THE UNMUTUAL - PRISONER BLOOPERS
worry. We all have to make mistakes. Sometimes we have to.."
Number 14, "A, B, and C".
This page of The Unmutual Website is dedicating to listing all the "bloopers" which feature in the series. The things that, when the series was made, the editor didn't think we'd spot but due to the wonders of Video and DVD are there for all to see.
Please note that this page does not include script aspects which do not make sense, any "alternative" or missing takes, scenes or episodes, or references to badly orchestrated back-projection, or studio mock ups (such as the appalling Portmeirion mock-up seen in "A Change of Mind"). Nor does it include location specifics (such as the fact that vehicles are seen driving in a certain direction or street and then a different one in the next shot).
It is merely a list of unintended continuity and shooting errors seen on screen during the episodes, which were not spotted at the time of editing. If you have spotted a "Prisoner Blooper" which is not included here, please contact us. After several requests from Unmutual subscribers to do so, newly-posted bloopers will be marked *NEW* until the next update.
When the typewriter types the letter "X" accross McGoohan's face, close inspection reveals that it cannot be the "X" key on the typewriter that is being pressed (it appears to be the letter "E").
In the opening titles, there is a white car next to the yellow skip as McGoohan pulls up at his house in his Lotus, but when he enters his house, the skip is still there but the car has disappeared.
Whilst packing, on top of this bag he places a picture of a beach. Then the frame cuts to the gas being sprayed. After this, the beach picture on the bag is shown again, but this time it has been rotated by 90 degrees clockwise.
Upon awakening, the panel/carving above the sofa (covering the ornate window) disappears during the time he gets up to the time he walks to the door.
As Number Six observes The Village in the Bell Tower, 2 different shots of the estuary are included, a second apart. In the first, the tide is in but in the second a bare beach is shown.
In the Bell Tower, the clock strikes eleven, but Number Two later invites Number Six to "breakfast".
As Number Six attempts to buy a map from the Village store, the Shopkeeper wears a Number 19 badge. However, when he says "Be Seeing You" as Number Six leaves, he is wearing a Number 56 badge!
As Number Six looks out of his window to see the maid running down the steps, the two tables switch places (the small table with the lamp and phone switches places with the large table with ornament between shots).
When Number Six visits the Green Dome for the first time, a lady tourist/resident can be seen on the Toll House balcony in the background.
At the start of the aerial tour, when the helicopter takes off, you can see that the real pilot is taller and has greyer hair than The Butler.
As Number Six is shown the Citizens’ Advice Bureau during the aerial tour, a large black car can be seen parked behind the Green Dome. In the same sequence, you will notice that Villa Winch cottage has no roof as, in 1966, the cottage was still being built.
Also in this sequence, the public phone box Number Six tried to use at the start of the Episode has moved from under the Arch, to next to the cafe (during his telephone conversation the location seems to change several times also). The awning of the box has also changed from square to rounded.
As Number Six comments on the old people on the stone boat, as Number Two says "of course they have every comfort" the citizens have disappeared from the boat - quite spritely old people to move that fast! The tide is also further in on the beach in this later shot.
As Rover floats down to smother the Villager during Number Six's Village tour, a pause of the DVD at 0:19:15 (Aussie Box Set Version) shows several parked cars (including what looks like a small-sized truck) behind the telephone kiosk.
When the Villager is smothered by Rover during Number Six's Village tour, his sunglasses disappear - the face seen struggling for breath inside Rover is actually McGoohan's (cut from the scene shown later in the episode).
When Rover first attacks the Villager, he switches from a striped jumper to a pink blazer and back again. The pink blazer shot was taken from an unused (but obviously shot) scene from "It's Your Funeral" where Mark Eden's Number 100 character (wearing a pink blazer) was attacked by Rover immediately after his fight with Number Six.
When Number Six walks up to his bedroom for the first time (after the partitian raises), a figure can be seen walking behind the window in his bedroom. Also, when the partition raises, the light fitting is bobbing around. Who moved it?
As Number Six holds the radio above his head, ready to destroy it in his cottage, pause at 23.55 (Aussie DVD) and look at the upper left of the screen and you can see out the top of the studio set!
When the maid returns for her feather duster, its position on the table changes during her and Number Six's conversation.
During the early part of his escape attempt, Number Six hides behind some vegetation, a very distinctive kind of plant/shrub. But there's trickery afoot as the camera switches view - the species of plant changes, it has totally different leaves (changing from narrow/rushlike to shorter wider leaves) when seen from his point of view (behind the plant) than when seen from the front.
During the beach chase, the tracks of the film crew's vehicle are briefly visible in the sand, and as Number Six is about to jump on board the vehicle in the long shot, the jeep is about to cross some tracks in the sand. Yet when the camera switches angle, these tracks have gone.
After he has been apprehended by Rover (as the second Moke pulls up), Number Six is visibly starting to get up from a position where he was at 90 degrees to "his" Moke. In the next shot, he is still lying face down with his head pointing away from the Moke.
When Number Six meets up with the Girl in the Stone Boat, on at least one occasion Number Six's blazer changes (the "join" in the lapels where the piping goes inwards - there are two fairly different designs).
As Number Six approaches the helicopter (walking past the swimming pool), Angelo Muscat (The Butler) appears to slightly miss his cue (he is seen rising up with his umbrella behind the bushes).
When he looks at the electropass whilst approaching the helicopter, at one point the hands don't rotate smoothly but jump.
During his escape in the helicopter, despite (very slow) rotor blade shadows crossing his face, the rotor assembly can clearly be seen above McGoohan’s head through the plexiglass cockpit - and the rotors are not moving! The helicopter is clearly grounded with its engine off, not flying. There are also 2 shots of McGoohan in this sequence grounded in the helicopter which are obviously not the "hotel lawn". These are taken from a deleted scene from "Many Happy Returns", where Number Six attempted to escape the deserted Village using the helicopter (another shot from this unused scene appears in "Fall Out" where a helicopter is seen taking off next to a parked Taxi).
