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.

Continuity: When Number 6 climbs to the top of the bell tower and looks down at the Village, the beach below him changes remarkably between shots. The sequence was obviously shot at different times of day, as the tide is in during much of the scene, but in several intervening shots, the beach sand is completely exposed.

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.

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.

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.

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.

Continuity: When Number 6 observes the stone boat, the tide appears to change from high to low between shots.

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.

Visible crew/equipment: When Number 6 holds up the radio, the camera angle tilts just enough to show us a brief glimpse of the top edge of the studio set.

Continuity: Due to a very poor edit, an extra walking past Number 2 and Number 6 as they talk on the patio disappears in mid-shot.

Continuity: After Nadia and Number 6 are placed into the packing crate, there's a shipping label on the front. In the next shot, it's vanished. Later, it reappears, but is now on the crate's side.

Continuity: Number 6 chooses a rather thin tree to cut down and fashion into his canoe. Somehow, when he's finished hewing out the wood to form the boat, it's considerably wider than the tree he started with.

Continuity: In long shots of the truck transporting Number 6 and Nadia, the crate they're supposed to be hidden in disappears from the truck bed.

Revealing: The "metal" door frame in Number 2's office is bubbling and peeling away from the wall.

Factual error: The truck transporting Number 6 and Nadia drives on the left side of the road. Fine for England, where the scene was shot - but they're supposed to be in Poland, where everyone drives on the right.

Continuity: Nadia's number badge is upside down when she serves Number 6 breakfast. It's turned itself right-side up when she leaves, though.

Other: When No.8 has been caught by "Rover" in the sea, she is pulled back unconscious to land by one large Rover and 2 smaller Rovers (one on each arm). Her legs are seen to kick (swimming style) to help them move.

Continuity: Nadia and Number 6 go together to the Green Dome (Number 2's residence). While they stand at the entrance, the door knocker changes to one of a completely different design between one shot and the next.

Continuity: Number 2 sits down and places his umbrella beside him with the handle facing out. The camera angle changes, and although he hasn't touched it again, the umbrella handle is now facing inward.

Continuity: When he's playing chess with the General, Number 6's jacket changes between takes. At first it has solid piping on the lapels, then the piping has gaps, then it doesn't again.