your herd.

[B]

Are you sure about this, Marie?

[C]

Why would I tell you such a thing if I weren't sure?

[B]

Well, I reckon she's right, sir. Then we've got to act fast. Look, boys, I've got. It would drive a herd down the creek bed toward the waterfall. Well, what's the idea? Well, by moving them in there, the only way to get them out will be the same way we drive them in.

[C]

In other words, you'll have the cattle protected by the falls at one end and the high creek bank on each side.

[B]

Exactly. There's a huge boulder at the mouth of the creek where the cattle enter. All we have to do is hide behind that Boulder and when Mr. Spaldin's bandits ride through, we'll throw guns on them and their goose is cooked.

[C]

Oh, that's a wonderful idea.

[B]

Boy, sometimes I think you return to normal good things. Marie, it's mighty nice of you to tip us off about it.

[C]

I wanted to do something to make amends for what I did last night.

[B]

Well, how did you know about Spalding's plan to steal our cattle?

[C]

Oh, how I know isn't important. My life wouldn't be worth a plug roulette chip if you found out I told you.

[B]

Oh, we wouldn't tell a soul, Marie. All we want to do is march that wrestling gang down to the sheriff's office.

[C]

Well, they be surprised when you ride out from behind that big rock and trap them with the rest of the cattle.

[B]

Well, Marie, I guess this just about evens up our score.

[C]

Oh, I hope so, Floyd. And please be careful tonight.

[B]

Don't worry about us, Marie.

[C]

I'd better rush back. If Mike knew about this, he'd kill me.

[B]

And again, thanks a lot.

[C]

Then I'm forgiven all the way.

[B]

I'll drop in to see you tomorrow.

[C]

I'll look forward to that. Goodbye, boys.

[B]

Goodbye, my Goodbye. You know, that was pretty decent of the kid. Yeah. To look at a sweet, pretty young thing like her. You'd never dream she'd pull that roulette routine she pulled on you. Well, it all goes to show you that I was right about her in the first place. When I first met her, I sized her up as somebody real. And I'm glad to know that she's proven that confidence. Yeah, she's done a mighty good turn, all right. All of which goes to show you that I know women who care. Right. Now let's get busy and move that herd back into the creek bed. Yeah. Tonight we'll be ready for any Number of cattle feeds they send our way. Boy, oh boy, this is going to be a thing. The minute they ride past this rock, they better start reaching for the moon. Yeah, and tonight the moon is shining mighty bright. Your guns ready, loaded for bear. You know, I can't understand why that gal did this for us. I know women. She was just trying to undo the wrong that she had done. Hey, look, coming over that rise there. That's them. Now remember, wait until they pass this rock. Then let's come right in behind them. Hey, they're riding mighty slow. Well, that's to keep from arousing suspicion. I don't get this. They know doggone well that they'd wake us up at camp when the cattle started moving. Well, that is odd. Their smart move would be to sneak into camp and get the drop on us and then take the herd. You know, that does seem kind of funny. They're getting closer. I'm beginning to smell them out. Yeah, and I'm for getting out of here and letting them take the herd. The boss has got them insured. We could get a fool self killed. Let's get going.

[C]

You are and you won't get hurt.

[B]

Say, what is this?

[C]

This isn't a cap pistol in my hand. I'll keep reaching.

[B]

Marie, what goes on?

[C]

You'll find out. Pop your gun to the ground, quick.

[B]

Hey, if this don't take the cake, I'll never eat another bite. Say, Marie, you can't get by with this.

[C]

If I do, just remember that you.

[B]

Helped me and you know all about women.

[C]

Got up all right, Hank, I got him covered. You and Carter move the herd out. Glenn, you and Dalton take these boys over to their camp.

[B]

All right. What are you going to do with it, huh?

[C]

Well, the boys will tie up the three of you and keep guard on you till we've had time enough to dispose of this herd at a profit.

[B]

All right, man, you heard me. Say, let's get going. There they called her Jane. Look, Marie, or Jane, whatever your name is, I'll get even with you for this.