As the helicopter lands, the black car behind the Dome can be seen (taken from the shot seen earlier in the episode).
As Rover passes Number Six at the helicoper, the patch covering its nozzle can be seen.
As Rover passes, smoke is seen *entering* the chimney of the Old People's Home (the original shot was obviously reversed).
When Rover reverses direction to start to herd Number Six away from the helicopter, slow motion reveals the top of the head of the propsman working the balloon (most likely Mickey O'Toole) in the bottom left-hand corner of the screen.
There are two Number 66’s in this episode - the chess-playing Admiral and the crying Maid.
CHIMES OF BIG BEN
The Episode features several "linking shots" with the female Village announcer (Fenella Fielding) introducing the day to the Village. In each of these shots, Number Six is seen on the Colonnade and Green Dome, yet the scenes which immediately follow show him not dressed in his cottage or half way accross the Baltic in a boat, and in one sequence a shot of Number Six on the Colonnade is followed by one of him exiting the Dome!
In this episode, and several others filmed shortly afterwards, the silver paper that makes the door-surround in Number Two’s room appear to be metal, is bubbling badly and peeling away from the wall. At first, it is held in place by a grid of steel strips, then later replaced by a dull grey-painted wood surround.
In the opening scene in the Green Dome, Number Two's assistant is played by Christopher Benjamin, yet the voice is that of a completely different actor.
During the chess match with the General, Number Six's blazer changes from one with continuous piping, to one with broken piping at the lapel.
When Number Two sits down his shooting stick/umbrella changes orientation - notice the silver circular part is facing himself when Number Two as he sits down, but when the camera angle changes it is facing away from him.
As Number Two observes Number Six walking past the Colonnade, the Queen from "Checkmate" can briefly be seen following Number Six (from a shot used in that Episode).
As the helicopter bringing Nadia to the Village lands on the lawn, a couple of the technical crew can be seen to the far right (in front of Anchor cottage).
When Nadia and Number Six arrive at the Green Dome, observe the 2 different camera angles as they chat by the door. The door knocker completely changes between shots!
When Number Two and Number Six are having their chat at the patio table at the beach while Nadia is plotting to swim away, an extra walks in front of them and disappears completely from the middle of the next shot.
When Number Two asks Number Six to "meet me at the hospital right away", the voice is that of Robert Rietty and not Leo McKern.
As Nadia is brought back to the beach by Rover, the beach changes from a shallow, smooth beach to a bank-like, rough beach. You can also see her hands moving under the smaller "Rovers", propelling the balloons back in the direction of the beach. A moment later, her hands are stiff, by her side as she appears to be unconscious.
As Nadia and Number Six enter his cottage for their nightcap, a face can be seen watching the pair throug h the columned window.
During the breakfast scene, Nadia's badge is upside down - yet when she leaves the cottage to be greeted by Number Two, it is the correct way up.
Number Six chops down a thin tree with which to build his boat, yet the dugout boat is wider than the tree he began with.
During "the language of love" scene where Nadia is holding Number Six as they conspire, Nadia is much taller than when seen from behind (appearing to lose about 12 inches in height and barely reaching Number Six's shoulder).
It is interesting that
during the cutaway in Number Two's office during this scene, Number Two and
his assistant are positioned in exactly the same way as during the breakfast
scene earlier in the day (obviously these scenes were filmed at the same time).
After the first rifle shot to Rover, there are two holes visible.
When they are closed into the packing crate, the shipping label disappears in the long shot to be replaced by binoculars and a rifle.
Later in the Episode, a truck is seen supposedly driving Number Six and Nadia (shut in their crate) accross country, yet it doesn't have a crate in it.
The truck is also seen driving on the left-hand side of the road, despite supposedly being in Poland (where they drive on the right).
Not only is there plenty of light in the crate, but the end of the crate seems to have fallen off. Number Six’s blanket clearly overhangs the “edge” of the wood, showing there is not even an “invisible fourth wall” as television normally assumes.
Note also the position of Number Six and Nadia when they are in the crate talking to each other, and compare them to where they are when they leave. The box must have been opened from the underside to let them out instead of the top.
When they arrive in London the shipping label has moved to the side of the crate.
A, B, & C
When Number Six is placed on the examination table, he does not have any electrodes attached to his head. We still hear the orderleys leaving during the close-up where the right temple one is suddenly attached. When Number Fourteen connects the electrodes to the cable, she presses the right temple electrode to Number Six's temple. It was already there in the previous close-up and hadn't been removed.
When Number Fourteen takes the lid off of the drug container to administer the first dose, she puts the lid to her left of the box. However, when the camera switches to long shot the lid cannot be seen. Also, the specimen tray is not visible in the close-up when No.14 takes the lid off the drug container.
When Number Fourteen puts the party tape on the machine she has to press a button beside it to activate it, when she puts on "A" she doesn't press the button. Later when "B" is put on she does press this button.
When we meet 'A' for the first time, his cigarette in the close-up as he sips champagne is double the length it was in the earlier longer-shot.
As Number Six and A get out of the back of the car (before the fight) they both manage to move the rear door window. It is opaque and, for some reason, has been replaced with a thin plastic, like polythene. NEW!!
Number Fourteen’s Tally Ho breakfast newspaper is the same one (dated Feb 10th) as seen in The Schizoid Man, supposedly an up-to-date issue. This contradicts "Many Happy Returns" where the paper is said to be published “daily at noon”.
When Number Six visits Number Two, the big red phone is facing a different direction after Number Six leaves than it did during their conversation.
As Number Six and B start to dance, the champage bottle stands on the left of the table. When they return, it has moved to the centre of the table.
During the fight scene at the end of the "B" segment, Patrick McGoohan's trousers split open at the back.
