Mannix is being driven in a chauffeured limousine owned by newspaperwoman Claire Hanley (Patricia Barry). At one point, he raps on the privacy glass to signal the driver that he wants to be dropped off. The driver immediately steers to the right on a rural highway with no buildings or other vehicles visible on that side of the road. But when the shot changes to show the completion of the maneuver from the front, the limousine is suddenly on a city street with buildings and parked cars lining the street.
When Mannix was being taken up in the helicopter to kill him the shadow on the ground is that of a Bell 47G, but the helicopter being used is a Bell 47J. The silhouette of the saddle bag fuel tanks and open "erector set" style open tail boom can be seen, but the 47J has a solid enclosed tail boom and no saddle bag fuel tanks.
After Mannix jumped out of the helicopter and was being chased, the registration number changed to N73959. During takeoff and flight it was N1142W.
When Mannix threw the stick at the helicopter's tail rotor it could be seen breaking off, but when the camera returned to a distant shot the tail rotor was intact and functional.
The dialogue indicates throughout that Mannix is visiting a state (not otherwise identified) outside of California. Yet in every street scene, all of the vehicles that have visible license plates only have California plates.
The police vehicle parked in front of the station has California car dealership license plates (the letters DLR vertically followed by the number 4). As a police vehicle it should have "E" plates (i.e. the letter E in a hexagon followed by numbers).
When Mannix confronts Claman and Webb, he says the phone number on the I.O.U.'s has the phone number of the phone on the bar. But the phone number in question ( PR-7461 ) has only six digits.
In the latter half of the helicopter chasing Mannix sequence, Mannix is no longer holding the large envelope containing the blackmail documents.
A shadow moves over Mannix right after the helicopter crash, then disappears instantly when the shot changes to a different vantage point.
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