Agatha Christie's Murder on the Orient Express
Agatha ChristieÃ‚Â’s Murder on the Orient Express
A word of warning Ã‚Â– this walk-through contains many spoilers, but I am
trying to label everything as clearly as possible so that game players
can, hopefully, locate the section where they seem to be stuck without
having to read the entire walk-through. Also, I wonÃ‚Â’t give away the
First, a little explanation about how things will be phrased during the
game Ã‚Â– you will be playing this game as Antoinette Marceau, and I will
be phrasing all of the descriptions from her point of view.
If I say that something is to your right (or left), it refers to HER
perspective. If she is facing away from you it will also be to your
right, but if she is facing you, it will be her right, your left (I
hope this isnÃ‚Â’t too confusing Ã‚Â– it just seemed like the easiest way to
Second, this is not necessarily a Ã‚Â“linearÃ‚Â” game. There are some things
that have to be done before the game will move on to the next section,
but there are a few things (not many) that can be done later.
Table of Contents
Cast of Characters
Epilogue Ã‚Â– 1924
The Beginning Ã‚Â– 1934
Part I Ã‚Â– The Facts
Part II Ã‚Â– The Evidence
Part III Ã‚Â– Hercule Poirot Sits Back and Thinks
This game is entirely mouse controlled Ã‚Â– point and click.
At the top of the screen you will find a drop-down picture of the train
(from Baggage Car to Athens Ã‚Â– Paris Coach) and any car that you have
access to will appear brighter in color than the ones that you donÃ‚Â’t
have access to at that time. To move through the train quicker than
Ã‚Â“walkingÃ‚Â” through, move the cursor up to the drop-down train and click
on the car that you want to move to Ã‚Â– the click will move you from
where you are to just inside the door that is nearest to where you are
coming from. In my walkthrough if I say Ã‚Â“go toÃ‚Â” a certain car, I mean
click on that car on the drop-down train.
Neutral Cursor - indicating no specific action necessary
Back Cursor Ã‚Â– curved arrow indicating that you can back out of a close-up
Down Cursor Ã‚Â– arrow pointing down indicating that you can climb or kneel
Up Cursor Ã‚Â– arrow pointing up indicating that you can climb or stand up.
Speech Cursor Ã‚Â– a mouth indicating that you can speak (or at least attempt
to speak) to another character.
Keyhole Cursor Ã‚Â– a keyhole indicating that you can look through a keyhole
(although the aspect that you see when it appears in this game is more
like sticking your head out the door rather than looking through a
Use Cursor Ã‚Â– a gear indicating that you may Ã‚Â‘useÃ‚Â’ an item that you have in
Walk / Run Cursor Ã‚Â– footprints indicate that you may move in that direction.
A double-click on the left mouse button doesnÃ‚Â’t really get Marceau to run
but it does transition faster between scenes.
View Cursor Ã‚Â– an eye indicating that you can move in for a closer view of an
area or item.
Eavesdropping Cursor Ã‚Â– an ear indicating that you may eavesdrop on a
Shadow Cursor Ã‚Â– a shadow outline indicating that you may follow that person
by clicking the left mouse button. Following is automatic and only lasts a
Door Cursor Ã‚Â– a doorknob indicating that you may enter a door if it is
Take Cursor Ã‚Â– a hand indicating that you may pick something up and add it
to your inventory. Clicking the right mouse button will release an object
that you have picked up from your inventory if it turns out that it wasnÃ‚Â’t
what you needed to have at that time (Marceau and Poirot will both give
you a hard time if you try to use the left mouse button to get back into
your inventory while holding the wrong thing).
To get to your inventory click the right mouse button or move the cursor to
the top of the screen.
The drop-down representation of a train has a Valise Icon on the left side Ã‚Â–
this is the Inventory Menu Icon that will open up your inventory.
Along the top of the inventory window is a bar with arrows at each end and a
Ã‚Â“beadÃ‚Â” that can be moved across the bar by clicking on one of the arrows or
on the bar itself. This will scroll through the inventory window so that you
can find the item you need.
Along the right side you will see seven buttons Ã‚Â–
Inventory Button (the valise) Ã‚Â– this will return you to the inventory section
if you have been using one of the other sections that are available.
Magnifying Glass Button Ã‚Â– click on any object in your inventory that you want
to Ã‚Â‘examineÃ‚Â’ more closely then click on this button. You will see comments at
the bottom of the window about the object you are looking at, but donÃ‚Â’t forget
to click on the Ã‚Â“eyeÃ‚Â” button to turn the object around. Some of the most
important information comes after the object is turned. Also examining books
and letters here will transfer pertinent information to your scrapbook.
Gears Button Ã‚Â– used to combine two or more objects that you have in your
inventory to create new objects that are required to continue your
investigation. It can also Ã‚Â‘de-compileÃ‚Â’ objects Ã‚Â– things that have been
previously combined or things that are combined when you find them and need
to be taken apart. If objects cannot be combined or taken apart, the character
will make a comment telling you that you canÃ‚Â’t that. To combine, put the
objects that you want to combine in the boxes on the left side of the window
and click the Gear Button in the middle. If the objects can combine, the
result will be in the box on the right side of the window. To de-compile,
put the object that you want to take apart in the box on the right side of
the window and click the Gear Button in the middle. If the object can be
taken apart, the resulting pieces will be in the boxes on the left side of
Scrapbook Button Ã‚Â– information that you collect from documents during your
investigation, PoirotÃ‚Â’s instructions and your progress with the challenge will
be kept here. To access the specific information under any entry, click on a
topic to view the contents and use the arrow icons at the bottom to turn the
Passports Button Ã‚Â– this is where you will be able to access the information
from the passports that you collect from passengers and crew during your
Fingerprints Button Ã‚Â– this is where fingerprints taken from passengers and
crew can be compared with prints collected from objects during your
Exit Button Ã‚Â– exits the Inventory Menu and returns you to the game.
The Hat Icon that you see on the right end of the train will take you out to
the menu where you can save your game progress, load a different game, change
your game options or exit to the main menu.
Cast of Characters in Order of Appearance
Antoinette Marceau (You) Ã‚Â– A clerk in Monsieur BoucÃ‚Â’s office instructed to
see to it that his great friend, Hercule Poirot, is secured a compartment
on the Orient Express because he must get back to England as quickly as
possible, and she must see to it that he has a most comfortable trip Ã‚Â–
on threat of losing her job. She is also a Ã‚Â“student of crimeÃ‚Â”
Hercule Poirot Ã‚Â– Belgian Detective and director of the investigation
Klaus Herkensheimer Ã‚Â– German - Chef on the Orient Express
Cyrus Hardman Ã‚Â– American - Typewriter Ribbon Salesman (or so he claims)
Antonio Foscarelli Ã‚Â– American (Naturalized) - Car Salesman
Princess Natalia Dragomiroff Ã‚Â– Russian princess living in Paris
Hildegarde Schmidt Ã‚Â– German Ã‚Â– Ladies Maid to Princess Dragomiroff
Greta Ohlsson Ã‚Â– Swedish Ã‚Â– Orphanage missionary in Gemlik, Turkey
Samuel Ratchett Ã‚Â– American Ã‚Â– Victim
Hector MacQueen Ã‚Â– American Ã‚Â– Oil Broker turned Secretary to Mr. Ratchett
Mary Debenham Ã‚Â– English Ã‚Â– Governess between jobs and on her way home
Colonel Francis Arbuthnot Ã‚Â– English Ã‚Â– Military stationed in India
Pierre Michel Ã‚Â– French Ã‚Â– Calais Coach Attendant on the Express
Caroline Hubbard Ã‚Â– American Ã‚Â– Loud, overbearing widow on vacation
Edward Masterman Ã‚Â– English Ã‚Â– Valet to Mr. Ratchett
Count Rudolf Josef Andrenyi and his wife the Countess Ã‚Â– Hungarian Diplomats
Lucien Revillard Ã‚Â– French Ã‚Â– Waiter on the Express
Tayyip Sensoy Ã‚Â– Turkish Ã‚Â– Engineer on the Express
Dr. Stavros Constantine Ã‚Â– Greek Ã‚Â– Passenger on the Athens-Paris Coach
Matteo Riverte Ã‚Â– Spanish Ã‚Â– Attendant on the Athens-Paris Coach and a Ham
Abdullah ÃƒÂ–zbilen Ã‚Â– Turkish Ã‚Â– Fireman on the Express
Epilogue Ã‚Â– 1924
The story opens in New Paltz, NY in 1924. The New York police have a
farmhouse surrounded and are warning the occupants that they will begin
firing if they donÃ‚Â’t come out Ã‚Â– they donÃ‚Â’t and the shooting begins. When
the shooting stops, two men come out with their hands up. Fade to 1934.
