The Prisoner (1967) - 161 mistakes in entire show

Continuity: During the opening sequence, a white car parked outside the prisoner's London flat disappears between shots as he drives up in the yellow Lotus and walks to the front door.

Continuity: While the prisoner is packing for his trip (in the opening title sequence), a beach photo placed in his travel bag rotates itself into a different position between shots.

Continuity: In both the opening and closing sequences, as well as in footage used throughout the series, "Rover" leaves the ocean floor as a transparent sphere, but arrives on the surface colored his usual opaque white.

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.

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.

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.

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.

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

Continuity: When Number 6 is looking for a map in the Village store, the shopkeeper wears a badge with 19 on it. A few shots later, his number has mysteriously changed itself to 56.

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

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: 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: 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: 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.

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.

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

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.

Visible crew/equipment: When Number 6 first walks into his Village bedroom, a film crew member can be spotted walking past the window.

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.

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.