When following Number Fourteen to the laboratory, Number Six hides behind some bushes. The species of plant changes - it has totally different leaves (changing from narrow/rushlike to shorter wider leaves) when seen from his point of view (behind the plant) than when seen from the front.
When Number Six sets
out to follow Number Fourteen, she leaves her house with a black case in her
Right hand, it is in her Right hand when she goes up the
stone steps. However when she is walking through the foliage the case is now
in her Left hand. When she enters the lab it is back in her Right
hand. As Number Six hides at the back of the grill you see Number Fourteen
leaving the lab with the case in her Right hand, but when she walks
down the corridor past the grill there is no black case at all! It has disappeared.
After following Number Fourteen to the laboratory, Number Six pulls back his legs to kick out the grille in the wall. He is wearing blue socks. However, as he is shot from the corridor kicking out the grille he is wearing beige socks.
FREE FOR ALL
When Number Two visits Number Six at the start of the episode, his scarf changes lengths as he steps across the threshold. First it is quite even, and then the right hand side is longer.
After Number Two takes some toast, there are 3 slices remaining. After the radio announcement, there now appears to be 5 slices in the toast rack.
When they leave the cottage, we get another blazer lapel change. While they were inside the piping didn't join. When they leave the piping joins again, then a quick close up where it doesn't join and back to joined again. This happens again later in the episode, before and during the speedboat escape.
When Number Two and Number Six follow the bass drummer after leaving the cottage, slow-motion will show a Portmeirion resident sitting to the left of the screen on the lawn.
The handkerchief in Number Two's breast pocket has changed colour since leaving the cottage. It is now blue instead of red.
During the election speech. The crowd size changes and moves. Sometimes it is quite thinly spread out, with the band at the front and far away from the balcony and sometimes it is more crowded closer to the balcony and with no band visible.
Whilst Number Six is electioneering, trees are in full bloom one minute and bare the next (1966/67 filming).
When Number Six is interviewed in the Moke by the journalist, two day-visitors can be seen to the left of the screen as the Taxi starts to move, peering over the wall watching the filming.
During the press interview, a placard is carried beside the moving Taxi to hide parked cars, parts of which are still visible.
As Number Six reads the Tallo Ho headline, the wire working Rover (as well as Rover's nozzle) is briefly visible as it floats down from the Green Dome.
As Number Six leaves the labour exchange after his "truth test", if you pause a DVD almost immediately after he leaves the exchange, you can see the top of a silver saloon car behind the cheering crowds. A couple of seconds later as Number Six actually walks from the doorway a red mini can clearly be seen parked under the Triumphal Arch. A few milliseconds later, as Number Six is approached by the video-cameraman, a pause on your DVD will show a white saloon car, a very light blue saloon car, and above mentioned dark-silver saloon in the background.
In the kitchen with the maid, after Number Six's TV broadcast, the toast rack changes postion moving from his right to his left.
As Number Six jumps into the speedboat you can see the rope loosen from the bow, and looks like it is pulled away. Later, as the speedboat drives away, the rope is still there and dangling in the water.
The speedboat escape follows the same direction as the Mini Moke escape in "Arrival" - yet this time it is not “the Northern Perimeter” that Number Six approaches in “our vehicle”, it has now become the "Southern perimeter".
At the end of the punch-up in the speedboat, as the mechanic with the metal bar (boat hook?) clasps it in both hands, ready to strike Number Six who is in the water, Six manages to drag him into the sea - the metal bar instantly vanishes from his hands as he is pulled from the boat (the camera angle changes), yet neither the mechanic nor his weapon were off-screen at any point. He doesn't drop it, it's just gripped in his hands then suddenly gone!
When Number Six escapes by boat, it appears to be high tide, but is brought back by ambulance across the sands at low tide only a minute or two later.
During several shots during the speedboat escape, the waves created by the boat carrying the camera crew can be seen in the lower-left part of the screen.
As the lamp descends from the ceiling later in the episode, Number Six's bedclothes change. They start off untidy, and then the brown blanket is pulled down to the foot of the bed. This is the same bed scene as in "The Schizoid Man" (note the calendar on the bedside table).
When the two opposing candidates meet at the fountain, the bass drummer turns to the left and is passed by the Taxi. This happens twice.
After the band forms up behind the bass drummer, he is beating his drum yet no beating can be heard.
As Number Six declares over the tannoy that “you are free to go!”, stock footage results in him entering the piazza at the same time, clad in his "Arrival" suit.
At the end of the Episode, Number Six is shown wearing his blazer during the pummelling in the Rover cave, then the blazer has suddenly vanished as he's dragged back into Number Two's room.
At the start of the episode, the pile and nature of the cards (and the position of the notebook) on Number Six's counter changes between shots (for example, the first card (a circle) is nowhere to be seen on the counter when the second card (a star) is taken from the deck).
When Alison says "For letting me practice my mind reading act on you", her hands suddenly appear clasped under her chin in long-shot.
The cards he picks up are not the same that he has in his hands when the photograph is about be taken. He picks up: A square, a cross and one other card. He has: 3 wavy lines, a star and one other card. He also only picked up 3 cards but is photographed with 5 in his hand.
Alison takes two pictures with the Polaroid Land Camera, but never changes the flash bulb in the camera (you need one for each shot if the flash is used). Also, with that camera, it takes approximately 1.5 minutes to develop the picture (then you peel the finished picture apart from its backing). In the episode this happens almost instantly!
When Alison puts the cameras on the table it's orientation changes between shots.
As the lamp descends from the ceiling later in the episode, Number Six's bedclothes change. They start off untidy, and then the brown blanket is pulled down to the foot of the bed. The bedclothes are also rolled down from his chest twice by the lab technician. Also, during this sequence, Number Six's watch is not visible on the bedside table, yet suddenly appears in time to be removed by the technician.
