Continuity: When the principal walks into her office, where Monk and Natalie are waiting for her, she places an armful of folders on her desk and sorts through them. When the camera shifts to Monk's POV, the folders are back in her arms.

Continuity: During a 30-second timeout, the scoreboard in the background is counting down the time. As the scoreboard hits 12 seconds, the shot changes to Mr. Monk and the team huddle. The scoreboard appears again in the following shot, for the remainder of the timeout. When the scoreboard reappears, the clock has more than 12 seconds on it.

Visible crew/equipment: As Monk and Natalie leave the victim's brother's apartment, part of the camera rig can be seen moving across the bottom of the screen.

Continuity: Just after the touch football game with Kyle, Monk tells Natalie, "He missed that ball on purpose. He dropped his hands." But Kyle didn't drop them: he kept his hands up and deliberately missed the ball. Monk, who always notices every tiny detail, wouldn't make such a mistake.

Continuity: When the cleaning woman's body is found, she's lying on the floor face up. A short time later, despite repeated admonitions that nothing should be or has been touched, the corpse has somehow turned itself over and is now lying face down.

Continuity: When rock star and chief suspect Kris Keller is on stage, his 12-string guitar keeps changing positions between shots. In most of the long shots, he's holding and playing it. In most of the closer angles, it's hanging at his side and he's holding the microphone instead.

Continuity: Jack's big rig has a huge Christmas wreath on the front grill. When the truck loses its brakes, there's an overhead view of it careening down the road, and the wreath has disappeared. It's back in the next shot, though.

Plot hole: Monk's dad, Jack, drives an 18 wheeler. In the scene where Jack pulls over to the side of the mountain road so they can discuss specifics about the GPS, a brake line is shown breaking and spurting what I assume is meant to be brake fluid. The rig then rolls down the mountain. However, 18 wheelers don't have brake fluid since they don't have hydraulic brakes, they have air brakes. Even if the rig lost its brakes due to loss of air pressure, the brakes are spring loaded to lock up all the wheels in this case and prevent movement. That's how you set the parking brakes, by releasing the air pressure. In other words, if he has air, he can use his application brakes; if he's lost air, he has his parking brakes set. Rigs that lose their brakes going down steep grades do so due to extreme overheating, causing brake fade, an inability of the brake shoes to grab the brake drums. This wouldn't have happened while they were parked.

Continuity: When Julie talks to Monk on the phone, her hair is down over her right shoulder but swept back behind her left one. When she hangs up and hands the phone to her mom, the hair is suddenly covering her left shoulder instead, and now her right shoulder is bare.

Visible crew/equipment: Jack opens the diner door for Monk, and its glass window panes mirror the camera crew and a big rectangular studio reflector.

Revealing: When the balloon goes over the cliff, a very obvious dummy replaces Monk.

Revealing: When Monk is hanging from the cliff, in the shots looking down at Monk you can see the ocean through him.

Continuity: Monk uses paper towels to grab the phone, dragging a length of white paper across the kitchen counter and leaving it there. But when he turns around to talk to Natalie, the counter behind him is bare. The paper towel trail has vanished.

Revealing: Look at the stuntman who stands in for Tony Shalhoub when the balloon crashes and the basket scrapes and bumps along the ground. He is about fifty pounds lighter than Shalhoub, looks nothing at all like him and his hair looks like a Harpo Marx fright wig dyed black. He is one of the most obvious stand-ins I have ever seen.

Continuity: When the body falls out of the balloon gondola, the weights that were securely tied to it have disappeared. The corpse also changes positions on the ground between shots, even though no one has touched it.

Continuity: Randy is desperately trying to pry his teenage acne photo off the doctor's wall. He knocks the photo underneath it crooked, but it rights itself in the next shot. Then he pulls his picture free, making a large hole in the wall, but knocks all the surrounding photos off onto the floor. There's no time lapse, but when he turns around, the fallen photos have all put themselves neatly back up on the wall, and the hole is gone.

Continuity: In the final scene, the pillows on Natalie's couch keep shifting positions between shots, from straight to crooked and back again.

Continuity: While Dr. Polanski talks to Monk and Natalie in his waiting room, he's gesturing with both hands held out in front of him. When the shot changes angles, he's abruptly standing with his hands clasped behind his back. Next cut, he's gesturing again.

Continuity: When Natalie quizzes Monk on the finer points of ice hockey, a blue teapot sitting on the kitchen island beside her moves itself back and forth several inches between takes.

Continuity: When the murderer strangles his victim, her music box is dropped on the floor several feet away. Though no one has touched it, the music box is somehow lying only a few inches from her body when the police arrive to investigate.