New this month Other mistake: An Army friend of Ben's uses Ponderosa land to test his hot-air balloon. There are very few clouds in the sky. A balloon in flight is shown but it is obviously stock footage. The sky is filled with clouds and the film contains several black spots and scratches.
New this month Continuity mistake: At the Ponderosa, Jake Parson is telling Ben Cartwright of his suspicion that his daughter eloped with Little Joe. The grandfather clock shows the time as 8:53. Both men turn as they hear the door open. As Little Joe walks in, the time has suddenly jumped to 8:59.
Revealing mistake: Jack Albertson's character is taking pictures of The Cartwrights and ranch hands. The video camera moves across the front of the prop camera as Albertson pushes and holds the button to take a picture. The shutter on the camera never opens and isn't open until he releases the button. In those days the shutter had to stay open an elongated time to enable the light to infiltrate the negative. People had to stay still during this time.
New this month Factual error: "Bonanza" is set in the 1880s. In this episode, Little Joe and a friend discover a site where a man and his wife and daughters were attacked by Apaches. A Raggedy Ann doll is among the rubble. Johnny Gruelle did not create the Raggedy Ann character until 1915.
New this month Character mistake: "Bonanza" is set in the 1880s but this episode uses three phrases which, according to the Merriam-Webster Dictionary, did not enter our vocabulary until much later: "Trouble-shooter" dates from 1905, "mother hen" dates from 1934 and "sitting duck" dates from 1942.
Continuity mistake: Red Twilight, believing his brother's death was caused by Hoss Cartwright, gets revenge by shooting Hoss in the back. When he learns Hoss is still alive, he goes to the Ponderosa to finish the job. Red shoots and kills a ranch hand, then enters the home. Little Joe gets into a fight with Red and both men run out into the yard. The ranch hand's body has disappeared.
Visible crew/equipment: Two horses are tied to the hitching rail in front of the jail. In an interior shot, Lothario Larkin flings the jail door open and runs outside and to the right. The background is obviously a painted backdrop. It shows no horses, only the dusty street and a building on the opposite side. Larkin casts a shadow on the backdrop as he runs out.