When a moustached Number Six looks at the breakfast platters on the wheeled tray, the close up is wrong - he should be looking at the left hand sided platter not the right.
As Number Six and Curtis begin their pistol shooting, Curtis's shadow is cut in half (due to the split screen effect).
After Number Six's "nightmare" sequence, there is an establishing shot of the exterior of Number Six's house. However, Number Six is then seen awakening in Number Twelve's residence.
In the final conversation with Number Two in the Mini Moke on the way to the helicopter, Number Six is clearly on location with wind blowing in his hair, whereas Anton Rodgers’ Number Two is clearly in the studio with back-projection and no wind.
As Number Six boards the helicopter at the end of the Episode, before being asked to put on his blindfold, he clearly bangs his head on the cockpit.
When the helicopter takes off, it does not have floats. When it's about to land it has magically grown some, before they disappear again upon landing.
During the helicopter flight, an overhead shot of the Village is shown (taken from "Arrival"). A large black car can be seen parked behind the Dome.
During the opening Helicopter shot, a black saloon car can be seen parked behind The Green Dome, and Villa Winch cottage can be seen without its roof (shot taken from "Arrival").
First scene at the café. The menu in front of Number 6 changes position. It is in front of him in the close up shots. In the long distance shot, when the students are called to the lecture, it has changed position and has rotated 90 degrees. Still in the long shot, as the waiter starts to clear the next table, No 6's left hand is well behind his coffee cup. In the close up, a split second later, it is now on the menu which has moved back to the original position. A chair has also changed position between shots.
The programmed speed-learning and parrot-fashion regurgitation of rote-learned history doesn’t quite work - when Number Six asks the (male) telephone operator questions, his response isn’t quite word perfect and identical to Number Six or the other students.
15 seconds of speed learn was in real time 40 seconds.
When Number 6 meets the professor's wife for the first time the woman standing on her head moves from one side of the pillar to the other, to be closer to the woman sitting on the steps.
When Number Six is given, by Number Twelve, the penny farthing entry pass, he examines it in two hands in close-up but in long-shot it is only in one hand.
Whilst Number Six is waiting outside the security area, a new board member rushes up and is passed through, as he rushes away we are informed: "Board about to enter session in 87 seconds." Number Six is informed immediately after this "Session time in 8 minutes."
When they enter The General's office at the end, the professor is typing some input for the machine on a typewriter. He takes the paper out of the typewriter, and inserts it directly into the slot with the top of the page first. In the close up the page is now going in bottom first, see how the text is left adjusted. It is also exactly the same page as the second page entered by the doctor earlier on in the episode, after they took the professor away for some "rest and mild therapy".
The typewriter as Number Six types "WHY?" has its carriage so far over that there is no possibility that his question could be centre-aligned, as it appears to be as he enters the paper into the slot.
When No.6 types "WHY?" or "why?" he does it with just four keystrokes one-handed (other arm in sling). However, this is impossible. If he typed "why?" he would need to use the Shift key in conjunction with the "/?" key to produce a "?". From a brief glance of his page as it is fed into the machine it appears that he has in fact typed "WHY?" (i.e in upper case). But this too is impossible with four strokes one-handed. If the "Caps Lock" had been set, you could produce the "WHY", but the "/?" key still produces "/" with the Caps Lock on, and it is still necessary to hold down the Shift key in conjunction with that key to produce a "?" NEW!!
After Number 12 and the Professor fall dead, their prostrate positions on the ramp change after the "Why?" dialogue between Number Two and Number Six.
At the beginning of the episode, just before Rover's entrance, there is a brief shot of the centre of The Village, with no Chessboard. Seconds later, the Chessboard is fully laid out.
When Rover first appears, there is a brief shot of the Village Piazza, where Number Six, clad in his arrival suit, can clearly be seen (shot taken from "Arrival"). Number Six also has some blazer piping changes again in this seen, alternating between straight and broken piping at the lapels.
When Rover is moving down the street toward the camera a man in an orange hat moves his head right to look at Rover when he is supposed to be still. NEW!!
When we first see the Butler, the lady in pink with the bicycle hasn't moved very far despite having been moving since Rover departed.
The "Knight to Queen's Bishop Three" move seems to be performed by a pawn! There is no Pawn in the correct square.
Some of the chess moves called out are impossible, such as "Knight to Knight's Bishop Three", for example.
The Queen is moved to King Three twice, without being moved anywhere else. The second time she is still in her own starting square, despite having moved before, and it is now an impossible move for her to move to King Three.
the Man with Stick climbs the ladder to play chess he can be seen over the
left shoulder of the Queen. However during the entire match when we see the
Queen and Number Six talking the ladder and Man with Stick are completely
gone. When Number Six moves as a pawn the Ladder and Man with Stick return
back over the Queen's shoulder.
During the chess game the control room camera zooms in to investigate more closely No.6 and the Queen.
Number Six is turned to his left looking back at her, but in the earlier and later scenes when they are talking to each other she is actually behind him to his right. NEW!!
Man with Stick makes his way over to Number Six at the end of the game and
you can see his opponent in the blue jersey climb off his ladder, but when
the Man with Stick reaches Number Six and speaks to him you can see his opponent
climbing aff his ladder again. NEW!!
The Chess game in the newspaper upon which Number Six makes his notes, is pasted onto a regular newspaper - the articles mention Kidderminster, the police and driving offences!
Number Six is trying to figure out who are Guardians and Prisoners he stares
at Number 62 by the pond, but he crosses out Number 8 on his newspaper.
As Number Six and the Rook arrive to see the painter for the first time, a man (presumably a Portmeirion employee) can be heard shouting "you alright there, Fred?" in the background.
In the Word Association, Number Thirty-nine can be seen from the observation room notebook in her hand, which disappears in the next close-up. After the "Free For All" exchange she produces it to make notes in.
