(goof) During the final climb as the four men lower Stark, in the long shots there are no cliffs behind Stebbins at the top. It looks like they are on the top of a hill. However, in the closeups and in the previous establishing shots, not only is there a high cliff wall, but the injured men fell from a much higher point, none of which are visible in the long shots.
(goof) When showing the men on the side of the cliff during the final climb, Stebbins isn't anywhere near the rope in the long shots. He can't be helping to belay the doctor on the end if he isn't even touching the rope. In the closeup shots, he is seen holding the rope. Also, Corey's position on the cliff and his grip on the rope change. In the long shots, he is facing to the side and holding the rope from the side. In the closeups, he is facing down the cliff and holding the rope beneath his arms.
(Goof) During the opening credits, Richard Boone paraphrases a quote from later in the episode, as usual. He says, "Which one are you, Frazier? The one who put the rope around Aaron Bell's neck? Or did you just cheer and wait for the trap to fall?" The reference should have been to Paul Bell, the man who was actually lynched. (The dialogue in the episode did not, in fact, mention a name; Paladin simply referred to "his" neck.)
(Continuity error) Paladin hears Jenny cry out his name and goes dashing up the hill to the mine. As he nears the top, we see him pull out his gun. As he pauses outside the mine entrance, we see him draw his gun again.
In Mr. Carruthers' cabin, near the end of the meal, Carruthers picks up a large pickle from a plate. He holds it for several moments as they talk, then reaches for a bite--but the whole pickle suddenly has a large bite out of it already.
(Continuity error) Near the end of the episode, the escaping Jenny flags down a stagecoach. As she opens the door, we can see people seated on the forward-facing seat. She gets in, sits, and reaches out to pull the door closed. This places her on the backwards-facing seat, next to the door she entered by. When the camera switches to an interior shot, she is suddenly on the far side of the seat. If she had had to squeeze past Paladin to sit down, surely she would have recognized him.
They show a nice attention for realistic detail. At the end of the episode, Paladin had been wounded in the leg, and the bandage is visible as he limps to his horse. Once mounted, he's a good distance from the camera, and it's only seen briefly, but the bandage already shows blood seeping through.
(Goof) When Paladin agrees to take Travis/Laredo with him, he addresses Cynthia Palmer as "Miz Perkins". Perkins is Laredo's last name.
The episode title "The Naked Gun" refers to Rook's gimmick of carrying his gun hooked directed onto his belt, rather than sheathed in a holster. This allegedly makes it quicker to draw.
There is a continuity error that cannot be accounted for with stock footage. For his trip to Portland, Paladin is riding one of his familiar mounts--a dark horse with two rear white feet. We see him riding it as he comes up to Rook's camp, as he rides to Monk's rescue, and as they continue on away from Rook and his men. Monk rides a solid dark horse. After Monk clobbers Paladin and steals his gun, we see Paladin the next morning, riding in pursuit, still on his white-footed mount. However, when they cut to the scene where Paladin comes riding up to where Monk has tethered his horse, he is riding Monk's solid dark horse and his own white-footed horse is the one that is tethered. After Monk shoots the two men and he and Paladin leave the area, they are back on their own horses, and remain so for the remainder of the episode.
(Nitpick) The circus men can't seem to make up their minds as to the gender of their tiger--first they refer to it as "she" and "her". After Paladin comments on how old, toothless, and helpless it is, they say that he should not insult "Johnny" to "his" face.
(Nitpick) If you watch closely when Paladin discovers the hole cut in his newspaper, you will note that the hole at first corresponds with the size of the clipping Hey Boy has. However, when Paladin pushes his fingers through the hole, it has almost doubled in size.
(Goof) Paladin quotes a stanza from Robert Browning's introduction to "La Saisiaz" (1877), but he inverts the first two lines, saying "Best to forget/Good to forgive". The actual stanza is:
"Good to forgive
Best, to forget!
Living, we fret
Dying, we live."
In the second season episode "The Man who Lost", and just two episodes prior to this one, in "Shot by Request" it is noted that Paladin no longer does much reading (except for newspapers), but here they show him reading a book over his meal.
For a change of pace, the outside shot of the hotel is shown from a different perspective; from the oceanfront facing in, rather than the opposite. It's discovered that one of the buildings facing the hotel is labeled "Exchange Francisco."
The show is typically considered to take place from approximately 1870-1876. The season five episodes "Full Circle" and "Blind Circle" clearly state they take place in 1875. That would place this episode somewhere prior to 1875, most likely in 1873. This leads to an error, since Pancho Villa is presented here as a teenager, but in fact was not born until 1878.
(Nitpick) After Ainslee dives behind the horse trough, it begins streaming water when Baker shoots it. It continues streaming steadily--even when the water level is below the hole.
(Nitpick) Both Paladin and Ainslee, aiming carefully from their hiding places, fail to hit Baker. Watch very carefully as Paladin makes the final, killing shot. He simply points his gun in the air--while his head is facing the ground!
(goof) After Paladin reloads Ainslee's gun there are six empty slots on his gunbelt. They are still missing when he dives behind the hay. However, when he offers to fight Ainslee left handed, his gunbelt is full again.
(goof) Although Paladin's hands were supposed to be tied behind his back, when they started to put him on the horse, they clearly were not.
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Classics, bloody and violent, characters with double lives, failed crime, for the nostalgic