The Beginning Ã‚Â– 1934
The mystery begins in the Istanbul market place with Antoinette reading a
letter from her employer, M. Bouc. He is telling her that she must find
Poirot and see to it that he gets a compartment on the Calais Coach of the
Orient Express and that he must have a pleasant trip back to England Ã‚Â– if
she is successful, she will get the promotion that she requests every week Ã‚Â–
if she fails, she will spend her remaining few days in his employ in the
position of clerk which she already occupies.
Your task gets off to a rocky start because you must chase Poirot down as he
makes his way through the market place toward Sirkeci Station. Threats and
pleading to be allowed to pass will not work with most of these situations Ã‚Â–
in fact the only one that threats will work on is Ratchett.
1- You run into the chef, Klaus. He insists on you telling him which cleaver
is better quality and wonÃ‚Â’t let you pass till you answer Ã‚Â– tell him the
one in his left hand, if you donÃ‚Â’t want to hear how stupid you are.
2- You run into Foscarelli and Hardman discussing KÃƒÂ¼tahya and Iznik style
tile and which is the better quality. They insist that you bring them
examples of both before they will let you pass, but you can get away with
just one Ã‚Â– the tile, the first booth on the left when you first set off
after Poirot Ã‚Â– bowl, at the corner by the goats. After they let you pass,
pick up the grain that is on the end of the cart there to the left of
them Ã‚Â– you will need it for your next task.
3- You run into Princess Dragomiroff and Hildegarde Schmidt and they insist
that you help them find the PrincessÃ‚Â’s parasol before they will let you
pass. Go back past Hardman and Foscarelli to the corner where the goats
are - the one on your left appears to be eating something - get the grain
from your inventory and place it on the road in front of the goat. It
will move and you can get to the parasol.
4- You run into Greta Ohlsson who asks for help finding the station - tell
her you are going there, but you are in a hurry and she must keep up.
5- You run into Ratchett and MacQueen. Ratchett makes rude comments and
wants to know if you are traveling on the same train Ã‚Â– the quickest
way around him is to tell him itÃ‚Â’s none of his business and threaten
to call the police to get him to move.
6- In the station you will come up on Arbuthnot and Debenham. They donÃ‚Â’t
prevent you from passing, but you do listen to a bit of their
7- Finally, after giving your ticket to the man at the door leading to the
train area, you catch up with Poirot as he is speaking to Pierre Michel.
THIS IS PART CUT-SCENE AND PART PLAYER-ACTIVATED CONVERSATION
And, this is where your troubles really begin. Pierre is telling Poirot that
there are no compartments available. Speak to Michel and tell him that
M. Poirot must have a space on the train. Michel will give you the Calais
Coach passenger manifest to prove that there are no empty compartments, and
you should point out that there are empty beds. He explains that one is in
MacQueenÃ‚Â’s compartment, but he has paid for a single and the other is in
Greta OhlssonÃ‚Â’s compartment, but, of course, M. Poirot would not presume
to share with a lady.
At this point, you should turn your attention to Poirot and speak to him of
your Ã‚Â“passion for crimeÃ‚Â” (of course you mean the study of it not the
committing) and that you are very familiar with his efforts in the solving
of the Mysterious Affair at Styles, the Murder of Roger Ackroyd and the
Murder of Lord Edgeware among others.
After speaking with Poirot you should tell Michel that M. Poirot must have
your compartment that you will stay up in the Salon Car. Poirot will insist
that you share the compartment with Greta Ohlsson.
THE TRAIN DEPARTS!
PART I: The Facts
Dinnertime in the Restaurant Car
Marceau and Poirot observe and discuss their fellow passengers (again part
cut-scene and part player-activated conversation) and steps that a true
detective must take to solve a mystery including listening to conversations
and making observations of people when they are unaware that you are doing
As you and Poirot are leaving the Restaurant Car, Ratchett stops Poirot and
wants to hire him as extra protection from someone who has been sending him
threatening letters. Poirot refuses because he Ã‚Â“does not like his faceÃ‚Â”.
The train makes a stop in Belgrade to take on the Athens Ã‚Â– Paris Coach and
a passenger, and Klaus grumpily informs you that his bacon is missing from
the supplies that have been brought on the train and he has no intention
of making breakfast for the train without it. You get off the train to look
for it (a small uniformed person runs across to board the train Ã‚Â– hmm, looks
as though the Athens Ã‚Â– Paris Coach attendant is running late). Arbuthnot and
MacQueen are speaking in the courtyard of the station Ã‚Â– stop to speak to them
about whether they have seen anyone in the station then continue toward the
front of the train where Michel and the train engineer are talking. As you
pass an outdoor waiting area a woman stands and walks away (if you click on
the area Marceau comments that she must have been there to see off the coach
attendant that was seen running to board the train).
When you reach Michel and the engineer, you will speak to them about the
condition of the tracks through the mountains and whether youÃ‚Â’ll have to
make the decision about the train going on or not. Michel tells you the
snow is expected to continue and the passes fill quickly, but the engineer
Ã‚Â“informsÃ‚Â” you that if any train can make it through the mountains, his can,
and, if anyone is to decide whether it should go on or not, it will be him
and it will go on!
ThereÃ‚Â’s still the bacon to find. Turn and walk to the cart behind you.
There are several boxes and crates on it, but, Ã‚Â“Oh, dear!Ã‚Â” The labels are
Go back to Michel and ask him if he can read Serbian Ã‚Â– he can, and he finds
the box labeled Slanina (you click on the boxes that you want him to read) Ã‚Â–
he has found the bacon. Soon the train is back on its way through the
Once the train is on its way (and after a short cut-scene with Greta), you
will attempt to put PoirotÃ‚Â’s advice of listening to people when they donÃ‚Â’t
know you are listening to the test. You should try to listen through a
compartment door but you canÃ‚Â’t hear anything and need something to help.
Go to the Salon Car and in the bar area pick up 5 glasses and ice tongs from
the shelf then open the drawer and take the paper napkins and sellotape.
At this point the Calais Coach and the Salon Car are the only places you
can go Ã‚Â– everything else is locked up.
Go back to the Calais Coach.
Back to the Coach - use a glass to listen at the doors.
Compartment 1 Ã‚Â– 2 (Foscarelli / Masterman) Ã‚Â– Foscarelli and Hardman are
apparently playing cards and talking about Masterman.
Compartment 3 Ã‚Â– 4 (MacQueen) Ã‚Â– MacQueen and Arbuthnot are discussing
American and English politics.
Compartment 5 Ã‚Â– 6 (Debenham / Schmidt) Ã‚Â– there is no sound.
Compartment 7 Ã‚Â– 8 (Ohlsson / Marceau) Ã‚Â– go inside. Greta will come in
behind her and tell her that she has been giving Mrs. Hubbard
some headache powder.
Compartment 9 Ã‚Â– this is PoirotÃ‚Â’s compartment Ã‚Â– no need to listen but if
she does, itÃ‚Â’s quiet.
Compartment 10 Ã‚Â– (Ratchett) Ã‚Â– Masterman is speaking to Ratchett about
something that has apparently upset him (Ratchett).
Compartment 11 Ã‚Â– (Hubbard) Ã‚Â– there is no sound.
Compartment 12 Ã‚Â– (Countess Andrenyi) Ã‚Â– the countess is telling her
husband that Ã‚Â“somethingÃ‚Â” is a nightmare and he must help
her to be strong.
