Continuity: When Michael Douglas goes back to Sharon Stone's house, there's a table with a lamp on it next to a white chair. The table moves back about four inches throughout the scene and the pillow on the chair, the flower centerpiece, and the stuff on the table on the right also move as the scene progresses.

Continuity: At Sharon Stone's house, Michael Douglas sees her undressing through a large picture window. He has to turn to the left to see the window, but in the close-up of him watching he's not looking to the left but looking straight ahead.

Continuity: When Michael Douglas walks into Jeanne Tripplehorn's office there's a large plant more than one foot to the right of the lamp by her window. Later in the scene this plant is moved to the left where it's almost in front of the lamp in her close-ups.

Continuity: Michael Douglas and his partner go up to Sharon Stone's beach house to get her to come in for questioning and the large clasp on her gold necklace moves between shots without being touched.

Continuity: No one goes near it but during Sharon Stone's questioning at the police station the brown coffee cup in front of Wayne Knight rotates between shots.

Continuity: When Michael Douglas first sees her at the beach house he says, "Miss. Tramell?". If you closely at the shadow cast by the railing it's obvious that at least an hour has gone by between shots as he walks down to talk to her. The lounge chair has also moved between shots.

Continuity: In the scene where Rocky and Nick are talking in the bathroom you can see Nick's back in the mirror - he has two nasty looking scratched up areas of bare skin on his back - then when he turns and returns to the bedroom you can see that he now only has a couple of superficial marks.

Continuity: Sharon Stone leaves the top of Michael Douglas' back all bloodied with her sharp fingernails. After the lovemaking scene, Roxy talks to him in the bathroom and we see the reflection of his back in the mirror. The scratches on his back are now much lower and not anywhere near the right place.

Continuity: Michael Douglas sits and watches Sharon Stone's car in front of Hazel Dobkins' house. There's no indication that she ever left the house but the car is in a different position, in relation to the mailbox, then when he first saw it.

Continuity: In the first scene of the movie Sharon Stone ties Jonny Boz's right hand with her white silk scarf. When we first see his hand it's wide open than in the next shot it's closed only to open as she pulls the knot tightly.

Visible crew/equipment: At the beach house, Sharon Stone and Michael Douglas speak about Jonny Boz and as she says, "I wasn't dating him" the shadow of the cameraman can be seen moving on the railing behind her.

Visible crew/equipment: Michael Douglas spots Sharon Stone's car in front of Hazel Dobkins' house and if you look closely as he walks up to her car you can see the camera man's reflection on the front window as he is obviously filming inside of another vehicle.

Continuity: At the end of the movie when Michael Douglas and Sharon Stone relax in bed contemplating their future together and the black lamp on the left side of his bed changes the direction that it's pointing in throughout the scene without anyone going near it.

Continuity: As she walks into Michael Douglas' apartment, Sharon Stone drapes her jacket over the center of one of his kitchen chairs. Later in the scene she walks over and gets the jacket and it's draped over the left side of the chair.

Continuity: Michael Douglas waits in the dark in Jeanne Tripplehorn's apartment and says to her after she walks in, " Tell me about Catherine". At first we see a couch and chair on the right side of the room but two shots later as he walks towards her these two items have been removed from the room.

Continuity: As Jeanne Tripplehorn talks with Michael Douglas her hair is combed differently in the close ups. When we first see her it's combed totally to the left, then in the close-ups it's combed back and to the left.

Continuity: As Sharon Stone sits for questioning at the police station, the coffee pot on top of the coffee machine rotates throughout the scene without anyone leaving their seats.

Continuity: When Michael Douglas walks into Jeanne Tripplehorn's apartment we see a chair on the left of the screen. Later in the scene the chair is pushed right up against the table, which it wasn't in the previous shot.

Visible crew/equipment: After the scene in Jeanne Tripplehorn's apartment, Michael Douglas meets with the other investigators back at the police station and the reflection of the cameraman can be seen in the glass partition behind him as an investigators says, "I made a couple of calls to Berkeley".

Visible crew/equipment: Michael Douglas kisses Jeanne Tripplehorn in her apartment and the shadow of the camera can he seen on his shirt in the extreme close ups.