The woman in the blue bathing suit outside the Rook's beach tent loses her umbrella between Number Six entering with the aerial, and him leaving a few moments later.
is seen at the beach on a rock talking to Number Six about the locket. A short
while later she is
seen playing in the water by the Supervisor, and three seconds later she is back in the same place on the rock again. NEW!!
The "8" on The Queen's badge is crooked in above sequences. NEW!!
When Number Six punches a Village Operative out of the Bell Tower, a large splash is heard even though the Tower is nowhere near any water.
During the fight scene on MS Polotska, they fight slightly out of shot when on deck, and the interior of the MGM sound stage (complete with a large ladder) can briefly be seen. NB: You'll need DVD slowmo for this. On the Aussie DVD box-set version, pause at 45.59 and frame-by-frame advance. You'll see the fight move to the left of the screen and then the studio will briefly come into shot at 46.00.
After the fight scene, when Rover shepherds MS Polotska back to shore, the crew members (unconscious or otherwise) seem to have completely disappeared from the boat.
MANY HAPPY RETURNS
When Number Six leaves his cottage in his dressing gown, the fountain on the central piazza is on. But when he looks out of the bell tower, it is off. If the Village is deserted who turned it off? (It is still off when he returns at the end of the episode).
Despite supposedly being on a raft in the Mid-Atlantic Ocean, the water surrounding the raft during Number Six's close-ups only appears to be 2 feet deep.
The gunrunner who dumps Number Six overboard climbs aboard the boat to untie the raft, from nowhere he has a half-eaten green apple in his left hand. As he looks at the raft drifting away he has no apple. Then he has a new red apple in his hand as he carries the box into the wheel house.
When Number Six is on the gunrunners' boat, one of the gunrunners prepares a tray of bread, tea and Village food cans. Note the shots of him carrying the tray from the kitchen, up the stairs, and laying it on the console. In all 3 shots the tray arrangement is different. The cans seem to have moved, opened themselves wider, and the bread has changed shape and amount.
Number Six later jumps off the front starboard side of the gunrunner's boat but the gunrunner shoots at him off the port side of the boat.
The traffic pattern in the long shots before and after the close-up as Number Six awakens in Marble Arch have not changed enough for the bus to suddenly appear, drive behind him and then disappear. Especially since it is not visible at all in the longshots before and after the close-up.
When Number Six walks past his Buckingham Place home, then past the postbox on the corner of the road, the woman round the corner obviously misses here cue and shouts "Sorry" before she walks past Number Six. You can first see her through the railings standing next to the lamp post (awaiting her cue) as Number Six walks towards the corner.
Number Six’s living-room windows follow the tightly curved shape of the wall. Yet outside, they are completely flush and parallel in a straight wall.
After entering his house as "an exile" the hole in Six's trouser leg appears to have got smaller.
As Number Six sits down beside Mrs Butterworth, she is holding the plate of sandwiches in her left hand and a cigarette in her right. A split second later in the close up they have swopped places.
Before being ejected from the plane the estuaty has some water in it. When Number Six lands it is on dry sand.
During the procession at the end of the episode, the Gloriette is missing its usual red and white striped bands on its central pillars.
DANCE OF THE DEAD
In the title sequence, Mary Morris's Number Two says "information" twice, rather than the usual three times, leaving a long pause before the reply of "You won't get it" from Number Six.
The postman who delivers Number Six's invitation is wearing a British post office badge.
Awkward shadows give away the 2-dimensional “Battery Square” backdrop as Number Six first greets the cat outside his cottage.
During this scene, his blazer has uninterrupted piping. However, in the previous scene at the Town Hall the piping is broken at the lapels. The same happens in later scenes, such as Number Six returning to his cottage after the carnival proclamation, and changing from in the bedroom to as Number Six paces the room to when he lies down on the couch.
When Number Six runs towards the sea at dusk, the film is running at double speed.
Rover's nozzle can be seen as it leaves the scene when Number Six collapses on the beach.
As Number Six collapses, he is on wet sand. In the next shot, he is on dry sand.
The drowned man's photograph was taken at the main fountain in Portmeirion (with crew-members Roy Cannon and Jill Fennessey doubling), despite the characters supposedly not being Village residents.
The tide in the estuary doesn't match when Number Six is listening to the radio, to when he talks with Number Two and the observer.
The plastic bag Number Six places the drowned man's wallet into changes from a thicker gauge when it is on the ground, to a lighter gauge when he folds it over after picking it up.
At Number Six's close up, after he pushes the dead body out to sea, the body is further out to sea than it was in long-shot.
After Number Two closes the drawer with the body, her hand is flat against the drawer. In the next shot filmed from behind her she is holding the handle.
When the teleprinter in the final scene stops working, there are 2 lines of type visible at the bottom. When it restarts, there is a large area of white space at the bottom.
HAMMER INTO ANVIL
In the country lane fight scene, Number Six steps off the grass on to the edge of the road, but in the close-up before the fight starts he is on the grass again.
After Number Six throws the first attacker to one side, slow-motion shows the shadow of the camera on his right leg.
The Village Café has moved, changing both its building and its view.
When Number Six visits the shop, the yellow "music makes for a quiet mind" sign in the shop window changes places with the blue sign in the close-up - and then changes back as he enters the shop.
inside the shop,
he goes to grab the newspaper from the rack and misses it at first, and then
grabs at it quickly again at the second attempt.
When the lab technician visits Number Two for a second time, the doors take a very long time to close completely (and a faint squeak can be heard).
The news-stand girl inserts an advert for Number Six in the Tally Ho - ‘“Y mas mal in Aldea que se suena” - says Number Six, which is an eight-word phrase. However, the girl clearly counts nine words - as the script states "Y mas mal in el Aldea que se suena”.
