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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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: 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: 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.

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.

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: 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: 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: 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.

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

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.

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: 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: 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.

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.

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.

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.

Revealing: When Nadia and Number 6 are embracing, many of the reverse-angle shots showing them from behind betray the use of a double for Nadia. Nearly every time the camera angle changes, she is noticeably several inches shorter.

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.

Continuity: When Number 6 and Nadia get into the shipping crate, they're both able to stretch out completely for the 12-hour trip. But when the crate is opened, it's suddenly several inches shorter, and 6 has to bend his neck at an uncomfortably sharp angle to fit into it.

Revealing: In the fight at the end of the B scenario, Number 6 has a small problem. His pants split open in the back. Fortunately, they somehow manage to mend themselves again.

Continuity: While Number 6 follows Number 14 around the Village, her briefcase keeps switching itself from her right hand to her left between shots, without her having moved it. Later, when she enters the hallway, the case disappears altogether.

Continuity: During the dance, the bottle of wine on Number 6's table is sitting on the left side. No one touches it, but when he and B come back to the table, the wine has moved itself to the center.

Continuity: Number 14 has to push a button to activate the first tape she puts into the player. She then puts on the 'A' tape and it starts playing by itself, with no button pushed. When she puts in 'B,' though, she has to push the button again.

Continuity: When Number 6 kicks out the grill, his socks are blue. In the next shot, though, the socks have turned brown.

Continuity: The length of A's cigarette varies considerably between takes. It's short in long shot, then gets suddenly longer in the following close-up.

Factual error: When he breaks into the secret lab, Number 6 finds the syringe and substitutes plain tap water for the drug to be used on him. But even a small injection of unpurified, non-saline water can cause severe pain and is potentially lethal: it can cause oxygen bubbles to form in the bloodstream, and if this air embolism reaches the heart, cardiac arrest can result. Certainly not a risk Number 6 would take. (See http://en.wikipedia.org/wiki/Air_embolism.)

Continuity: Number 6 substitutes clear water for the red-tinted drug in the syringe. But when Number 14 later injects him with the same syringe, the fluid in it has turned red again.

Continuity: Throughout the episode, Number 6's lapels switch from having solid to broken white piping and back again.

Continuity: Number 2 has a nice, bright red handkerchief peeking out of his pocket when he leaves the house. But between shots, it turns itself into a blue handkerchief.

Continuity: Number 2's long neck-scarf changes when he steps into Number 6's house. It gets longer on the right side after he comes in the door.

Audio problem: During the campaign, the marching band is striking up a lively tune, and the bass drummer is pounding away on his drum - but there's no drum beat in the sound mix.

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: While Number 6 and the maid are in the kitchen, the toast rack moves itself several feet in between takes. It's on Number 6's right, then suddenly appears on his left instead.

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: Number 6's bed tidies itself in the scene where the spying lamp is lowered from the ceiling. First the bedcovers are rumpled and disarrayed. Then in the next shot, all is straight with the blanket neatly folded at the foot.

Revealing: Stock footage puts Number 6 in two places at once when he grabs the bull-horn and starts shouting at the Villagers to go. There's an inserted shot of the plaza from "Arrival" that includes Number 6 walking through it on his first day in the Village.

Revealing: Though there aren't supposed to be any "normal" automobiles in the Village, there are several visible in this episode, parked in the background. Look closely behind the campaign placards as the golf cart/taxi moves, and behind Number 6 as he leaves the exchange. Several more can be seen behind 6 when the cameraman approaches him.

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: 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: Number 6's jacket disappears between shots as he's beaten and then dragged into Number 2's office.

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.

Revealing: Rover flies down from the Green Dome, and briefly reveals his true identity as a weather balloon. His air nipple and guide wires are both showing.

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: 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.

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.

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

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.

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.

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 end, the Professor and Number 12 fall dead on the ramp. Between shots, their positions change.

Continuity: Number 6 is stabbed in the hand during his struggle with the projectionist. After he's treated for the injury, not only is he placed in an unnecessary sling (his arm wasn't broken), he's also suddenly bleeding from the forearm, several inches above the area where he was stabbed.

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.

Continuity: Number 6 is quite a quick-change artist. In the projection room, after the countdown reaches 2 minutes, he manages to: strip the unconscious technician; take off his own black suit, tie, hat and glasses; get into the white lab outfit, and finally, don all the communications gear in time for the 1-minute countdown announcement.

Factual error: When Number 6 types "WHY?" on the typewriter, the sheet of paper comes out with the word centered on the page. But the typewriter's carriage was pushed all the way to one end, so the word couldn't possibly have wound up in the page center.

