Goofs

The helicopter bringing Caulfield and Benti to the cabin has different rear windows in different shots. From the interior, it has ordinary flat windows with sliding ventilation panels -- the rectangular panel frames and tracks are visible. From the exterior, it has unventilated one-piece bubble windows which allow sightseers unobstructed views and photography.

State of repair of windshield after car hits a low branch.

As Caufield's helicopter is approaching the mountain cabin, the outside scenery alternates from treeless, snow-covered mountain peaks and deep forests.

The characters' shadows in the final showdown on the car roof are of different lengths in different shots. Most notably, in one shot the villain casts his shadow all the way onto the rocks that pass the train, while in the very next shot his shadow is short and stays entirely on the car roof.

The lamp shot out by the bullet is soon repaired.

At the 1:01 mark in the film, the red-hatted conductor is seen dutifully retrieving the passenger safety step from the ground and carrying it back into the train, but ignoring the fact that there are still passengers outside including DA Caulfield and the hit-men looking for him. Via Rail regulations (similar to those of many other passenger lines) require that conductors make sure everyone is on board before contacting the engineer to get the train rolling again. Yes, there are many films showing passengers and would-be passengers chasing moving trains in order to get on board, but this is dangerous behavior that directors use to create suspense. Indeed, the scene where DA Caulfield jumps up and bangs on an already-closed door and by fluke luck manages to get the attention of a passenger to help him back inside is, of course, far-fetched--something you'd see in James Bond movie.

It is simply not possible for any grown man and in this case, Robert Caulfield to go through 48 hours without developing a 5 o clock shadow and yet Caulfield looks just as he did prior to the shoot out in the cabin, throughout the journey on the train. Also, the fight scene in the washroom is pathetic because it isn't possible for anyone to dive through a glass window head first without a cut on his face and instead Caulfield cuts his hand which makes no sense whatsoever.

In the cabin ambush sequence, both Caulfield and Benti's white helicopter and the assassins' silver helicopter have the same C-GZPM registration (visible on the bottom of the white one, and on the starboard fuselage below the forward door of both). Aircraft registrations, like car license plates, are supposed to be unique to each craft.