Compartment 13 Ã‚Â– (Count Andrenyi) Ã‚Â– there is no sound because he is
in with his wife.
Compartment 14 Ã‚Â– (Princess Dragomiroff) Ã‚Â– Schmidt is apparently reading
Compartment 15 Ã‚Â– (Arbuthnot) Ã‚Â– there is no sound because he is in with
Compartment 16 Ã‚Â– (Hardman) Ã‚Â– there is no sound because he is in with
However, Michel comes up behind you and there is a cut-scene where he asks
what you are doing listening at a passengerÃ‚Â’s door. Marceau makes her
response and Michel goes off down the corridor. Put the cursor on him and
it will change to the Shadow Cursor. Click on him and automatically follow
him to the Baggage Car.
There is another cut-scene where Michel again catches you there and wants
to know if you are following him. No matter what response you choose, he
will not let you remain in there, so precede him out the door, and, after
Michel locks the door, Antoinette states that she might as well go to her
sleeping compartment (this is automatic).
The Avalanche Ã‚Â– and events that follow
Not long after you retire the train careens to a stop only narrowly escaping
being buried in an avalanche (this is all cut-scene). Only Poirot is injured
(M. Bouc will not be happy) with a sprained ankle and a bump on the head.
Marceau and Ohlsson attend to his injuries then leave him to suffer his pain
Marceau goes back to bed only to be aroused very shortly by a cry that comes
from one of the other compartments (from here itÃ‚Â’s part cut-scene with your
input too). Look out (Keyhole Cursor) to see and hear Michel at RatchettÃ‚Â’s
compartment door speaking to someone in French. Go back to bed.
A little while later a call bell begins ringing incessantly. Again you get
up and look out to see Michel go to Mrs. HubbardÃ‚Â’s compartment. She insists
that she Ã‚Â“feltÃ‚Â” the presence of a man in her compartment and Michel must
come in and look around. Once again go back to bed.
What now! A loud thump out in the corridor gets you out of bed again. Look
out and see Michel in his chair at one end and someone in a red kimono
walking toward the other end of the car. Put the cursor on the figure and
it changes to the Shadow Cursor again Ã‚Â– click and you will follow the figure
in the kimono, but there is no one in sight and the toilet is locked when
you get to that end of the car. Marceau states that she wants to find out
more about the person in the kimono before going back to bed so turn back
and go down to where Michel is sitting. Question him about the figure and
everything else that has gone on during the night. Finally all is quiet
and you can go back to bed and sleep.
At breakfast the next morning Michel comes to fetch you to PoirotÃ‚Â’s
compartment (again, this is automatic).
When you get to Poirot, he is there with Dr. Constantine. He tells you that
he has called you because there has been a murder. Ratchett has been found
in his compartment and Constantine has confirmed that his death has come
about by person or persons unknown. The conversation between you and Poirot
should have you plead with Poirot to solve the case because it will help him
get to England and his important case and because her job with the train
company is in jeopardy as well. There has already been the avalanche and
PoirotÃ‚Â’s injury this would be the breaking point in M. BoucÃ‚Â’s patience.
Poirot asks how you think that he can solve the crime since he is injured
and can not get about and Marceau uses PoirotÃ‚Â’s own words about being able
to solve a crime simply by sitting back and using Ã‚Â“his little grey cellsÃ‚Â”
against him. Finally, he agrees if you will do the Ã‚Â“legworkÃ‚Â” for him. He
gives you the option of doing it on your own with little to no assistance
from him, or doing it with much more guidance from him to direct your
The choice is, quite literally, up to you.
The Scene of the Crime
You and Constantine go to RatchettÃ‚Â’s compartment to begin the investigation.
Ratchett has been stabbed repeatedly (twelve times!). Examine the body and
discuss the wounds thoroughly with Dr. Constantine. During the discussion he
will mention that there is something in the pocket of his pajamas Ã‚Â– a broken
watch stopped at 1:15 (possibly the time of the murder Ã‚Â– Ã‚Â“very convenient
these broken watchesÃ‚Â”). There is also something under RatchettÃ‚Â’s pillow Ã‚Â–
the .32 caliber pistol that he had shown Poirot the day before - unfired.
The window of the compartment is wide open Ã‚Â– Constantine found it that way
and decided to leave it because there might be fingerprints and because the
cold will preserve the body. On closer examination, there are footprints in
the snow outside and a closer look at the windowsill earns the remark
Ã‚Â“Quite interestingÃ‚Â” from Poirot.
(During your investigations, anytime Poirot makes this remark, you want to
remember where it occurred because you will need to go back when you are
able to get fingerprints from these objects).
On the table next to RatchettÃ‚Â’s bed there are some things that need to be
taken Ã‚Â– a cigar stub, some burned matches, a burned scrap of paper, a metal
statuette, a glass tumbler, and (yuck!) his false teeth (You will need them
later despite PoirotÃ‚Â’s ribbing about having taken someone elseÃ‚Â’s false teeth).
On the floor next to the table there is a handkerchief, and at the foot of
his bed there is a pipe cleaner. Take the hat hanging on the hook by the door
and the object (match box) that is in the pocket of the coat hanging on the
hook by the connecting door to HubbardÃ‚Â’s compartment. Also, donÃ‚Â’t forget to
search through his luggage and take the bottle labeled Ã‚Â“Sleeping DraughtÃ‚Â”.
Once youÃ‚Â’re finished talking to Dr. Constantine, searching the compartment
and looking at each of the articles youÃ‚Â’ve found there closely - (use the
Magnifying Glass Button of your inventory and make sure that you click on
the Ã‚Â“EyeÃ‚Â” Button at the bottom of that window Ã‚Â– paper scrap is unreadable,
tumbler has white residue and appears to have a fingerprint and the hat has
what appears to be a Bible reference on a label inside) Ã‚Â– ask Dr. Constantine
to stay and see that the crime scene is undisturbed while you go to update
M. Poirot (once you ask this she will automatically go there).
First, you Ã‚Â“tellÃ‚Â” him what youÃ‚Â’ve found (cut-scene of mumbled conversation
through window) and then Ã‚Â“discussÃ‚Â” particulars. If youÃ‚Â’ve done everything
that you are supposed to do, he will tell you what you must find in order
to read the burned scrap of paper (Oh, and thereÃ‚Â’s no getting around the
ribbing for taking the false teeth. You must ask him if they are important
or he wonÃ‚Â’t tell you what to look for).
You will need to find two wire-mesh frames from old-fashioned hat boxes,
something to hold the piece of burned paper securely but gently until it
can be put in the frames and a source of constant heat to be applied to the
paper so that it can be read.
Searching the Calais Coach Compartments
The search can be done in any order, but I found it easier to start at
Compartment 16 and work forward.
Compartment 16 Ã‚Â– find a sap in the suitcase and take a typewriter ribbon from
the case on the seat/bed.
Compartment 15 Ã‚Â– locked, but you can get through the connecting door from
number 14 Ã‚Â– find pipe cleaners in the suitcase.
Compartment 14 Ã‚Â– find one of the wire-mesh hat frames that you need and a
puzzle box in the suitcase.
Puzzle Box Solution Ã‚Â–
This is a very crude representation of the puzzle box that you will find in
the princessÃ‚Â’s suitcase. The numbers represent sections of the puzzle box,
and when you click on a section youÃ‚Â’ll get direction arrows Ã‚Â– sections 1 and
2 will have arrows pointing left, right, up and down, section 3 will have
arrows pointing up and down and section 4 will have arrows pointing left and
right. To move a section, you click on the arrow pointing in the direction
you want the piece to move.
Below are the sections and directions in the order that they need to be moved Ã‚Â–
|\ | \ 4 | \ | 1 \ | \----------------------------------- | | |
|\ | |
| \ | |
| \ | |
| \| |
| 2 | 3 |
| | |
\ | |
\ | |
\ | |
1 Ã‚Â– right; 2 Ã‚Â– left; 3 Ã‚Â– up;
1 Ã‚Â– left; 2 Ã‚Â– right; 3 Ã‚Â– up;
1 Ã‚Â– left; 2 Ã‚Â– right; 1 Ã‚Â– down; 4 Ã‚Â– left
The box should be open. Inside you will find a locket and inside the locket
the picture of a little girl who looks familiar.