Continuity: At the end, using only one finger of one hand, Number 6 types 4 characters on the typewriter. He then expressly states that what he typed was, "W-h-y question mark." But you can't type the question mark with one finger: it requires holding down the shift key.

Other: They search for the location of the Village by using map co-ordinates, which are checked out using a military aircraft. The Village is eventually discovered and found to be on an island somewhere in the Mediterranean sea. Number 6 is ejected from the aircraft back to the Village. However, in the final episode, i.e. 'Fall Out,' the Village is found to be in somewhere in the UK. They escape in a truck and end up traveling to London.

Factual error: Number 6 wakes up to find the Village deserted, but the central plaza fountain is still running - until he looks at it from the bell tower, when it's suddenly off. The Village fountains never appeared to be on timers (they were always on, day and night), and no one is there to turn the water off, yet it's somehow still off when Number 6 returns at the end.

Continuity: While the gunrunner is untying the raft, he's holding a half-eaten green apple in one hand that wasn't there in the previous shot. It disappears again as the raft floats away. Then it comes back - but it has now become a red apple instead of a green one.

Continuity: When Number 6 jumps from the gunrunners' boat, he's on the starboard (right) side. In the next shot, though, the bad guy shoots at him from the boat's port (left) side.

Continuity: One of the bad guys prepares a tea tray in the boat's galley and carries it up to the bridge. Throughout his preparations and his trip up the stairs to the upper deck, the contents of the tray keeps changing. The items rearrange themselves, and the size and shape of the bread loaf alternates several times.

Continuity: The windows in Number 6's flat are curved on the inside (as is the wall). But on the outside, the windows are flush against a flat wall.

Continuity: Mrs. Butterworth has a sandwich plate in her left hand and her cigarette in her right - until the shot cuts, at which point the cigarette and the sandwiches have instantly changed to the opposite hands.

Continuity: At the end, the computer produces a print-out with two lines of type at the bottom, then pauses. In the next shot, when it starts printing again, the two lines have disappeared.

Continuity: Number 6 pushes the dead body out into the surf. In close-ups, the body is still very near the shore. But in long shots, it is much further out.

Continuity: When Number 6 falls on the beach, the sand under him is wet. In the next shot, it is obviously dry.

Continuity: On the beach, the Queen is sitting on a large rock and conversing with Number 6. Then she's seen standing down near the water. After an abrupt cut, she's back on the rock without enough time to have moved there.

Continuity: Number 39 is writing notes on the word association test in her notebook. When the shot cuts to a close-up, however, the notebook disappears from her hands. It's back a short time later.

Continuity: At the start of the chess match, a man holding a stick climbs the ladder behind the Queen and settles in to watch. As Number 6 and the Queen converse throughout the game, however, both the ladder and the man have vanished. They both reappear behind the Queen as the game is ending.

Audio problem: During a fight with Number 6, one of the Village keepers falls from the bell tower. His fall terminates in the sound effect of a loud splash - but the bell tower isn't anywhere near any water.

Continuity: Rover herds the boat back to the beach, and several people who were aboard minutes before (some of them unconscious) have somehow disappeared from its decks.

Continuity: In the opening shots, the Village center is shown without the giant chessboard set up. In the very next shot, it is suddenly fully laid out on the green.

Continuity: Number 6 is taking notes on the Village inhabitants, trying to determine which of them are prisoners and which are keepers. Next to the pond, he's observing Number 62. But on his notepad, he crosses out Number 8.

Continuity: At the end of the chess match, the player wearing blue comes down off his platform, descending the ladder and walking onto the field. In the very next shot, as his opponent approaches Number 6, the man in blue is in the background, once again coming down the same ladder. He didn't have time to climb it again.

Factual error: When the command "Knight to Queen's Bishop Three" is given, it's not a knight that moves, but a pawn. In the next long shot, though, Queen's Bishop Three isn't occupied by anyone, pawn or otherwise.

Factual error: Several of the chess moves called out over the loudspeaker are not possible with the players in their current positions. The Queen, for instance, is ordered to King three while in her starting position (can't be done). The "Knight to Knight's Bishop three" move is also impossible. When she is free to move to King three, though, the Queen goes there twice - without moving anywhere else in between.

Continuity: When Number 6 is setting up his antenna, there's a woman on the beach in the background in a blue bathing suit. Between takes, her beach umbrella disappears.