After Number Two asks the Psychiatrist if he would like to sit in his chair, he lowers his arm down twice in two adjoining shots as he shouts "Don't tell me what to do!" without raising it inbetween.
“The Mangrove Walk” boasts not a single mangrove.
When Number Two confronts the supervisor, the see-saw observer is in two different positions depending if the scene is viewed from Number Two's position or from the supervisors.
As the old supervisor
is taken from the control room after his sacking, he
new supervisor's clipboard jumps from two hands held high to one hand held
low between two shots.
Number Six flashes a reflected-light message out to sea - yet in the control room camera views, he is clearly flashing it towards the Village (note the quay in the foreground). When we see him on the beach, however, the Village is behind him.
The "Ship Shop" has gained a baroque gable instead of its usual straight eaves, plus a balustrade with a post box (it was reshaped in the break between 1966 and 1967 filming).
The handwriting on the message carried by the pigeon changes - it is McGoohan’s writing on location but not in the studio. It also changes colour from black to blue. The punctuation also changes from "20, 60, 40. 47 67 81 91 80" to "20, 60, 40. 47 67. 81, 91, 80.", and the paper changes from rounded corners in his notebook to the paper used in the studio shot.
Number Six's opponent (supposedly Basil Hoskins) in the Kosho sequence appears to change faces with that of Number Six's opponent in "It's Your Funeral".
As Number Six holds Number Fourteen over the pool in the Kosho sequence, alternating shots show Number Six holding him with his left hand in one shot, and his right in another. Also, Number Six is holding on to the rail with his hand in the front shots, but not in the rear shots.
As Number Two shouts "Traitor!" at Number Fourteen, his "combover hair" starts flapping only to appear perfectly groomed again a moment later.
During the fight in Number Six's cottage, ss Number Six starts to push Number Fourteen towards the window, he is not holding Fourteen's arm behind his back, but it stays there as if he was.
A CHANGE OF MIND
Actor John Sharp is erroneously credited as "John Sharpe". *NEW*
During the lone exercise sequence, you can see in long-shot that the stunt double is wearing protective hand equipment which Number Six didn't have in the close-up (no less than two different stunt doubles are used in addition to McGoohan).
When the butler enters the committee room after the committe has left he appears to jump back a foot before continuing (due to a bad edit).
After Number Six walks away from Number 61 (after she ignored his greeting) up the hill towards his cottage, a white-coloured 1960s saloon car can be seen driving past at the top of the screen.
When given his Tally Ho outside his cottage a moment later, the paper is at a different alignment in the 2 shots (also, it is a blank page when the man firsts hands the paper to Number Six).
As No.6 reads the second Tally Ho edition when he is declared Unmutual, you can see from the front (through the paper) that (until close up from his perspective) it is in fact the first Tally Ho he read earlier in the episode.
After his "conversion", Number Six looks through the window at a villager getting Aversion Therapy. The image on the screen of Rover bouncing through the Triumphal Arch has been reversed.
The Gloriette is missing its red-and-white bands on the central pillars.
As Number Two is chased up the steps to the Green Dome in the closing scenes, he seems to have lost around 5 stone in weight!
IT'S YOUR FUNERAL
When the girl looks at Number 6 in bed for the first time his bedclothes are not smooth. The next time she looks, the white sheets are smoothed out and his dressing gown has changed position at the foot of the bed. In the later close-up we see No.6 is awake. But where is his pillow? In all previous and following scenes we see it propped up against the headboard.
Monique faints across the corner of the white mat with her feet towards the corner of the room but wakens up with her head in the corner of the room. When she gets up they have moved back to the positions when she fell.
In the bell tower scene during the prognosis, the tide changes from high to low in a few seconds.
During the exercise sequence of the prognosis, you can see in long-shot that the stunt double is wearing protective hand equipment which Number 6 didn't have in the close-up (no less than two different stunt doubles are used in addition to McGoohan).
At the kiosk No.6 takes his credit-card out from his breast pocket immediately before and after picking up the bar of soap without putting it back, and a third time when buying the candy.
Number Six's opponent in the Kosho sequence appears to change faces with that of Number Six's opponent in "Hammer Into Anvil" (Basil Hoskins).
the Kosho scene No. 6's opponent is moving along the raised section when he
half slips, grabs the rail and runs back the way he came, in the next shot
when the opponent runs away from camera at the very bottom left of the screen
you can see somebody's head!
When the village agent opens No. 6's locker while he is playing Kosho, and later when No.6 opens his locker, there is a shiny metallic object, the watch and a white material. However in the close-up when the watch is removed by the agent there is no metallic object and a blue towel is now in the locker instead. NEW!!
Number Six crosses the piazza wearing his “Arrival” suit (old footage).
When Number Six visits Number Two, just before he offers to order coffee or tea Number Two's lips move but no sound comes out.
A crowd scene from "Free For All" is re-used as the announcer announces appreciation day.
When Number Six and Monique enter the Watchmaker's shop at night, Monique is clearly seen wearing a brown cloak. When Number Six says "to be detonated by radio", her cloak disappears and then re-appears a split-second later.
When Number Six walks through the crowd on the piazza during Number Two's retirement ceremony, he walks past the band. Despite no music playing, the band appear to still be blowing their trumpets!
DO NOT FORSAKE ME OH MY DARLING
In the pre-title sequence, they view slide number 6 which is of Seltzman. If you count the slides it is slide number 8.
Later, when Number Six (Nigel Stock) is superimposing the slides, the last slide put in is of Seltzman, but it is not slide 6.
During the helicopter sequences at the start of the Episode, several parked non-Village cars can be seen.
After landing by helicopter at the start of the Episode, the Colonel is seen disembarking the Taxi at the Town Hall (nb this is McGoohan in his "Arrival" suit). In the next scene, however, he is seen enetering the Green Dome. Later in the Green Dome scene, an aerial shot of The Colonel and Number Two shows the Colonel with totally different colour/style of hair to that of Nigel Stock (as, indeed, do the fight scenes in Professor Seltzman's cellar, and the aerial shot at the end of the episode).
