Continuity: The sequences of Number 6's campaign speech scene were apparently filmed several months apart from each other. The trees behind him change from Springtime bloom to Winter bare and back again continually.

Continuity: It's high tide when Number 6 escapes in the boat, but when he's brought back just a few minutes later, the tide is out.

Continuity: Number 6 grabs the boat hook and pulls the mechanic into the water. With a sudden shift in camera angles, the hook instantly vanishes from the falling man's hands.

Continuity: The number of toast slices in the rack on the breakfast cart changes between shots. Number 2 takes a piece, leaving three. No one's gone near the cart, but a moment later, the toast rack contains five pieces.

Visible crew/equipment: Watch the water at the lower left of the screen as Number 6 makes his speedboat escape attempt. You can see the wake created by the camera crew's boat.

Continuity: During the campaign, watch the bass drummer as he turns left. The same taxi with the same driver passes him twice in quick succession - going in the same direction.

Continuity: In the beginning, the cards and notebook on Number 6's kitchen counter change positions between shots. There's also a circle card on the counter that disappears when he draws the star card from the deck.

Continuity: When Alison and Number 6 are experimenting with the ESP cards, the number of cards in his hand and the designs on them changes between takes.

Continuity: When the lamp begins spying on him, Number 6's bed sheets and blanket rearrange themselves from messy to neatly tucked in between shots.

Factual error: Alison's Polaroid pictures develop themselves instantly. (In reality, you had to wait just over a minute before separating the developer sheet and finished photograph.) She also leaves the same flash bulb in when she takes a second picture - and it flashes again.

Continuity: Alison is thanking Number 6 for letting her practice on him. In close-ups, her hands are at her sides. But in longer shots, she has her hands folded under her chin.

Revealing: Watch Curtis' shadow when he and Number 6 have their pistol range competition. The split-screen process cuts his shadow in half.

Revealing: In the aerial shot from the helicopter as it overflies the Village, another "real world" car can be spotted parked next to the Green Dome.

Revealing: While they ride toward the helicopter, Number 6 and Number 2 have a conversation. Shots of Number 6 are obviously outdoors under windy conditions: his hair is blowing. But every shot of Number 2 has been taken in-studio with a rear-screen projection. His hair isn't moving at all.

Continuity: Watch the helicopter when it first lifts off. It has regular "sled-style" landing struts. But in the air, it suddenly has water pontoons. When it lands again, though, the regular struts return.

Continuity: When the Village doctors and technicians begin their procedure on the unconscious Number 6, one man folds the sheet and blanket back from his chest. A few shots later, the same man does this again.

Continuity: While the technicians are prepping the unconscious Number 6, there's no watch on the lamp table by the bed. One appears there, though, when the tech begins collecting the prisoner's personal items.

Continuity: Number 6 holds the Penny Farthing pass in both hands in close-ups, but in all the master shots, he has it in just one hand.

Continuity: At the Village cafe, the menu on the table turns itself 90 degrees between the master shot and the close-up. Number 6's hand position and one of the chairs also both change positions instantly.

Continuity: In the General's office, the professor pulls the sheet of paper he's been typing on out of the typewriter and inserts it head-first into the computer. When we cut to a close-up of the paper going in, however, it is now being inserted bottom-first.