Continuity: The new supervisor holds a clipboard in both hands up near his chest. When the shot cuts, he's abruptly holding it in one hand down at his thigh.

Continuity: Number 6 points the mirror out to sea and tries to send a signal. But when we see him from the POV of the security camera, he's pointing the signal mirror toward the Village instead. When the shot cuts back to him on the beach, the buildings are again behind him and he's facing seaward again.

Continuity: When Number 2 is shouting at Number 14, calling him a traitor, Number 2's long strands of hair are flying all over his head. In the very next shot, though, his hair has nicely combed itself and he's well-groomed again.

Continuity: During their kosho match, Number 6 ends up dangling Number 14 over the water. In the first shot, he's holding the man with his left hand. In the next, he's using his right hand.

Continuity: When he's standing against the wall of the kosho chamber, Number 6 is holding onto the rail, but when the camera reverses angles, he isn't. This goes back and forth several times.

Continuity: Just before the fight begins on the roadway, Number 6, in full shot, steps off the grass and onto the road. But the next close-up of him shows him on the grass again.

Continuity: During Number 6's visit to the Village Shop, the blue and yellow signs in the window switch places between takes, then return to their original positions.

Continuity: Number 6 recites a classified ad in Spanish to the young woman at the newstand. His phrase contains eight words, but when she reads them back, there are nine.

Continuity: Between the time the coded note is tied to the pigeon and the time it is intercepted and handed to Number 2, the handwriting on it changes completely.

Continuity: Monique's position on the floor reverses while she's unconscious. When she first collapses, her feet point to the corner of the room. When she comes to, her head is toward the corner. When she gets up, her feet are oriented toward the corner once again.

Continuity: The towel in Number 6's locker changes colors. When we first see the locker opened, the towel is white. A few shots later, when it's opened again, the folded towel has turned blue.

Continuity: The cape Monique is wearing disappears when she's in the watch shop, then reappears a few shots later.

Continuity: A sleeping Number 6 is being observed by the Village girl. While she watches him, his bed clothes mysteriously rearrange themselves. First they're disarrayed, then they're neatly tucked over him and his robe has moved to a different place on the bed. A few shots later, when he wakes up, his pillow disappears.

Continuity: When Number 6 buys soap and candy from one of the Village vendors, he removes his payment card from his pocket three different times without ever having put it back.

Continuity: During the scene in the bell tower, watch the beach in the background. In one take, the tide is in. In the next, it is suddenly at low tide, with much more of the beach exposed.

Continuity: Watch the Butler standing in the background after the committee exits the meeting room. A very bad edit causes him to jump to a different position (a foot further away than he was before) between shots.

Revealing: Number 6 sets up exercise equipment in the woods and performs several athletic stunts on a bar. In close-up, he's bare handed. In long shots, however, the stunt double becomes apparent because he's wearing gloves.

Revealing: The ultra-secret location of The Village is accidentally revealed when Number 6 drinks his tea. While everything in The Village is supposed to bear only its penny farthing logo, the bottom of the tea cup is emblazoned "Portmeirion Pottery." "The Prisoner" was filmed in the Welsh resort village of Portmeirion.

Audio problem: When Number 6 tells the Kandersfeld waiter that he took some photographs, we hear his words, but his mouth doesn't move.

Continuity: When Seltzman is talking to Number 2, there's a chair beside the tea cart with a foot rest, visible in the shots from behind Number 2. But when the camera angle changes to Seltzman's POV, the same chair appears in the shot - without its foot rest.

Revealing: When No. 6 is putting the 4 slides together to get the location information for Seltzman, as the slides are dropped into the top of the projector, they drop down the screen. However, a projector inverts slides, so they should slide up from the bottom. Also, when the last slide is dropped in, the final letters fade into view and not slide down as would be expected.

Continuity: In Number 2's office, the Colonel stands at the bottom of the ramp. In the next shot, however, he's suddenly beside the tea cart instead.

Continuity: The configuration of the photos on display in the camera shop changes completely from one angle to the next, depending on whether the camera view is from the outside looking through the window, or from the inside looking out.

Continuity: When the Colonel enters Number 2's office/control room, the doors close as he comes down the ramp. In the next shot, however, the doors are still open.

Continuity: Number 6 pulls up to his London flat and there are six cars parked across the street. When he gets out just seconds later, there are only two cars parked across the street.

Continuity: Driving his Lotus through London, Number 6 passes a hearse. But when the shot cuts to a wider angle, the hearse disappears.

Continuity: Between shots, the bodies of both Kathy and the Kid change positions on the floor. Kathy's has moved away from the stairs, and the Kid's reverses directions.

