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The bizarrely existential ending of the series, which answered none of the questions posed by earlier episodes (but rather seemed to say, "The answer is there is no answer!") upset viewers so much that Patrick McGoohan says he was forced to go into hiding. His phone had been ringing constantly and people who'd found his address were banging on his door to complain. See more...

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The Prisoner (1967) - 25 mistakes in "Arrival"

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Season: Whole show  1  All

Arrival (season 1, episode 1)

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Continuity: The Villager Rover attacks changes outfits several times between shots. He's wearing a striped sweater that turns into a pink jacket that turns back into the sweater, etc.

Edit Submitted by Jean G
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Plot hole: Everyone in the Village is supposed to have a number instead of a name. Yet, Tom Cobb, the ex-agent Number 6 recognizes in the medical ward, is for some reason an exception. Number 2, the doctor, Number 4 and Number 6 himself all call the man Cobb.

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Revealing: Though the Village isn't supposed to have automobiles (only the little "golf cart" transports), there are several parked cars visible in the shot of Rover floating down to attack the fleeing Villager.

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Visible crew/equipment: In the foot-chase-on-the-beach scene, there are tracks in the sand from the camera crew's truck. They vanish and then reappear when the camera angle changes.

Edit Submitted by Jean G
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Revealing: At one point, Rover rolls past the Village retirement home, but the film in this sequence was for some reason shown in reverse. Smoke from the building's fireplace is flowing back into the chimney instead of coming out.

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Revealing: When Number 6 first enters the bedroom, the light that hangs from the ceiling is moving as though someone has brushed against it. But there's no one else in the room.

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Continuity: The maid comes back to Number 6's house for the feather duster she left behind. While they talk, the duster changes positions on the table all by itself.

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Continuity: Watch the stone boat in the background as Number 6 and Number 2 discuss the oldsters having "every comfort." Between shots, the senior citizens vanish from the boat.

Edit Submitted by Jean G
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Revealing: No automobiles are permitted in the Village - ever. Yet in aerial shots, a black car is sitting behind Number 2's residence.

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Continuity: The unfortunate Village resident suffocated by Rover is wearing sunglasses that disappear between shots.

Edit Submitted by Jean G
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Revealing: Number 6 is supposedly flying the helicopter, trying to escape from the Village. There are shadows from the rotor blades crossing his face as he pilots the aircraft. But look closely at the top of the transparent cockpit bubble over his head: you can see the real copter blades - completely stationary and not moving at all.

Edit Submitted by Jean G
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Continuity: Rover drags Number 5 back out of the water to the beach and drops him with his feet pointing toward the recovery vehicle. He starts to get up, but when the shot cuts, he's lying flat again and has changed orientation on the sand, his head now pointing toward the vehicle.

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Continuity: The dwarf Butler climbs in to pilot the helicopter - but when the aircraft actually takes off, it's obvious that the pilot is a full-sized person.

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Continuity: When Number 6 first wakes up in his new house in the Village, there's an ornately carved wood panel covering the window. When he stands, it has disappeared.

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Visible crew/equipment: As Number 6 storms out of Number 2's chamber, the camera dolly is briefly visible moving out of his way at the lower left of the screen.

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Visible crew/equipment: Watch the bottom left corner of the screen when Rover turns around and begins pushing Number 6 away from the helicopter. A film crewmember's head (probably that of the technician operating the weather balloon that played Rover) appears briefly in the shot.

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Continuity: During the scene with Number 6 and the young woman in the stone boat, Number 6's jacket changes from one shot to the next. The design of the white piping is distinctively different.

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Continuity: Number 6 is looking out his window as the maid runs down the stairs. As he watches her, two tables in his apartment change places with each other between takes. A large table with a statue/sculpture on it switches positions with a smaller table on which his lamp and telephone rest.

Edit Submitted by Jean G
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Continuity: The telephone kiosk Number 6 uses at the beginning changes both its shape and its location between takes. Sometimes it's under an archway: in other shots, it's next to the restaurant instead. And in some shots, the hood above the phone has square/straight edges, while in others, its edges are round.

Edit Submitted by Jean G
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Continuity: When he's trying to escape, Number 6 hides behind a bush with long narrow leaves. But when the camera angle changes to his point of view, the bush now has short broad leaves instead.

Edit Submitted by Jean G

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