Continuity: Vogler paints a target on Illya's shirt back and hunts him. The target remains constant through most of the chase, until a stunt double is brought in for a fight sequence. The double's target has a large "bite" taken out of the bull's eye. The bite goes away after the fight, and Illya's target is whole again.

Continuity: Solo sneaks down an empty corridor and knocks out the only man guarding the lab door. When the camera angle reverses, there's a second unconscious (or dead) man on the floor behind him. Where'd that guy come from? Solo didn't encounter anyone before the door guard, and there were no bodies already on the floor when he entered the hall.

Continuity: While he's running through the woods with his hands cuffed behind him, Illya's sleeves alternate, between shots, from pushed up above his elbows to pulled all the way down to his wrists.

Continuity: During the gun battle outside the lodge, the tray full of bread dropped on the lawn moves itself several feet to the right between takes.

Continuity: The glass in the windshield of Solo and Illya's car is there, then not there, then there again and so on, depending on whether the shot is actually outdoors or processed in studio.

Revealing: When his body is lying in the baggage car, the "dead" chauffeur's eyelids twitch.

Continuity: In all the interior shots, the overnight express train is fully booked and crowded with people. But in the exterior shots, we're shown a train with all the lights on inside - and not a single person aboard.

Continuity: Solo & Illya are locked in a cell in the windowless baggage car. But all of the exterior shots of the train show it hauling only window-lined passenger cars, and no baggage car at all.

Continuity: The bullet hole in the wall over Solo & Illya's heads disappears after Madame Nemirovitch opens the compartment door.

Continuity: When Victoria orders everyone to put up their hands, Illya's left coat sleeve is covering his watch in full shots, but is several inches lower, exposing the watch, in all the close-ups.

Continuity: During the fight in the secret vault, Illya's boots change color, from black to white (they're suddenly white in the close-up when the bad guy reaches out to trip him) and then back to black again.

Visible crew/equipment: When Solo and Illya move across the room to answer the door, the shadow of the boom can be seen moving in the mirror on the left.

Continuity: At the end, Illya leans in close to look at the voodoo doll Waverly holds. But when the shot cuts to a wider angle, Illya's suddenly standing up straight and leans in to look at the doll all over again.

Visible crew/equipment: Captain Ramirez's car has a flat on a dirt road in the middle of the jungle. But on his car door, there's a clear reflection of a big square studio reflector and four klieg lights.

Continuity: Pendleton swallows a suicide capsule and collapses at the interrogation table face down between two file folders. But when the shot cuts to a different angle, his head has instantly moved several inches to the right and is resting in the middle of one of the folders instead of in between them.

Continuity: Jojo shoots Illya, who falls into a pile of garbage cans, overturning a large cardboard box full of paper. When the camera angle changes, the box has not only moved a few feet to one side all by itself, it has also set itself upright again.

Visible crew/equipment: While Solo is reading Jojo's arrest record to her, the shadow of a film crew member's hand moves on the wall at the lower left of the screen.

Revealing: In the opening sequence, stock footage re-used from the first season has the peculiar result of turning a brief part of the otherwise all-color episode black-and-white.

Continuity: At the end, Solo and Illya are sitting at a small bistro table as the captured bad guys are marched past them. Solo wears a green fez, and between shots, Illya suddenly acquires a red one. It wasn't in his hands or on the table before that: it just seems to appear on his head out of nowhere.

Continuity: When Hubris and his henchmen confront Narouz, three of the men change positions instantly when the shot cuts to a closer angle. A few shots later, Malik instantly "jumps" from behind Hubris to a spot right beside him.