Compartments 12 and 13 are locked.
Compartment 11 Ã‚Â– look closely at the doorknob of the connecting door to
number 10 (Ã‚Â“Quite interestingÃ‚Â”), find a coach attendants uniform
button on the floor and a letter in the suitcase.
Compartment 10 youÃ‚Â’ve already searched and Compartment 9 is PoirotÃ‚Â’s (we
already know that he is not the murderer Ã‚Â– I thinkÃ‚Â…).
Compartment 7 Ã‚Â– 8 Ã‚Â– Ohlsson has the other wire-mesh hat frame (just visible
on the shelf below the luggage rack and you wonÃ‚Â’t be able to
search her suitcase just yet because it is locked).
Compartment 5 Ã‚Â– 6 Ã‚Â– Schmidt has a recipe box in her suitcase labeled Ã‚Â“My
Ladies RecipesÃ‚Â”, but she is a Ladies Maid not a cook. Debenham
has a handkerchief embroidered Ã‚Â“CMHÃ‚Â” in her suitcase.
Compartment 3 Ã‚Â– 4 Ã‚Â– locked.
Compartment 1 Ã‚Â– 2 Ã‚Â– locked.
After searching the compartments, go to the Restaurant Car and pick up the
spirit lamp from the table at the far end (Marceau will not stop to talk to
anyone on the way and will tell you that she has more important things to do
than chat). You now have almost everything that you need to read the paper Ã‚Â–
the last thing is in PoirotÃ‚Â’s compartment. Go back to the Calais Coach to
Compartment 9 and pick up the mustache curling tongs from the table beside
Reading the Burned Scrap of Paper
Tell Poirot you now have everything that you need to read the burned scrap
of paper, you just need to assemble them correctly.
The scene will automatically move in close to PoirotÃ‚Â’s table.
Put the paper and the tongs in the Gear Button window on the left side and
click the Gear Button (paper is now being held by the curling tongs).
Put the tongs, now holding the paper, back on the left side, add the two
wire-mesh hat frames and click the Gear Button (Paper is now between the
two wire mesh frames).
Take the wire hat frames, now holding the piece of paper, and set them on
Put the matches from RatchettÃ‚Â’s coat pocket and the spirit lamp on the left
side of the Gear Button window and click the Gear Button Ã‚Â– the lamp is now
lit and can be put on the table next to the frames.
The rest of the assembly will be done automatically and you will be able to
read the paper Ã‚Â– Ã‚Â“member Little Daisy ArmstrongÃ‚Â”. You have the news articles
detailing this case in your scrapbook and there will be a cut-scene with
Poirot going over the facts of the case in detail Ã‚Â– now you both know that
Ratchett is not this manÃ‚Â’s real name. He was really the kidnapper and
murderer of Little Daisy Armstrong.
He was Cassetti!
Part II Ã‚Â– The Evidence
Right after Marceau exits PoirotÃ‚Â’s compartment at the end of Part I there is
a cut-scene where she remarks that it is getting very cold and Michel informs
her that the engineer has discovered a pipe that supplies heat from the
boiler to the coaches was damaged by rocks in the avalanche and she is the
one who has to repair it.
At this point, the only way out of the train is through the open window in
RatchettÃ‚Â’s compartment, but when you enter it, Hardman is already outside
(Shadow Cursor again). Climb out of the window and follow him to the back of
the train (rear of the Athens Ã‚Â– Paris Coach). When you enter and ask Matteo,
the coach attendant who is coming out of Compartment 16 as you come in, if
he saw Hardman enter the coach, he says that he did not.
(While you are there, you may as well do a search of these compartments
because there is something that you will need to have to repair the broken
pipe and other clues to the investigation - donÃ‚Â’t worry no one will freeze
while you look).
Athens Ã‚Â– Paris Coach Compartments
This was my choice for the order to do the compartment search but it can be
done in any order -
Compartment 1 Ã‚Â– 2 (Lucien) Ã‚Â– waiter and bartender for the Express Ã‚Â– there is
nothing to find in his compartment yet Ã‚Â– you can skip it for now.
Compartment 3 Ã‚Â– 4 (ÃƒÂ–zbilen) Ã‚Â– fireman for the Express Ã‚Â– take the gloves on
the seat and his passport.
Compartment 5 Ã‚Â– 6 (Vacant) Ã‚Â– no need to search this one but in the connecting
washroom between 3 Ã‚Â– 4 and 5 Ã‚Â– 6 there is a pair of pliers in the
cupboard under the sink Ã‚Â– take them.
Compartment 7 Ã‚Â– 8 (Vacant) Ã‚Â– but examine the handrail next to the connecting
door and the vase on the table by the window closely (Ã‚Â“Quite
Compartment 9 Ã‚Â– (Klaus) Ã‚Â– chef for the Express Ã‚Â– take his passport.
Compartment 10 Ã‚Â– (Sensoy) Ã‚Â– engineer for the Express Ã‚Â– take his passport.
Compartment 11 Ã‚Â– (Michel) Ã‚Â– the door is locked.
Compartment 12 Ã‚Â– (Vacant) Ã‚Â– but there are torn up scraps of paper on the
floor Ã‚Â– you must put them together to read the note Ã‚Â– a very
Compartment 13 Ã‚Â– (Constantine) Ã‚Â– look closely at the coat hanging on the
hook (size Petite), take his passport and the announcement of
the speech he is supposed to give (Chlamydia-Induced Enteritis
sounds nasty, but what is it?).
Compartment 14 Ã‚Â– (Vacant) Ã‚Â– but there is a pair of snowshoes that someone
has rendered useless and attempted to hide Ã‚Â– take them and look
closely at them Ã‚Â– is that a fingerprint?
Compartment 15 Ã‚Â– (Matteo) Ã‚Â– take the Ã‚Â“Morse CodeÃ‚Â” book and his passport.
Compartment 16 Ã‚Â– (Vacant) Ã‚Â– but there's a radio sitting on the table although
it is useless because there is no power and no means of sending a
Fixing the Broken Steam Pipe
Now it is time to go out and see what's needed to fix that broken pipe. Leave
through the rear door of the Athens Ã‚Â– Paris Coach and go toward the front of
the train. As you near the engine there is steam coming out from under one of
the cars (Look closely at that area and you will see that you need a section
of pipe to repair the break). Where to find it?
Continue up to the engine and speak to the engineer. He appears to be in
serious pain Ã‚Â– has he been poisoned? After he tells you that he has had his
teeth pulled, the replacement false teeth have had to be sent to Trieste for
adjustment and he is starving because he canÃ‚Â’t eat the magnificent meats
that the cook is famous for preparing and he canÃ‚Â’t survive on soup for the
week or longer that they may have to wait for help to arrive, you will tell
him that this is his lucky day because you have what he needs to be able to
eat Ã‚Â– RatchettÃ‚Â’s false teeth (told you that youÃ‚Â’d need them). He takes them,
exclaims that they fit better than the ones that the dentist made for him
and he is in your debt. You have only to ask for whatever you want.
First, take a lump of coal from the pile behind him, then click on his hammer
and you will ask him if he will let you use it. He would do it gladly, but he
must have the hammer to check the boiler pressure. If you are to take his
hammer, he must have something to replace it. Offer him the sap that you
removed from HardmanÃ‚Â’s luggage and he lets you have the hammer.
There is still more that is needed, but you will need to go back in and get
the passkeys from Michel. Use the window into RatchettÃ‚Â’s compartment to get
back in and go down to Michel. He will give you a key to the Baggage Car and
the Pass Key that opens all the compartment doors and the doors between the
coaches (this is the last time that anyone will speak to you of anything
other than getting the pipe fixed).
