Discretion is the better part of wagons-lits. As the express train is about to depart Paris for Rome, two men, Zurta (Conrad Veidt) and his colleague Tom (Gordon Harker), rush onto the platform and just manage to board. They have received information that someone they want to see is on the train. Another passenger, McBain (Cedric Hardwicke) a wealthy businessman travelling with his brow-beaten secretary/valet Mills (Eliot Makeham), learns that a valuable painting by Van Dyck, which he had previously tried to buy and had later been stolen from a Paris gallery has still not been recovered, and he says he would do anything to get hold of it. Also on the train are an adulterous couple (Harold Huth and Joan Barry, an annoyingly sociable Englishman, Tony (Hugh Williams), a French police officer M. Jolif (Frank Vosper), and an American film star Asta Marvelle (Esther Ralston) who is tiring of her fame, accompanied by her manager/publicist Sam (Finlay Currie). It transpires that the stolen painting is in the possession of a man, Poole (Donald Calthrop) who conspicuously keeps his briefcase close to him at all times. When he agrees to join a poker game on the train, he finds one of the other players is Zurta, and Poole’s reaction shows that they know each other. Poole is disconcerted and carelessly lays down his briefcase, which is later innocently taken away by Mills who has a similar briefcase. After the poker game ends, Zurta follows Poole to his compartment, forces his way in and confronts Poole, who offers to hand over the painting but finds he has the wrong briefcase. Zurta threatens to throw him from the train and they struggle and Poole is killed. Meanwhile, McBain discovers in Mills’ briefcase the stolen painting which he had wanted to buy. When Poole’s body is discovered by a train attendant, the police inspector begins an investigation and interviews all those who have been in contact with Poole. Zurta learns that the briefcases have been switched and tries to recover it from McBain’s compartment, but is apprehended by McBain and Mills as the police arrive… … The main interest here is the performance by Ralston, whose romance with Williams provides a nice subplot. She was a silent luminary after being a child vaudeville star (kinda Baby Jane-ish) but her career somewhat derailed in the Thirties despite a captivating presence. This is based on a screenplay by Clifford Grey and Sidney Gilliat (with additional dialogue by Frank Vosper and Ralph Stock) and it’s rather creaky as train thrillers go. Gilliat would go on to perfect the form with The Lady Vanishes and Night Train to Munich. It was remade as Sleeping Car to Trieste. Directed by Walter Forde.