The title is a reference to the song 'High Noon', the entire soundtrack to the Classic Western of the same name. It goes on to say "You made that promise when we wed, do not fosake me oh, my darling [a bit more which I can't remember]...shoot Frank Miller dead!" There's also a bit elsewhere which rhymes "prison" with "my life or his'n."

There, another essential[ly useless] fact.

This was the only Prisoner episode in which McGoohan (for reasons I can't remember offhand) did not appear. It reminds me of that epsiode of The Incredible Hulk in which Bill Bixby couldn't appear and they had to devise a Hulk story around him.

He did appear at the beginning and ending of the episode, but of course he was absent for most of the episode. And the reason was that he was away filming Ice Station Zebra.

Why didn't the Prisoner notice that his body looked different from usual until he caught sight of his reflection?
How come his handwriting is still the same when it's not the same hand holding the pen? And why isn't Seltzman aware that handwriting can easily be forged?
Some of the time when the Prisoner (in the Colonel's body) is driving around London he appears to have regained his original body.
Also, when he turns the corner into the underground car park, he passes a pedestrian identical to the one he passed when turning the same corner on the way to resigning. ;)
While the Prisoner and Potter are fighting in Seltzman's cellar, a second body swap appears to take place, putting the Prisoner into the body of a man wearing a very unconvincing wig.

We see the prisoner's-eye view as he goes about his London home, and he keeps reaching for things with his left hand. He's supposed to be right-handed, but I suppose his right hand is too busy holding the camera.

This was the first episode of "The Prisoner" I ever saw. I just caught it again last night due to the new Channel 13 schedule presumably exclusive to NY State. Refer to my sub-topic under the Kitchen Sink section for more information.

The music to this particular episode is quite noticeably different from the rest of the series. I liked it very much and I wonder where I can get my hands on any of the music. I figure the creators/writers were A) testing new music for the series or B) purposely using new music to reflect the body swap of Number Six. Just a thought.

Overall, not a badly done episode. I thought the Number Six fiancee acceptance bit was really rather rushed (heh, heh, talk about alliteration). And I've read theories on the Internet that Dr. Selzman's whereabouts and reversal procedure/research were the reason Number Six was brought to the Village. As to how any of this relates to his resigning, you got me.

However, there's alllegedly a different attitude in the episodes after this one on the parts of the Village and Number Six. A specific instance would be less of the "escape" or "interrogation" episode. I don't see it, namely because of later episodes like "Once Upon a Time" and "The Lady Who is Death," but it's still an interesting thought.

I have two tapes of music from "The Prisoner" that I bought at a sci-fi convention. I don't believe they have any of the music from this episode, except the music when "No. 6" is driving to the village where Seltzman is living. I agree the music in this episode is especially good, though.
Maybe Six of One (The Prisoner Fan Appreciation Society) could help you find the tapes. I think they participated in making the tapes.

There are 3 albums of music from The Prisoner, all available on CD. The only tracks from DNFMOMD are the music played at Janet's party and the two pieces played while Number 6 is driving through Europe.

The pre-title sequence reveals that photo 6 is the shot of Seltzman. To find the professor's location, the Prisoner superimposes photos 5, 20, 13 and 14, one of which is the same picture of Seltzman. Apparently it's not just our hero who objects to being Number Six.

Number 2 found out about Seltzman's mind transfer into the Colonel's body too late to keep him from leaving, but couldn't he make radio contact with the helicopter and tell the pilot to return?

When Number Six tells the waiter in Kandersfeld "I took some photographs," his mouth isn't moving.

How come Number Six's London colleagues in this episode are completely different from the ones in "Many Happy Returns" (and "The Chimes of Big Ben," for that matter)? And why didn't he contact Janet in "Many Happy Returns"?

I wonder if Number Six's memory of his first year in the Village ever returned. Did he have be refamiliarized with his imprisonment after the episode ended?