Cheyenne is sent to investigate cattle rustling but upon arrival is told it has been solved. However, when he hears who was caught, he decides to investigate further while renewing a friendship with the lawman who trained him.
Cheyenne rides the stagecoach into town. He works for the cattleman's protective association and was sent from Denver to investigate a report of cattle rustling from the local rancher Harvey Sinclair. Upon arriving he finds Sheriff Stone who tells him they have solved the case. A man was caught with a running iron and a large amount of cash. However, when told the man caught was Wes Stocker, Cheyenne decides to further investigate the recent killing of the suspected cattle rustler who was a gambler and road agent but not a rustler. He meets an old friend Matt Ellis who taught him quite a bit about life and the law when he worked for him as a deputy at Tombstone. Matt has hung up his gun to be a stock broker, raise his son Buddy and hopes to marry Julie Montaine. Things don't make sense when the more he investigates the more he is convinced his old friend may be mixed up not only in the rustling but also in the murders that have been done to try to cover that up. Written by
In this installment, good guy for hire Cheyenne is a detective employed by a cattleman's association. His investigation into the death of a suspected cattle rustler sets off a series of violent events.
"The Law Man" had the ingredients for an above average episode, but suffers badly from the precocious, icky kid treatment. (Paul Engle is the offending little creep as "Buddy") In fact, the little s***, with the help of a sticky script, overacts badly, and it stinks up the entire story. With that said, there are solid performances from Andrea King as a sweet saloon girl and Grant Withers as sheriff turned crooked cattleman. The plot, while quite routine, allows for a good deal of shoot-em-up action.
Overall, Cheyenne, at this point in the second season, was becoming a bit more predictable. Still, the shows would open with an exciting prequel scene that would spark the action to follow. In later seasons, and with all other Warner TV escapades, the opening scene would simply be an exciting moment lifted from the body of the show. While this spoiler technique was intended to draw the audience in, it was a much lazier and formulaic production tactic than the original scene opener.
There was still a real emphasis on production quality and polish in the second season. The stylish opening and closing lithographs coupled to stirring theme music, became the memorable presentation template for Warner TV Westerns to follow.
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