Matt Dillon is escorting his prisoner Charlie Noon back to Dodge City when he encounters a runaway Indian bride being pursued by the braves of her tribe. The Indians have mistaken Charlie ... See full summary »

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Airs Fri. Oct. 07, 3:00 PM on TVLAND

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Doc (credit only)
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Kitty (credit only)
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Festus (credit only)
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Newly (credit only)
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Charlie Noon
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The Woman
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Jamie Barker (as Ronny Howard)
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Lone Wolf
Kipp Whitman ...
Takawa
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Storyline

Matt Dillon is escorting his prisoner Charlie Noon back to Dodge City when he encounters a runaway Indian bride being pursued by the braves of her tribe. The Indians have mistaken Charlie Noon as the man who stole her and are seeking revenge. The suspense builds in this episode as all parties are seen to match wits and maneuver for strategic advantage rather than employ violence. "Charlie Noon" is thus noted more for intrigue than the activity one would expect of a typical western. Written by Steve Sassi

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Western

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3 November 1969 (USA)  »

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1.33 : 1
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This episode won an Emmy Award for Outstanding Achievement in Film Sound Editing. See more »

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User Reviews

GUNSMOKE at its most mature
10 September 2011 | by (The Mists of Time) – See all my reviews

This is likely my favorite installment of GUNSMOKE out of it 636 episodes and 20 seasons.

Filmed entirely in the Mojave Desert, the story focuses on an outlaw that Marshal Dillon is transferring, Charlie Noon (James Best), and the Indian woman (Miram Colon) and her caucasian stepson (cute-as-a-button Ronny Howard, fresh off of ANDY GRIFFITH) whom Dillon and Noon pick up and carry along with them after the boy and his mother's house is burned and the father killed by comanches. The foursome soon find themselves tracked by the braves who want the woman back and believe, erroneously, that Charlie Noon is the man who'd originally taken her from the tribe.

Directed by Vincent McEveety and written by Jim Byrnes (perhaps GUNSMOKE's best one-two punch) and scored hauntingly by John Parker (whose smouldering, native American-influenced work here far surpasses the irritating, jazzy junk he would churn out during the later seasons of DALLAS) the heat and tension of are palpable. The entry feels like a movie, not just another TV-episode, and epitomizes what GUNSMOKE could be at its most polished rawness, the tone gritty, steaming and desolate.

And the episode even won an Emmy award for sound editing!

It's just great --- it does everything right. 10/10.


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