[C]

Slim, be careful with these boys. Especially the blonde, curly haired one. I'm very fond of him.

[B]

And that's what happened, Sheriff. Yeah, they got away with every head. Amazing. Mark, I'm afraid you got a lot of explaining to do since the girl was working for you, you know. But I'm telling you, Sheriff, I don't go into stealing cattle. No, I'll trim the suckers at my roulette table. Sure. When it comes to rustling cattle, I don't Want any part of it? When did you see Marie last? She came in about 8 o' clock last night and packed her things. Said she had to go see her poor old invalid mother. Yeah, that mother routine's a hot one. The men with her last night called her Jane. Jane? Are you sure? That's what they call her all right. Just a minute, boys. I think I can throw some light on this thing. I had it right here on my desk. Now, where is it? What are you talking about, Sheriff? Here it is. And to think she's been working right here in Abilene, right under my nose. What are you talking about? You see this picture? Say, that's her. Yeah, that is. It's also the notorious female bandit Hijacking Jane? Are you kidding? Say, I've heard tell of her. What? She was famous. Well, what do you know about that? Sheriff? Yes? I've got a letter here addressing care of a Sheriff's office for Mr. William Mr. Williams. Well, that's me. Let me have him. Where'd you get this letter, son? Some woman that got in jail over at Crescent City asked me to deliver to this Mr. Willing. Seems they caught hell with a stolen herd. Well, I'll be doggone. Some of these days I'll meet up with her and it's going to be too bad. Well, what does the letter say? Ain't nobody's business. Sorry, Willie, but in the name of the law, I must see that letter. Now, looky here. Well. Oh, all right, I got it coming. Dear Curly, please believe me, I'm sorry. You were so sweet about everything. When I tell my poor invalid mother about you, I know she'll be proud of our friendship. Perhaps we'll meet again someday. My love to Al and Jimmy, always Marie, alias Hijack and Jane. P.S. and don't ever let anyone tell you that you don't know all there is to know about women. Now what's so funny? Oh, man, oh, man. If I was you, I'd go bury my head in the sand or something. All right, all right, I'm licked. But I'll tell you one thing. If I ever hear tell of a man that says he knows all there is to know about women, I'm gonna hit him over the head with a wet crowbar for being so doggone stupid. Heard with the riders of the purple Stage today were Ms. Helen Gerald as Marie, Joe Forte and Ira Grisel. The boys will be back with another song with the west in a few moments. Sam. Men of the west from out of the west with another of Your favorite songs of the West America's great western singing stars Foy willing and the writers of the Purple say with Ragtime Cowboy Joe Boy sing. Raggy music to the cattle as he swings back and forward in the saddle on a horse saddle center Patrick funny meter to the roll of his repeater how they run when they hear the fellow's gun because the western folks all know he's a highfalucen Root suit in Son of a gun from Arizona Ragtime cowboys do out in there going where the batsmen are Only thing to guide you is an evening star Rough it toughest man the forest Ragtime cowboy Joe got his name singing through the cows and sheep Every night you say it Sing the herds and beats in a bass so rich and deep Learning soft and low he always singing ragging music to the cattle as it swings back and forward in a saddle on a horse saddle synthesate again Such funny meter to the role of his repeater how they run when you hear the fellows come because the western folks all know he's a high pollution looting tootin Son of a gun from Arizona Ragtime Cowboy Jones Cowboy cowboy Ragtime Cowboy Jones. It's been another mighty pleasant half hour visit with all of you folks and believe me, we'll all look forward to next week's gathering. Until then, this is Floyd Willing speaking for Al Floy, Jimmy Dean and all of the writers of the Purple Stage. Staying so long and good luck to you all. From Hollywood. You'll find heard your allstar Western Theater a Beam Bear production, SC Americ Amelica's great Western singers Boy Willing and the Riders of the Purple Sage now appearing in Republic's All Color Western the Last Bunch. You're Uprising. My name is Clon C. Clark inviting you back next week for your allstar Western Theater.

[A]

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