While visiting friends in New Orleans, Bart becomes embroiled in a battle between local businessmen and the secret Mano Nera (Black Hand), a local Italian mob.



(teleplay), (story) | 1 more credit »

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Episode credited cast:
Carla Marchese
Giacomo Beretti
Lt. Joe Petrino
John Beradino ...
Giovanni Marchese
Chief Thomas Rawlins
Officer Noonan
Nesdon Booth ...
Hotel Detective
Arthur Marshall ...
Hotel Clerk
Edward Colmans ...
Anselmo Agostino
Jerome Loden ...
Rest of cast listed alphabetically:
Edwin Reimers ...
Announcer (voice)


While visiting friends in New Orleans, Bart becomes embroiled in a battle between local businessmen and the secret Mano Nera (Black Hand), a local Italian mob.

Plot Summary | Add Synopsis


Comedy | Western




Release Date:

23 October 1960 (USA)  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(RCA Sound Recording)

Aspect Ratio:

1.33 : 1
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Did You Know?


[last lines]
Chief Thomas Rawlins: Quite a man, that Maverick. Right, Sergeant?
Lt. Joe Petrino: He certainly is... Sergeant?
Chief Thomas Rawlins: I gave you an order to lock him up, didn't I?
Lt. Joe Petrino: Well, yes, sir. But I thought in view of what happened that maybe I...
Chief Thomas Rawlins: Never mind, what happened, that's not the point. It was a direct order. You disobeyed it.
Lt. Joe Petrino: Yes, but, I...
Chief Thomas Rawlins: I believe in iron discipline, Sergeant. I get rid of a crooked officer like Noonan. I demote a disobedient one, like you. That's all.
Lt. Joe Petrino: [mumbles on way out of the office] Sure, I'll make Captain...
Chief Thomas Rawlins:
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User Reviews

On the Downslide
4 November 2008 | by (Claremont,USA) – See all my reviews

With this episode, the series appears on the downslide-- slapdash sets, listless acting, pedestrian direction, and humorless screenplay-- all involving something about early organized crime in New Orleans The script is from that excellent actor, Leo Gordon. Too bad the bland result suggests he should stick to being Big Mike McComb and speak the lines rather than write them. And how many times could the series reuse another excellent actor, Gerald Mohr, this time as an Italian gangster, no less.

Much of this suggests the series was running out of ideas. After all, the producers were breaking the mould with a humorous format that challenged standard Western clichés. Coming up with witty, engaging scripts week after week without falling back on easy conventional plot-lines must have been difficult. This episode suggests that level of difficulty, coming as it does near the height of the series' success.

There was an impression that Jack Kelly got the lesser scripts, especially after Jim Garner clicked with audiences. But Garner had bucked his contract and left the show by this time. Too bad Kelly got stuck with this turkey. The only remaining question appears whether Roger Moore could give the series the boost it needed.

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