Just after the Colonel enters No.2's room and walks down the slope in the long shot the doors have closed, in the next close-up they are still wide open.
As the Colonel and Number 2 start to leave the room, the Colonel who has been standing at the bottom of the slope has jumped over to the side of the tea-trolley.
When Number Six (Nigel Stock) drives through London, he turns into Patrick McGoohan! It seems this episode had plenty of identity crises!
When Number Six (Nigel Stock) pulls up in the Lotus, passing the hearse (after his visit to Sir Charles), the camera goes immediately to long-shot and the hearse has vanished. Also in this scene, 3 different sun/shadow patterns, depending on the cut, appear. Obviously different scenes were shot at different times of day.
During the garden scene at the party, Janet's hairstyle slightly changes from a fluffy side parting to a more swept back style.
While waiting to get into World Cameras there are some photos on display to Number Six's (Nigel Stock) left. This display changes when seen from the inside. As he sees the man shadowing him looking in the door, the poster on the door has changed and the photos on display outside are back to their original layout.
When Number Six (Nigel Stock) turns right into Buckingham Place (after his visit to World Cameras) there are at least 6 cars parked on the side of the street opposite his house. However, 2 seconds later when his car stops outside his house, there are only 2 parked cars on the other side of the street.
The letters appearing in Number Six’s polarised gaze do not slide in with the photographic slides, but just suddenly appear in place.
Once Nigel Stock is inside "his" home he closes the blinds. However, Potter, on his radio, reports "Now the curtains are being drawn".
One shot of “Kandersfeld”
is reversed right-to-left, then later seen the right way around.
When Number Six (Nigel Stock) is conversing with the waiter in Kandersfeld he says "I took some photographs", yet his mouth never moves.
In the aerial shots and shots from behind Number 2 during the Seltzman scene in the Green Dome, the chair beside the tea-trolley has a foot-rest but not in the shots from Seltzman's point of view.
We also never see Janet's picture on Number 6's end-table (either at No.1 Buckingham Place or the Roundhouse ) at any point in the series apart from this episode.
LIVING IN HARMONY
If you turn up the sound on as Number Six firsts gets up in Harmony, you can hear traffic noise in the background. NEW!!
“The Stranger”, formerly Number Six, goes through a complicated cigar-lighting ritual whilst held in “protective custody”. As the Kid stalks menacingly outside the cell, watching him, the Stranger prepares his cigar and then puffs on it, wreathed in smoke. Then, just a second later, he is shown lighting the cigar, with no smoke visible.
Kathy brings The Kid a drink and places it on the small book on the table. In the next shot it is on the large ledger. It then jumps back to the small book as Kathy asks to be poured one, then back to the large ledge as she reaches for the keys.
When Number Six is re-captured following his escape at nightfall, he is lassooed from his horse and dragged back to Harmony. During this sequence, there are several shots which feature a red handkerchief wrapped around Number Six's hand (alternating between shots where it is not tied round his hand). The red handkerchief, of course, was not tied round his hand until a scene *later* in the Episode. McGoohan's wedding ring is also briefly visible on his finger during this sequence.
"Will drew first sheriff!" The glasses change, between close-up and long shot, in front of the cowboys at the end of the bar.
When Jim enters the bar there are 2 glasses in front of the Judge, a full one and an empty one. Just after when The Judge says "That one is on me." there is only one glass in front of him. As Jim starts to sit down, the Judge has his ciger in his mouth. In the close up it is in his hand.
When the Judge places the Ace of Spades in his Patience game it is a continuation of the shot earlier on when he first met the Number Six.
When the Kid falls dead after Number Six shoots him, his hat is on the ground right next to his head. Then when Number Six steps over him, the hat has moved a foot to the right.
When Number Six has the shoot-out in the bar, he shoots the first man right-handed. Then he jumps to the floor at the end of the bar and shoots the man behind the bar left-handed. Next, he comes back up from the bar with the gun in his right hand to shoot the next victim.
Following his “death” and "re-awakening", Number Six’s blazer instantly buttons itself up in the split-second between his mad final dash for the saloon doors (studio) and his exit to an exterior backlot shot (it also does this as he leaves the sheriff's office).
Number Two (David Bauer) drives a Mini Moke into the Harmony “set” at night - and it has a normal UK registration plate on the front, instead of the Village “TAXI” sign.
Number 8 (The Kid's) body is in the wrong position. He did a forward somersault from the balcony and should be lying face-up with his head towards the door. Kathy's body has also moved further away from the stairs.
THE GIRL WHO WAS DEATH
When Potter hides the gun with the cricket pad, in the close-up it covers the whole length of the bag's handles. In the long shot immediately after, it only just reaches the handles.
Alexis Kanner's dialogue as the photographer at the fairground, is very badly (although amusingly) over-dubbed.
After the bulldozer catches fire at the end of the "Witchwood" scenes, the flames clearly die down, but then magically re-ignite.
The next scene shows a helicopter take-off and landing, yet it appears to take off and land in the same field.
In a later scene, the actors are not singing "Danny Boy (the Londonderry Air)" but a different song that was later overdubbed.
The sound is out of synch in the scene where Napoleon discusses how London will be divided up (just before his daughter gets Bond Street), and later the name O'Rourke is also badly overdubbed.
As Number six leaves the lighthouse, from the inside you can see that the red doors are already open. From the outside shot he has to open them again.
The countdown clock in the rocket misses some numbers (jumping from 152 to 141) - quite nerve-wracking for Number Six, no doubt!
The central console only gives out smoke during the close-up when Number 6 tries to sabotage the rocket and not in long shot until the final shot.
