Maverick (1957–1962)
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One of Our Trains Is Missing 

In the series finale, Bart finds himself on Diamond Jim Brady's bullet train with Doc Holliday and Modesty Blaine. Bart is racing to the state line to avoid a thrashing. Diamond Jim is ... See full summary »



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Episode cast overview:
Amos Skinner
Diamond Jim Brady
Montague Sprague
Justin Radcliffe
Mickey Simpson ...
Leroy Hoad
Tim Hardesty
Glenn Stensel ...


In the series finale, Bart finds himself on Diamond Jim Brady's bullet train with Doc Holliday and Modesty Blaine. Bart is racing to the state line to avoid a thrashing. Diamond Jim is racing to obtain a lucrative railroad contract and win a bet against a competitor. But Doc, Modesty, and the competitor have their own agendas. And everybody's plans are thrown for a loop when the train is moved off the main track by a conceited robber. Written by graymatters

Plot Summary | Add Synopsis


Comedy | Western





Release Date:

22 April 1962 (USA)  »

Company Credits

Production Co:

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Technical Specs

Sound Mix:

(RCA Sound Recording)

Aspect Ratio:

1.33 : 1
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Did You Know?


The last show of the series. See more »


As everyone gets on the train, and the train leaves one can see the writing on the side of the train cars are reversed. Obviously that section is a mirror image. See more »


[first lines]
Bart Maverick: [narrating] Lots of people lose things like wallets or watches, maybe. I'd even lost a few poker games. But these two chaps have lost something a bit larger and they're pretty upset about it. The big fellow is Tim Hardesty. He's a Wells Fargo agent for Cut Bank, Kansas. The well-dressed gentleman is Amos Skinner. And if he looks like a railroad president, it's because he is one. Yeah, Skinner and Hardesty had lost something. They've lost a... train. Engine, tender, express car, ...
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User Reviews

It Was a Memorable Ride for the TV Western
27 December 2008 | by See all my reviews

Final entry in the ground-breaking Maverick series is a worthy one, involving usual series types like high-powered businessmen, low-down connivers, and a Maverick in the middle. Bart is in the middle of a railroad wager that he'd better win or it's jail time big time. Of no help are those usual scheming associates that pass for friends, this time Modesty Blaine and Doc Holliday. Between them, they keep the money in question revolving around faster than a hooker in a hot-tub, and Bart's chances are looking dimmer and dimmer. The final shot of the three tricksters side-by-side, ambling warily down the tracks makes for an appropriate final frame.

Final season scripts were generally pretty good, sticking with the series strength of rival con- artists in place of rival gunplay and casual wisecracks in place of tiresome bravado. As I see it, the problem lay with the less subtle forms of comedic effect the directors (producers?) were now encouraging . There was simply no replacement for Garner's easy charm and casual humor that had come to define the show, and while the modestly talented Kelly tried gamely, he was simply overused by default during this last period. An even bigger problem was the featured players. In ongoing roles, Peter Breck and Mike Road, for example, do a lot of mugging to show that they're doing comedy, but are much too obvious and a far-cry from earlier adepts like Efrem Zimbalist and Richard Long. In fact, the momentum that carried the series at its peak from humorous asides into clever satire begins to cross the line from satire into plain silliness in too many of the final episodes. Unfortunately, coarse mugging has come to replace the trademark sly effects, even with the drolly amusing Kathleen Crowley. Likely, the series had come to a good stopping point.

Nonetheless, Maverick remains a milestone in the evolution of American TV, showing that even that most somber of genres, the adult Western, could be played cleverly for laughs and that an audience would respond. Just as importantly, the series gave us characters who succeeded through daring enterprise and quick wits instead of being the toughest or fastest guy in town which most of us are not. In fact, it showed there was another side to a 1950's frontier even more familiar than the Old West, the frontier of the lively imagination.

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