The Baggage Car
Go to the Restaurant Car and make your way to the other end Ã‚Â– use the key
that Michel gave you to unlock the door. Once you get into the Baggage Car
look around. There is a Security Door that you donÃ‚Â’t have a key for, but if
you look closely at the doorknob (Ã‚Â“Quite interestingÃ‚Â”), there is a manifest
of items that were taken on in Istanbul and Belgrade hanging on the wall to
your left (a crate in the secure area and casks of honey, olive oil and
vinegar Ã‚Â– (the casks are on the other side of the car from where you are
standing Ã‚Â– two of these will be important later), there is a crate that is
empty but seems to have had a padlock on it at some time Ã‚Â– look closely
(Ã‚Â“Quite interestingÃ‚Â”) and another with a label that says Ã‚Â“Two PairÃ‚Â” on the
side Ã‚Â– the lid only loosely held in place with four nails (the hammer is put
to use already), also look closely (Ã‚Â“Quite interestingÃ‚Â”).
Inside is a pair of snowshoes. They are bound with copper wire and must be put
in the right side of the Gear Button window and click the Gear Button in the
middle. You get a pair of snowshoes that can now be used and a length of
copper wire that will be put to use later. Now it is time for a walk in the
woods to see if you can find that piece of pipe you will need.
The ShepherdÃ‚Â’s Hut in the Woods
There is more than one path that will have to be followed and a few more
things to find other than the pipe (The map below is only an approximation
but it gives you the general directions that you will need to go to find the
things you need to find).
There are two spouts that are needed Ã‚Â– they are stuck in trees and once you
get them, you can turn around because those paths are dead ends.
Overlook Ledge ShepherdÃ‚Â’s
\ _____ | _____ / Hut
Spout _ /
A-P Coach \___________ Wolf ______/
| | |_____|
| | |
|__ | ---------------------------- Wolf -------------
/ \ Spout
Poirot tells her to put on snowshoes
at first trail fork
As you can see there are two places where you will run into wolves that block
your path and prevent you from getting by. This is where RatchettÃ‚Â’s gun comes
in handy. You will have to point it at the animals to activate its use, but
as Poirot points out, you are the intruder here and there is no need to harm
them. You will fire into the air to frighten them away.
After you get by the wolf between you and the hut there will be a place where
the Eye Cursor indicates that there is something you need to look closer at Ã‚Â–
something that has been tossed into the snow. This is the ledge indicated on
the map above.
As you move closer to the ledge there appears to be an indentation in the
snow. Pass the cursor over that spot and it becomes the Hand Cursor Ã‚Â– click
and go into a cut-scene. She will reach for whatever it is that has caused
the indentation and nearly go over the edge, but she retrieves a steak knife
with the train logo imprinted on it (a close look reveals no blood and no
Now on to the shepherdÃ‚Â’s hut where you find that the door is padlocked and you
need to figure out some way to get in. Look at the bars across the window Ã‚Â–
one is loose and again the hammer comes in handy to pull it off then use the
bar to break the padlock (the padlock will end up in your inventory and a
close look will reveal what appears to be a fingerprint).
Once inside you find a train attendantÃ‚Â’s uniform and a close look shows that
a button is missing. There is a stiletto stuck in a chair and a close look
at it shows that there is dried blood on it and what appears to be a
There is also an old-fashioned wood stove with a stovepipe leading up to the
roof. Use those pliers you found under the sink to remove a section, and you
now have what you need to repair the trainÃ‚Â’s heating pipe Ã‚Â– they wonÃ‚Â’t all
freeze to death before the plow train from Brod can reach them!
Back to the train and after you Ã‚Â“fixÃ‚Â” that broken pipe, itÃ‚Â’s time to continue
the investigation, but first you need to find the rest of the items to take
fingerprints from the passengers and crew and to get them from the objects
that you examine and collect.
The Investigation Continues
After the pipe is fixed, the program will load and when it starts up again,
you will be standing in the Calais Coach outside PoirotÃ‚Â’s compartment.
The first thing you need to do is speak to Lucien, the waiter, who is at the
bar, so go to the Salon Car. He will answer your questions, tell you that his
passport is in his compartment and he will tell you that the cook, Klaus, is
in a terrible mood because he doesnÃ‚Â’t have enough olive oil and vinegar to
prepare the meal that is on the menu for that night. Now is your chance to
save the day and get into KlausÃ‚Â’s kitchen and take some more things that you
will need (before you leave Lucien though, take the glass bowl and the ice
bucket that is sitting on the bar in front of him).
(Some time while you are near the table full of food in the Restaurant Car -
before or after you search the kitchen - you need to pick up the blank menu
cards and the butter knife that are on that table).
Go to the Baggage Car and use those spouts that you got from the trees in the
woods on the olive oil and vinegar kegs. Fill one of the glasses that you
picked up earlier with olive oil and another with vinegar and go to the
Restaurant Car to take them to Klaus in his kitchen (the door that is there
between the table full of food and the Baggage Car door). When you give it to
him, he will go back to the Baggage Car to get more. This leaves the kitchen
empty for you to go in and pick up a few more things that you need.
In the Kitchen
As you enter the kitchen there is a drawer on your left Ã‚Â– open it and take a
Go to the refrigerator Ã‚Â– open it and take the orange juice.
KlausÃ‚Â’s cleaver is there on the cutting board (you can take it although itÃ‚Â’s
not a necessity because you already have something that will do the same job
that it can do Ã‚Â– in other words, it is optional to pick this up).
Go over by the stove and take the cake batter that is sitting there.
You are done in the kitchen and have everything needed for taking and
Preparing the Fingerprint Powder
To prepare your fingerprint powder Ã‚Â– put the hammer and the lump of coal into
the left side of the Gear Button window and click the Gear Button, then put
the coal dust back into the left side and add the turkey baster. Again click
the Gear Button and you have your fingerprint powder in its applicator.
Collecting Fingerprints from Items Already Collected
There are already articles in your inventory that you can get fingerprints
off of, so put each one in the left side of the Gear Button window with the
baster and click the Gear Button to apply the powder, then put the objects
with the powder on them back on the left with the sellotape to collect the
fingerprint. Marceau will comment each time that she has collected a clear
print and filed it.
These articles are Ã‚Â– the glass from RatchettÃ‚Â’s room, the stiletto and the
padlock from the shepherdÃ‚Â’s hut and the broken snowshoes from the Athens Ã‚Â–
Collecting Fingerprints from Objects Not in the Inventory
Take the baster out of the inventory and Ã‚Â‘useÃ‚Â’ it to spritz the fingerprint
powder on the object.
Next, take the sellotape out of the inventory and Ã‚Â‘useÃ‚Â’ it to collect the
print. Marceau will comment each time that she has collected a clear print
and filed it.
This is the process for every print that you want to collect on each item Ã‚Â–
handrail and vase in Compartment 7 Ã‚Â– 8 Athens Ã‚Â– Paris Coach, doorknob in
HubbardÃ‚Â’s compartment, windowsill in RatchettÃ‚Â’s compartment, and all those
items back in the Baggage Car.
What follows can actually be done in any order, but this was the way that
minimized backtracking for me.
Collecting More Evidence and Questioning Suspects
First, go back to the Calais Coach then go out through RatchettÃ‚Â’s window
and look closely at the footprints in the snow. This is where the cake
batter comes in. Pour the batter into the print to make a cast. (Unlike
plaster that will harden and can be picked up in your hand, you are dealing
with frozen cake batter that will melt from body heat and the heat inside the
train). Use the ice tongs to pick up the cast and place it in the ice bucket
to keep it frozen while it is compared to all the menÃ‚Â’s shoes.
Next, go to the front of the train and get the fingerprints of the Engineer
and the Fireman.
They have nothing important to say (in fact the Fireman doesnÃ‚Â’t even speak
English) so head back to the Athens Ã‚Â– Paris Coach and speak to Matteo first.
Ask him all possible questions and take his fingerprints.
After speaking to him, go into the occupied compartments to compare the menÃ‚Â’s
shoes to the cake batter shoeprint cast (if you searched thoroughly before you
already know where the shoes are kept). Open the cupboard doors and take out
the ice bucket with the shoe cast to Ã‚Â“compareÃ‚Â” them (Poirot will tell you
whether or not the cast and the shoes are a match).
When you get to Compartment 13, Dr. Constantine will be there. Get his
fingerprints Ã‚Â– also compare his shoes with the cast.