At the end of the Episode, Number Two (Kenneth Griffith) turns off the screen and complains about the "blessed fairytale". But then it turns *itself* back on for Number Six's "Goodnight children, everywhere" taunt at the end! (Number Two is not at the console). Or perhaps it was a sign that Number Six rules the airwaves?
ONCE UPON A TIME
In the flashbacks that Number Two watches on the screen, Number Six holds up the Tally Ho and rants "Is this how they started to break you..." but his sentence is worded differently to what he actually said in "Free For All" (redubbed).
Another flashback has Number Six saying "I want to call a witness, a character witness" from Dance Of The Dead. But in the original episode, this remark is split into two sentences with interjections from both Number Two and The Maid where the comma is.
As he leaps out of bed, Number Six appears to be wearing socks.
When Leo McKern’s Number Two writes on the blackboard, his writing is in a different style each time the camera view switches from long shot to medium close up (in close up the "i" in "put it" is over the "t" in "together", but in longshot it is over the "g"). The "F" in "Find" is also distinctly different.
The Butler's hands change position on the swing as Number 6 starts to push him. They start off holding the ropes to holding at the crooks of his arms. If Number 6 pushes the Butler's shoulders, and the Butler is wearing gloves, whose bare hand is holding the rope in the close up?
Number 2's mortarboard tassle changes sides at the end of the "6 of the best" dialogue, and again during the "Why did you resign" dialogue during the Graduation.
During the job interview segment the Butler places a coffee jug to the right of Number 6. This is gone in the following close-up.
After a very hair ruffled Number 6 accepts the court's ruling he is immediately well-groomed for the next cloes-up scene.
After the Butler wafts Number Two with a towel, his armsling has disappeared only to return in a later scene.
In one scene, Number Two plays a German who has captured Number Six during the war. He interrogates him with "Sie sind neunzehn jahr alt!" ("You are nineteen years old!") - with Number Six's stated birth date of 19 March 1928 (from "Arrival") that makes his RAF bomber career rather late - 1947!
The Double bars (marking the door) of the cage move in the "I'll die - You're dead exchange".
During the helicopter/aerial sequences at the start of the Episode, several parked non-Village cars can be seen (most noticeably several black saloons next to the Old People's Home (main hotel), and full car-park at the start of the sequence at the bottom of the screen).
In the pre-credit sequence, which is a recap of the preceding episode, Number Six is unshaven when he asks for Number One. In the sequence following the credits, when he goes down on the elevated platform, he is clean shaven. NEW!!
moments later, they walk through the underground passageway to the sound of
the Beatles’ ‘All You Need Is Love’. They go past the same
jukebox twice. NEW!!
When Number 48 (Alexis Kanner) leaps off the table in front of the delegates and runs off, look carefully to the left, and there you see the (very clear) shadow of a photographer taking a picture.
During the mass clapping ("Dem Bones!") singalong you can see the "Identification" nameplate fall of the table. Also, the delegate nameplate to the right (from their point of view) of "Recreation" changes from "Entertainment" to "Anarchists" (there is a lot of this happening).
Before No. 48 is carried away he is sitting with his right leg crossed in front of his left. As he is carried away his left leg is now crossd in front of his right.
As Number 48 is carried away he is saying/singing something that is not on the soundtrack. When he is attached to the pole the soundtrack cuts in, with the soundtrack/singing out of sync.
Just before the surgeon with the shaving foam can passes across Number Two’s feet, he appears to lift his own feet back onto the chair. NEW!!
As Number Six enters the “globe room” where Number One is found, the camera moves round the map table (still showing the map of London from “Girl Who Was Death”) - and films its own camera-shadow in glorious close-up.
In the "Globe room", Number Six holds the crystal ball in his hands whilst a film of himself plays on the screen ("I am not a number", etc) - yet the screen as reverse-magnified in the ball is blank grey - betraying that the images were post-produced.
As Number Six starts
shooting the President mouths the word "Evacutate" but nothing is
heard. Also, as Number Six shoots he dislodges the central covering of the
One of the helicopters during the mass breakout at the end of the Episode clearly has British call letters
(G---) on it's side.
The Campanile (Bell Tower) disappears when the helicopters are taking off, and the rocket take-off is superimposed partly over the top of #6's cottage.
As the truck bursts out of the tunnel, a camera can be seen on the passenger seat, and 3 people can be seen on the embankment as the escapees discard their weapons.
When NumberSix and the
Butler run along Westminster Bridge to catch a bus. When the bus flashes past
the camera, it is clearly a (then) experimental front-entrance, rear-engined
bus. This is most obvious when you look at the back of the bus as it passes
the camera; there's no rear platform! When the scene cuts to Number 6 and
the Butler boarding the bus, it has transformed into a traditional rear-entrance
As Number Six drives down the runway one last time, a note of the main theme tune can faintly be heard (the thunderclap whilst Leo McKern re-enters Parliament was also placed on the soundtrack by accident).
The Unmutual Prisoner Blooper Page was compiled by Rick Davy, Alan Campbell, and Frank Shailes, with additional bloopers spotted by David Mackenzie, Alan Jones, Dave Lally, Simon Wells, Funkyjudge, Mark Hammons, Myron Mahon, Simon Coward, Number 245, David Healey, Roger Hembury, Ronnie Soo, Ben Gavan, Chris G, Patrick Powers, Number 404, Tony Idowu, Janet Harrison, Dan Pollins, Gareth Hughes, Ashley Windle, Pat Penza, Roger Ffoulkes, Jan Davis, John Edwin Lee, Derek Robertson, Ruth Roberts, Mark Williams, Gregg Pearlman, Crispin Hodges, Steve Watson, Bill Lonnen, Anthony Burns, Andrew Hunt, Sue Hudson, Neil Markwick, Sulzeer Bengo, Ron Casey, Lee Arnall, Richard Williams, Tony Woodrow.
Have you spotted a Prisoner Blooper? If so, why not contact us?