Continuity: When Perlita opens her door to Manolito, there's a wooden bench just outside that wasn't there in the previous exterior shot of Mano approaching the door. When he leaves, it's gone again.

Continuity: When Father Sanchez contemplates tossing his burden over the cliff, the bundle he holds is neatly wrapped. When the shot cuts, however, the blanket wrapped around the statue is abruptly loose and disarrayed.

Continuity: Just before the bad guys open fire, Mano is riding a full length ahead of Buck. In the very next shot, they're side by side.

Continuity: Blue is struck by a rifle stock and has a bleeding wound on his left temple. A few shots later, though, the wound disappears completely. Several scenes later, it's back again.

Factual error: Graham repeatedly sings a song he says his grandmother taught him: "Rufus Rastus Johnson Brown, What You Gonna Do When the Rent Come Round?" This was a Vaudeville stage composition written by Andrew B. Sterling and Harry Von Tilzer - in 1905. High Chaparral is set in the 1870s.

Continuity: When he's escorting Victoria back to the ranch, Manolito's shirt collar is completely outside his jacket in all the full shots, but is tucked inside the jacket in close-ups.

Continuity: Inside the hotel, Manolito is wearing a white shirt. But when he walks outside, he has on his usual yellow-gold one. It turns white again a few shots later.

Continuity: When John speaks to Cochise, two Apache warriors standing behind him change both their poses and their distance from John every time the camera angle reverses.

Revealing: When the rurales chase Manolito, he's riding Macadoo, his sorrel horse with the blond mane and tail. But the use of a stunt horse becomes obvious when Mano hides by leaping off into an arroyo and urging his mount to lie down beside him. Suddenly "Macadoo's" coat is a much darker brown and his mane and tail have also turned brown. He becomes a blond sorrel again, though, in the next scene.

Continuity: At the end, Sarah leaps onto a horse, jumps the fence and rejoins the waiting Apaches. On the way, in between shots, her long green dress, which has been bunched up beneath her during the fence leap, neatly rearranges itself and drapes quite prettily over the horse on all sides, even though she hasn't had time to touch it.

Revealing: When Buck gallops away from Mano and the newly-rescued Sarah, two jet contrails are visible in the sky at the upper left of the screen.

Continuity: During Victoria's conversation with Vaquero in the tent, the red blanket wrapped around her changes positions (up near her ears, then falling off her shoulders, etc.) several times between takes.

Revealing: Apparently, Buck getting thrown off his horse, whose name was Rebel, wasn't in the script. When it happens, a startled Cameron Mitchell shouts at the horse using its real name, Prince. Despite the blooper, the shot wasn't cut. In fact, it happens at least two more times in other episodes of the series.

Deliberate "mistake": At the end, the U.S. Cavalry "brand" Blue finds on the mule isn't a brand at all: it's obviously been applied with white paint to make it more visible to the camera. It's also unlikely that it would be so large, or that it would be located on the animal's neck instead of on its rump.

Continuity: When Manolito wakes her up, Anita instantly changes positions on the bed between takes. She's lying on her side, but in the very next shot, she is suddenly on her back looking up at him.