This time you will be able to get into MichelÃ‚Â’s compartment and when you
enter, you will find Hardman going through his clothes and removing a key.
Marceau will insist he return the key to her. Question him thoroughly and he
will tell you that his passport is in his compartment. As the questioning
continues though he will eventually confess to being a Private Investigator
hired by Ratchett to protect him. He will tell you where to find his real
passport in his compartment.
Take HardmanÃ‚Â’s fingerprints and finish searching MichelÃ‚Â’s compartment and
compare his, MichelÃ‚Â’s, shoes to the cast. Take the passport and a nice family
portrait of a man, woman and child from his suitcase.
In Compartment 7 Ã‚Â– 8 you need to get the fingerprints off the handrail and
Also, make sure you go into the compartments of the Engineer (10), Klaus (9),
the Fireman (3 Ã‚Â– 4) and Lucien (1 Ã‚Â– 2) Ã‚Â– you only need to compare shoes in
most (unless you didnÃ‚Â’t pick up their passports already), but remember to
pick up LucienÃ‚Â’s passport from his compartment and compare his shoes.
Use the key given to you by Michel to unlock the connecting door to the
Calais Coach and continue searching and questioning the rest of the suspects.
Speak to Michel and get his fingerprints.
HardmanÃ‚Â’s compartment - take his fake passport sitting on the table and look
where he said to find his real passport. His P. I. license and a letter from
Ratchett hiring him to protect him from whoever has been sending the
threatening letters are also there. Compare his shoes with the cast and
ArbuthnotÃ‚Â’s compartment Ã‚Â– he will be there when you go in so question him
thoroughly, get his passport and fingerprints and then heÃ‚Â’ll walk out in a
huff because you plan to stay there and search his compartment (if you went
through the connecting door from the princessÃ‚Â’s compartment and searched
here earlier, you will only need to compare his shoes to the cast after he
Princess DragomiroffÃ‚Â’s compartment Ã‚Â– it is empty when you first enter so take
the passport and also take the copper bracelet that she and Schmidt bought in
Istanbul for her arthritis. As you take them, the princess will come in and
assume that you are stealing something that is of little value. Question her
thoroughly and get her fingerprints. She will ask the name of the detective
that you are assisting, the one who guides the investigation, and when she
is told that it is Poirot, she will make the mysterious comment that it is
destiny that he is on board.
Count and Countess AndrenyiÃ‚Â’s compartments Ã‚Â– there is nothing to find in the
CountÃ‚Â’s luggage, but you still need to compare his shoes to the cast. There
is also nothing Ã‚Â“inÃ‚Â” the CountessÃ‚Â’s luggage, but there is a label on the
outside that when moved reveals the initials HMK (interesting Ã‚Â– something
odd that you should notice when you get their passport later).
Mrs. HubbardÃ‚Â’s compartment Ã‚Â– she is in there and goes into a tirade about
you not coming to her sooner when her evidence would have already solved
the crime if she were in America. Question her thoroughly (when you can get
a word in) and take her passport and fingerprints (you also need to get the
print off the doorknob of the connecting door between her compartment and
RatchettÃ‚Â’s compartment Ã‚Â– you needto get that fingerprint off the windowsill
before moving on to the living.
Compartment Marceau shares with Ohlsson Ã‚Â– she is there and can be questioned -
also get her fingerprints and passport. Take the Bible that is sitting on the
table because, after it is put into the Magnifying Glass window, the passage
from the Bible reference in RatchettÃ‚Â’s hat (Rev. 13:18) will be added to your
scrapbook Ã‚Â– you will need it later. Also, search her luggage now and find a
postcard from Coney Island (hmm, she claimed to never have been to America!).
Debenham and SchmidtÃ‚Â’s compartment Ã‚Â– Schmidt is there and can be questioned
and get her fingerprints and passport Ã‚Â– also pick up DebenhamÃ‚Â’s passport
from the table.
MacQueenÃ‚Â’s compartment Ã‚Â– take the papers from the valise sitting on the bed/
chair near the door Ã‚Â– when you examine them later they turn out to be two of
the threatening letters that Ratchett had been sent. MacQueen is in there so
question him and take his fingerprints and passport and compare his shoes to
the cast. You can also search his luggage now, but there is nothing in there
Foscarelli and MastermanÃ‚Â’s compartment Ã‚Â– Masterman is in there so he can be
questioned, get his fingerprints and passport and compare his shoes and
FoscarelliÃ‚Â’s to the cast. Also, search their luggage now. In MastermanÃ‚Â’s,
find a book, Ã‚Â“LoveÃ‚Â’s CaptiveÃ‚Â”, that closer examination reveals was borrowed
from a lending library that only current and retired military have access to,
and in FoscarelliÃ‚Â’s there is a ChauffeurÃ‚Â’s License issued by the State of
New York Ã‚Â– hmm, heÃ‚Â’s from Chicago, and it appears to be valid.
(YouÃ‚Â’ve compared all the menÃ‚Â’s shoes now, but IÃ‚Â’ll let you find out for
yourself which shoe fits Ã‚Â– donÃ‚Â’t want to spoil everything)
Move on to the Salon Car and question Foscarelli, the Count and Countess
and Mary Debenham and get their fingerprints and passports Ã‚Â– if you havenÃ‚Â’t
already picked them up (remember the initials on the CountessÃ‚Â’s suitcase Ã‚Â–
hmm, her passport says her name is Elena).
Also, remember to get LucienÃ‚Â’s fingerprints as you pass by him at the bar.
Go to the Baggage Car and get the fingerprints from the empty crate, the
crate that had the snowshoes in it and from Klaus (who is still in there
with the olive oil and vinegar), then go on to that Security Door.
Take the fingerprint from doorknob and then use the key that Hardman gave up
to unlock the door.
Inside there is a large crate and the bar from the hut window comes in handy
to open it Ã‚Â– what is this? The statue that should have been inside according
to MacQueen is not there. Instead there is a makeshift bed, a lamp, dishes
that someone has eaten a meal from and books Ã‚Â– a close look at the books gets
the Ã‚Â“Quite interestingÃ‚Â” comment from Poirot, so there is one more fingerprint
After youÃ‚Â’ve gotten that print, if you havenÃ‚Â’t already done so, you should go
through and compare all the prints from objects with those that you collected
from the suspects Ã‚Â– Fingerprint Button on the right side of your inventory
These are all the prints that should have been collected and compared Ã‚Â–
(I wonÃ‚Â’t give away to whom they belong to)
Tumbler from RatchettÃ‚Â’s compartment
Windowsill in RatchettÃ‚Â’s compartment
Doorknob from connecting door in HubbardÃ‚Â’s compartment
Security Room doorknob in Baggage Car
Books from crate in Security Room
Crate holding snowshoes in Baggage Car
Empty crate in Baggage Car
Handrail in Compartment 7 Ã‚Â– 8 in Athens Ã‚Â– Paris Coach
Vase in Compartment 7 Ã‚Â– 8 in Athens Ã‚Â– Paris Coach
Broken snowshoes found in Compartment 14 in Athens Ã‚Â– Paris Coach
Padlock from door of shepherdÃ‚Â’s hut in the woods
Stiletto found in the shepherdÃ‚Â’s hut in the woods
(Once you have all passports, passenger and crew fingerprints and prints from
all the objects and have compared them you can turn your attention to the
safe at the other end of the Security Room).
This is the safe that MacQueen will have mentioned when he was questioned.
There is only one number that is connected to Ratchett and that is the Bible
(You will have that page in the Documents section of your inventory if youÃ‚Â’ve
already taken a closer look at GretaÃ‚Â’s Bible using the Magnifying Window).
There are several numbers in that reference, but the one that is important is
at the bottom of the page Ã‚Â– 6 hundred, 3 score and 6 (3 score is equal to 60).
666 Ã‚Â– the number of the beast! The number of evil!
The combination works the same way as any other.
Left to 6 Ã‚Â– Right (past 6 once) to 6 Ã‚Â– Left to 6
The dial starts at 0 Ã‚Â– click on the left side of the wheel so that it turns
to the left six clicks to number 6, then click on the right side of the dial
so that the dial turns twice around to the right, past 6 once then stop on 6
when it comes around again, then click again on the left side of the dial so
that it turns a full turn around to the left back to 6.
