Who Killed Ratchett In Murder On The Orient Express Book?

2026-05-24 11:05:16 238
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Thomas
Thomas
2026-05-26 07:45:40
Ah, 'Murder on the Orient Express'—what a masterpiece! The twist still gives me chills. Ratchett's murder isn't the work of a single person; it's a collective act of vengeance by all twelve passengers in the Carriage No. 1, including the seemingly innocent ones like the demure Mary Debenham or the elderly Mrs. Hubbard. They each took turns stabbing him, symbolizing justice for the kidnapping and murder of little Daisy Armstrong, which Ratchett (real name Cassetti) orchestrated years earlier. Poirot's brilliance lies in unraveling this web of shared guilt, where every wound was calculated to blur the truth.

What fascinates me is how Christie turns morality on its head. The killers aren't villains; they're victims delivering poetic justice. The ending, where Poirot offers two solutions—one neat, one messy—forces readers to question whether some crimes deserve unconventional punishment. I still debate it with friends—would I have stabbed Ratchett too? Probably.
Finn
Finn
2026-05-27 12:39:14
Ratchett’s murder is one of those plot twists that sticks with you. The truth? Everyone did it—literally every passenger in that compartment. They were all connected to the Armstrong tragedy, and their shared guilt turned the Orient Express into a courtroom. Christie’s audacity to have twelve culprits still feels revolutionary.

The beauty is in the chaos: differing dagger styles, conflicting alibis, and Poirot’s quiet acknowledgement that some crimes defy legal justice. It’s not a whodunit; it’s a 'they all did.' And that morally gray resolution? Chef’s kiss.
Ursula
Ursula
2026-05-27 16:38:05
Let me geek out about this for a sec—Ratchett's death is like a dark symphony conducted by Agatha Christie. Every passenger in that carriage had a motive tied to the Armstrong case, and they executed the murder like a twisted orchestra. The actual killers? All of them: the Countess with her embroidery scissors, the secretary with his precise strikes, even the fiery Pilar Estravados. The genius is in the details: the multiple stab wounds of varying strength, making it impossible to pin on one person.

What gets me is how Christie plays with perception. The first time I read it, I assumed it was a lone killer hiding among the group. Nope—it’s a collaborative act, a mic drop on traditional whodunits. And Poirot’s final choice to let them go? Chills. It’s not just about solving a crime; it’s about asking if justice can ever be black-and-white.
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