Continuity: In full shots, the judge's cigar is in his mouth. Every time a close-up is intercut, the cigar is in his hand.

Continuity: Twice in this episode (once in the saloon and once in the sheriff's office), Number 6's coat is unbuttoned when he's inside, but has instantly buttoned itself up when he runs outside.

Continuity: The drink Kathy brings the Kid changes positions on the table between takes. She places it on top of the small book, but it moves itself to the larger book, then back to the small one again, and so on.

Revealing: When the red handkerchief is tied to Number 6's hand, Patrick McGoohan's wedding ring is visible in the close-up.

Continuity: While Number 6 is being dragged behind the horse, a red bandanna tied around his hand disappears and reappears several times between shots.

Continuity: While Number 6 is in the jail cell, he lights a cigar and starts blowing smoke. Just a few shots later, the smoke has vanished and he lights the cigar again.

Continuity: Number 6 is sitting in jail rolling a cigarette. In the long shot, you can see that he's just exhaled a cloud of cigarette smoke. But, in the next shot, he has just finished rolling the cigarette and has yet to light it.

Continuity: At the final shoot-out, the Kid's hat lands and settles right next to his head after he falls. When Number 6 walks past him a few moments later, however, the hat has somehow moved itself more than a foot away.

Continuity: The judge has two glasses in front of him on the bar. When the shot changes, there's just one glass.

Continuity: In the saloon, between close-ups and cutting back to the master shot, the glasses in front of the men at the bar change positions repeatedly.

Audio problem: For some reason, "Londonderry Air" was dubbed over the original song being performed by the actors/singers. Their lips aren't moving in sync with the words at all.

Continuity: When the bulldozer is on fire, the raging flames have died down completely in one shot, but are instantly burning brightly again in the next one.

Continuity: When Number 6 is trying to stop the rocket launch, the computer console in the center is emitting smoke in close-ups, but not in long shots.

Continuity: In the interior shot of Number 6 exiting the lighthouse, the red doors are open. When the shot cuts to an exterior view of him coming out, the doors are closed and he opens them again.

Deliberate "mistake": The credits list "Number 86" as played by John Maxim. But no such character appears in the episode. Apparently, 86 was left on the cutting room floor, but the titles weren't altered accordingly.

Continuity: When No.2 is writing on the blackboard, in Question A. The capital letter "F" changes several times between the long shots and close ups. Also in Question B. The position of the first "T" in the word together also shifts position during the same shots, showing that the scene was filmed twice.

Continuity: In the court room scene, Number 6 has wind-blown hair in the master shot, but is nicely combed up and neat in all the close-ups.

Continuity: When Number 6 is pushing him on the swing, the Butler's hands and arms change positions instantly between shots. One moment, he's holding the rope with his hands: in the next, he has his elbows crooked around the ropes instead.

Continuity: During the interview, the Butler puts a coffee pitcher down beside Number 6. In the next shot, it has disappeared.

Continuity: The sling that's been around the Butler's arm and shoulder vanishes after he fans Number 2 with a towel. It's back a few shots later.

Revealing: When they're "playing" on the swing, Number 6 has his hands on the Butler's shoulders, and the Butler is wearing gloves - yet there's a close-up of someone's bare hand holding the rope.

Continuity: While he's making his graduation speech and demanding to know why Number 6 resigned, Number 2 has a mortarboard tassel wardrobe malfunction: it keeps changing sides between shots.

Continuity: In the final scenes, as helicopters are taking off from the Village, the bell tower that's always been there is visible in some shots, but in others, it has disappeared.

Audio problem: Number 48 is still singing when he's carried out near the end - his lips are moving but we don't hear anything. A few shots later, we can hear him again, but his lips aren't moving in sync with the sound.

Visible crew/equipment: Number 6 enters the room with the huge globe, and we "follow" him around a map table. As the camera passes the table, it films its own shadow falling across the map.

Continuity: At the end, Number 6 and the Butler catch a bus near Westminster Bridge in London. The bus that drives up and stops for them has no back platform. But when they board, the style of bus suddenly changes to the more common type with an entrance in the back.

Visible crew/equipment: When Number 48 jumps from the council table, there's a clear shadow on the left of someone holding up a still camera.

Continuity: The council members' signs keep changing during the "Dem Bones" sequence. "Entertainment" becomes "Anarchists" and several others switch places between cuts.

Continuity: In the opening scenes, Number 6 steps onto the elevator with a beard, but arrives on the lower level clean-shaven.