If you have done it correctly, Marceau should comment that she thinks she
heard a click and a click on the handle of the safe opens the door. Inside
you will find RatchettÃ‚Â’s confession letter.
With this in your inventory and if you are sure that you have examined
everything Ã‚Â– prints, passports, collected objects Ã‚Â– done all the comparisons
and looked at all the collected documents (including the letter you just got
from the safe), it is time to go back to Poirot. Go to the Calais Coach.
After Ã‚Â“tellingÃ‚Â” him everything that youÃ‚Â’ve learned and going over each of
the things that youÃ‚Â’ve found Ã‚Â– with comments from Poirot, if everything has
been done and examined that was supposed to be done during this part of the
mystery, Poirot will congratulate you, tell you to finish examining the
evidence, questioning the suspects and, strangely, that you have not had
a chance to search all of the compartments (it sure seemed like you searched
everything there was to search). The mystery should advance to Part III.
Part III Ã‚Â– Poirot Sits Back and Thinks
What could you possibly have missed in your searches? You searched the
shepherdÃ‚Â’s hut in the woods, the Baggage Car, every compartment in the
Athens Ã‚Â– Paris Coach, every compartment in the Calais Coach, every cupboard,
every valiseÃ‚Â… Every valise? Every valise but one! Your own!
Go into compartment 7 Ã‚Â– 8 and search your valise. WhatÃ‚Â’s this? What cheek!
How dareÃ‚Â… someoneÃ‚Â… put that red kimono into your valise!
Now that the kimono has been found, if you check the instructions from
M. Poirot youÃ‚Â’ll see that one of the things you should be doing is using the
radio to find out information about your suspects, so itÃ‚Â’s time to check it
out and see if there is anything that can be done to get it working.
Go to the Athens Ã‚Â– Paris Coach and then to compartment 16 to check it out.
When you enter the compartment and can see out of the window a figure passes
by outside. Who is this now? The Engineer and the Fireman should be up front
tending the boiler and no one else should be out of the train. Perhaps you
better step out and see who it is.
No one is in sight? Wait! Something thrown over your head! Thrown over his
Cut-scene of unrecognizable figure carrying her through the woods and out to
the shepherdÃ‚Â’s hut.
When you regain control, you have apparently been locked in and everything
from your inventory has been taken. Move the cursor around Ã‚Â– the View Cursor!
Something under the cot! What is the princessÃ‚Â’s parasol doing here? Move to
the window and open it up. The gap where the bar was removed is too small for
you to climb through, but looking out you can see that you are not actually
Ã‚Â“lockedÃ‚Â” in. The door is being held shut with the broken padlock that was
part of your inventory. Use the parasol to reach out and knock the lock off.
FREE! And, something even stranger waiting outside Ã‚Â– a box holding everything
that you had in your inventory (a most generous kidnapper), or is it
The snowshoes are still there, so Ã‚Â“putÃ‚Â” them on and head back to the train
(careful, the visibility is very bad Ã‚Â– donÃ‚Â’t get lost).
When you get back to the train, the first thing you need to do is get that
radio working. Everything that you need is in your inventory Ã‚Â–
the glass bowl, the copper bracelet, the metal statuette, the orange juice,
the butter knife, the nails from the crate and the copper wire.
First, prepare the copper bracelet, the copper wire and the butter knife.
Put the copper bracelet and the hammer into the windows on the left side of
the Gear Button window then click on the Gear Button in the center Ã‚Â–
you should now have a straightened bracelet with a hook on one end.
Put the copper wire and the pliers (or the cleaver - doesnÃ‚Â’t matter which)
into the windows on the left and click the Gear Button Ã‚Â–
you should have two pieces of wire.
Put the butter knife and the hammer into the windows on the left and click
the Gear Button Ã‚Â–
you should have a bent butter knife.
Now, put the bent butter knife, the nails and the hammer into the windows on
the left and click the Gear Button Ã‚Â–
you should have a makeshift telegraph key.
Move in close to the radio and the table it is sitting on Ã‚Â–
- Put the glass bowl on the table
- Pour the orange juice into the bowl
- Put the statuette into the bowl of orange juice
- Put the straightened bracelet into the bowl of orange juice
(The wires that are already there with the radio will automatically attach to
the bracelet and the statuette and you will have a makeshift battery Ã‚Â– donÃ‚Â’t
leave the radio on and run it down!)
Next, put the makeshift telegraph key on the table and then Ã‚Â“attachÃ‚Â” the two
copper wires. (You now have a working radio and a Ã‚Â“Morse CodeÃ‚Â” book, but whom
do you contact? Time to go see Poirot again and tell him about the kidnapping
and the radio).
Go to the Calais Coach. After you tell Poirot everything and discuss what you
have learned so far, he will tell you about his friend, M. Lewes, who has a
son named Barnabas (or Barnaby), and about how Barnaby has an interest in
Ã‚Â“the radio of hamÃ‚Â”.
The letter that his friend has sent to him includes BarnabyÃ‚Â’s call letters.
These are necessary to get in touch with him specifically, and Poirot
believes that he can help by doing some research into the backgrounds
of the suspects that they canÃ‚Â’t do stuck on a train in the mountains.
Go back to the Athens Ã‚Â– Paris Coach and Compartment 16.
The Barnaby Dispatch
You don't need to have every question that you will ask of Barnaby because
everything is done automatically Ã‚Â– all you have to do is turn on the radio
and move the cursor over the Ã‚Â“telegraph keyÃ‚Â” and click on it to start the
transmission and then click on every question that comes up for it to be
sent to Barnaby.
When you are done sending the questions, turn off the radio and after a brief
wait (all you have to do is turn the radio off then turn it back on) and click
on the telegraph key to get BarnabyÃ‚Â’s answers. Also, you donÃ‚Â’t need to write
everything down because you will be able to go to the documents section of
your inventory to re-examine everything in The Barnaby Dispatch.
After you get his answers to those first questions (they will raise some
questions about Dr. Constantine, Michel and the Countess Andrenyi) youÃ‚Â’ll ask
one more question then sign off again, wait a moment, then call Barnaby back
and get the answer to that question (hmm, it seems Colonel Arbuthnot has some
explaining to do, too) Ã‚Â– you can turn off the radio for now although, you are
not completely through with Barnaby yet.
You need to ask your suspects some more questions and most of them are in the
Salon Car or the Restaurant Car so, first, go back to the Salon Car.
Speak to each one Ã‚Â– MacQueen and Arbuthnot first, Foscarelli, Hubbard and
Hardman Ã‚Â– Mary Debenham is there also, but she isnÃ‚Â’t doing any talking at this
point, then go to the Restaurant Car Ã‚Â– Dr. Constantine, Masterman, Count and
Countess Andrenyi, Princess Dragomiroff, Schmidt and Ohlsson. Some may offer
nothing new, but speak to them anyway Ã‚Â– or try to.
(While she is there so close, perhaps she should go to the Baggage Car and
take another look at that crate in the Security Room Ã‚Â– hmm, door is locked
and the key is gone Ã‚Â– so, everything wasnÃ‚Â’t returned after all).
Go back to the Calais Coach and report what youÃ‚Â’ve learned to Poirot. The
discussion about what you've learned so far will bring up two more questions
for Barnaby to research for you, and once you have his response you can go
back and talk to Mary Debenham (everyone else has stopped talking at this
point), then report back to Poirot Ã‚Â– you now feel that you have all of the
pieces, all that remains is to assemble them properly to solve the crime.
If you have done everything, collected and examined everything, asked every
question, then Poirot will announce that he is ready to speak (with input
from you - one little hint Ã‚Â– if youÃ‚Â’ve read the book or seen one of the
movies, donÃ‚Â’t let them guide your responses to PoirotÃ‚Â’s queries during his
presentation Ã‚Â– use only the evidence that you have gathered during your
When everyone is gathered in the Salon Car, Poirot announces that he will
present three possible solutions to the mystery and you and Dr. Constantine
will be the ones to decide which solution best serves justice. Two of these
solutions are obviously supported by the evidence gathered by you and the
third, only Poirot (and one other) know anything about.
