While tracking down the three men that killed his father, a notorious bad-ass commits other misdeeds, seemingly based on his desire to wreck as many lives as possible. Doesn't really have anything to do with the historical figure known as Remington, though they used his name for the character here.
Pa is becoming increasingly crotchety, and has been crabby with Tom and with everyone else on the ranch. Then he gets a letter telling him that a young woman artist is coming to the ranch to sketch some of the scenery. The ranch hands are surprised and amused by the way that Pa's disposition improves as a result. But soon Pa and Tom are involved in a rivalry for the young woman's attention.
"Only a fool sticks his neck out for somebody else. Don't get in the habit of it." Outlaw gunslinger Sam Garrett offers that sage wisdom to fellow fugitive Tom Cameron, who's on the run from the "Bluebellies," Texas State Police officers who wield a brutal iron fist of enforcement in the early 1870s. But quick-draw, hard-bitten Garrett soon decides not to take his own advice after young Cameron heads home to surrender - and instead gets framed for a revenge murder by a jealous rival for the affections of his girl.
A hardened bounty hunter, a gang of outlaws in his trust and a preacher are forced to work together and battle their way across the old west of the 1870s when the zombie apocalypse begins.
The Sheriff of a small town, in his search of a robber bank, gets to another city, working undercover. There, he tooks the place of man recently killed, and falls in love with his widow.
Only the dead body remained. A one-armed woman who has a ghastly past. She dyes the wasteland in blood in order to achieve revenge on the one-eyed man.
Billy and his pals, on the run from the law again, travel to Sage Valley where Billy is made Sheriff. The local outlaw gang is run by Kansas Ed who closely resembles Billy. Ed captures Billy and changing clothes with him, now plans to run the town as Sheriff.
Three monks raise the boy Antonio, who was abandoned at the convent door. The monks are criticized for the way they have educated Antonio, who ends up being a joker.
To fully appreciate the western comedy The Marshal's Daughter, one must be aware that its star, a zaftig, wide-eyed lass named Laurie Anders, was in 1953 a popular TV personality. A regular on The Ken Murray Show, Anders had risen to fame with the Southern-fried catchphrase "Ah love the wi-i-i-ide open spaces!" Striking while the iron was hot, the entrepreneurial Murray produced this inexpensive oater, which cast Anders as Laurie Dawson, the singing daughter of a U.S. marshal (Hoot Gibson). Teaming with her dad to capture outlaw Trigger Gans (Bob Duncan), Laurie briefly disguises herself as a masked bandit. Amidst much stock footage from earlier westerns and a plethora of lame jokes and dreadful puns, The Marshal's Daughter is a treat for trivia buffs, featuring such virile actors as Preston S. Foster, Johnny Mack Brown, Jimmy Wakely and Buddy Baer as "themselves."