The first solution presented is that the killer is some unknown person
(ex-associate of CassettiÃ‚Â’s) who snuck aboard the train in Belgrade in an
attendantÃ‚Â’s uniform, killed Cassetti with the stiletto, made his way to the
hut where he left the uniform and stiletto.
Evidence Supporting First Solution
These are questions that Poirot directs to you about the evidence that you
have collected Ã‚Â–
What is the evidence that Ratchett had an unknown enemy?
- The threatening letter
Who was the detective that Ratchett hired to protect him?
- Cyrus Hardman, posing as a salesman of typewriter ribbons
The description provided by Hardman of a small, dark man with a Ã‚Â“womanishÃ‚Â”
voice fit which two men (except for the voice) still on the train?
- Matteo, the Athens Ã‚Â– Paris Coach attendant and Dr. Constantine
RatchettÃ‚Â’s enemy came aboard the train in Belgrade in one of two ways?
- Through the door left unbolted by M. MacQueen
What was this enemiesÃ‚Â’ disguise?
- AttendantÃ‚Â’s uniform
Who confirmed the dosage of the sleeping draught that Ratchett had taken?
What was this enemiesÃ‚Â’ murder weapon?
- The stiletto
What supported the theory that the killerÃ‚Â’s plan was to leave the train at
the next station after the murder?
- The torn letter
Where did the killer hide after the murder?
- In an empty compartment on the Athens Ã‚Â– Paris Coach, or
- In the ShepherdÃ‚Â’s hut (either one is acceptable)
That completes the scenario and evidence supporting an unknown enemy coming
aboard the train and killing Ratchett, then escaping into the woods to get
away completely or, perhaps, to be lying frozen in the snow or broken at the
bottom of a rocky ravine.
The second solution involves everyone on the Calais Coach except Poirot and
Marceau. A group of people who have gathered together and, ten years before,
were involved in one way or another with Daisy Armstrong and the tragedy that
destroyed a family and brought grief and a desire for justice to those that
were touched by that tragedy.
Evidence Supporting Second Solution
Again, these are the questions directed to you about the evidence that you
have collected Ã‚Â–
What time did Ratchett actually die?
- Later than 1:15am
Under what conditions, other than the Express, would such an assembly of this
many nationalities and classes gather together? (Poirot has asked you this one
before and your response should be the same)
- In America
Clearly, there are nine passengers who are connected in some way to the
Armstrong kidnapping. Who are they?
- Countess Andrenyi
- Colonel Arbuthnot
- Mary Debenham
- Princess Dragomiroff
- Antonio Foscarelli
- Hector MacQueen
- Edward Masterman
- Greta Ohlsson
- Hildegarde Schmidt
- None of the above Ã‚Â– when the only ones left are Count Andrenyi,
Cyrus Hardman, Pierre Michel and Caroline Hubbard because these
four are the only ones not known to be involved
Who was it that said, Ã‚Â“Trial by jury is a sound systemÃ‚Â”?
- Colonel Arbuthnot
What are the clues that point to the first solution?
- All of these clues agree with first solution (all of the above)
What were the two suggestive comments made by Cyrus Hardman during your
- He said the snow was bright (when it wasnÃ‚Â’t because it was overcast)
- When he apologized and said that he is fond of French girls
(Hardman was going to marry the French nursemaid, Susanne Ferrier, but she
committed suicide because the police would not believe that she was not
involved with the kidnapping of Daisy Ã‚Â– until after she was dead.)
What was the name of SusanneÃ‚Â’s guardian / uncle?
- M. Ferrier
(Pierre Michel was the guardian of Susanne after her father and mother had
been killed in a car accident.)
The Count has sworn on his word of honor that the Countess did not leave her
compartment that night, so if he took her place on the list of the original
nine, that still leaves only eleven of the twelve accounted for Ã‚Â– that means
that number twelve must be Caroline Hubbard, and Caroline Hubbard must, in
actuality, be the mother of the Countess Andrenyi and the mother of Sonia
Armstrong. She must be, the actress, Linda Arden and the mastermind of the
execution of the murderer, Cassetti!
What was the real murder weapon?
- The steak knife from the train
What were the two, so called, clues dropped in the murdered manÃ‚Â’s compartment?
- The pipe cleaner Ã‚Â– incriminating the man with the strongest alibi and
the least apparent connection to the Armstrong household
- The PrincessÃ‚Â’s handkerchief Ã‚Â– incriminating the most frail among
them who also had a very strong alibi
What was the clue found at the shepherdÃ‚Â’s hut with evidence incriminating
someone other than the people on the Calais Coach?
- The padlock with MatteoÃ‚Â’s fingerprint
What was the other Ã‚Â“redÃ‚Â” herring?
- The scarlet kimono
During and after PoirotÃ‚Â’s recital of his theory of the second solution there
are Ã‚Â‘explanationsÃ‚Â’ from the suspects of what occurred and why, and then a
question from Linda Arden, since he seems to know everything and they know
that they did it, how can there possibly be a third solution?
Evidence Supporting Third Solution
Hildegarde Schmidt and Cyrus Hardman both gave a Ã‚Â‘descriptionÃ‚Â’ of a small,
dark man with a Ã‚Â“womanishÃ‚Â” voice in the evidence that they had given during
MarceauÃ‚Â’s questioning Ã‚Â– Schmidt saying that she had seen this person dressed
in an attendantÃ‚Â’s uniform and Hardman saying that it was a description given
to him by Ratchett of the person who was supposed to be after him Ã‚Â– this
Ã‚Â“personÃ‚Â” was supposed to be non-existent according to the second solution,
but there was independent testimony from someone not involved with the other
twelve claiming to have seen him.
Who saw this Ã‚Â“non-existent, small, dark person dressed in an attendantÃ‚Â’s
uniformÃ‚Â” get on the train?
- The Engineer
What are the clues that associate themselves with the crate and the existence
of this person?
- The second attendantÃ‚Â’s uniform
- The pile of books
From here I will let Poirot present the third solution.
Afterwards, it will be the decision of Marceau and Dr. Constantine which
solution will be given to the Yugoslavian police when they finally arrive at
Brod Ã‚Â– which shouldnÃ‚Â’t be too much longer, the plow train is almost there!
Well done! You have solved the mystery and your Ã‚Â“little grey cellsÃ‚Â” have
provedÃ‚Â… almost the equal of Hercule PoirotÃ‚Â’s!
This document is a walkthrough for The Adventure Company's "Murder on the
Orient Express" PC game, which is based on the popular novel of the same name
written by Agatha Christie.
Agatha ChristieÃ‚Â’s Murder on the Orient Express is a product of The Adventure
Company Ã‚Â– AWE Games - ÃƒÂ£2006 DreamCatcher International Inc.
Copyright ÃƒÂ£2008 myster_nut - This walkthrough is exclusively available at
GameFAQs and may not be reproduced anywhere else unless authorized by me.
You can contact me at firstname.lastname@example.org
(An interesting trivia tidbit Ã‚Â– as Ratchett is telling Hector that neither
of them are having dessert and then speaking to Poirot, you can see a word,
Ã‚Â“froyÃ‚Â”, on the window behind him. At first I was wondering if this was a bit
of misdirection on the game makers part, but after finishing the game, I
think it was just someoneÃ‚Â’s idea of a bit of fun. There was a movie made
back in the 40Ã‚Â’s called The Lady Vanishes about a group of travelers on the
Calais Coach traveling through Europe right around the start of WWII. A man,
who, interestingly enough, is recovering from a nervous breakdown, meets an
older lady in the Restaurant Car on the train who tries to tell him her name,
but because loud noises keep preventing him from hearing what she is trying
to say, she uses her finger to print her name, Ã‚Â“froyÃ‚Â”, in the steam that has
collected on the window beside them, but not too long afterwards the lady
vanishes from the train. When the man tries to find her, everyone he speaks
to claims that they never saw the lady he describes and just as they are
convincing him that he must have hallucinated her and she never really existed,
he sees the ghost of her name still there on the window where she had printed