63 pages 2-hour read

Everyone on This Train Is a Suspect

Fiction | Novel | Adult | Published in 2023

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Part 3Chapter Summaries & Analyses

Part 3: “Forensic”

Part 3, Chapter 12 Summary

The passengers are sent to their cabins. Ernie and Juliette argue about whether McTavish’s death is suspicious. Ernie ticks off the reasons that those aboard the train might wish McTavish dead; when he tells Juliette about his conversation with Royce outside McTavish’s cabin and the argument he overheard in the corridor, Juliette is dismayed at his behavior and accuses him of simply wanting material for a new book. Ernie says that if a murderer is aboard, he wants to stop the killer before more murders occur because he feels bad that he wasn’t smart and quick enough to stop the series of murders on the mountain. Juliette tells him that they weren’t his fault but agrees that he should investigate a little if it makes him feel better. Ernie thinks that McTavish was poisoned and decides that he must see the body. Juliette is appalled and tells him that he needs to let the authorities handle that kind of thing. Ernie tells her that the authors aboard each have a specialty that he can call on to aid his investigation: Royce, for instance, was once a forensic pathologist. Juliette tries to express her frustration about how Ernie is obsessing over his own concerns and ignoring hers; however, he misses her meaning and leaves to find Royce.

Part 3, Chapter 13 Summary

Ernie and Royce talk in Royce’s filthy cabin, which Ernie secretly wants to inspect for clues. As they talk, Royce begins taking notes in his notebook; Ernie fails to understand that Royce is trying to investigate Ernie too. When Ernie says that he thinks McTavish was poisoned with something in his flask, Royce treats this like an admission. Ernie clarifies that he’s looking for Royce’s help as a former pathologist, but Royce is clearly set on his idea that Ernie is the killer. He tells Ernie that he has solved the case, and Ernie is incensed at the idea that Royce has worked it out ahead of him. Royce then says that the only thing he hasn’t figured out is where Ernie got the heroin to kill McTavish, and Ernie finally realizes that Royce is accusing him of killing McTavish to get material for his book. Ernie eventually convinces Royce that he might not be the killer and might genuinely just be looking for Royce’s advice. They depart to look at the body together, but not before Ernie takes note of the very sharp and sturdy Gemini Publishing pen that Royce is holding.

Part 3, Chapter 14 Summary

Ernie and Royce persuade Aaron, who is reluctant, to let them examine McTavish’s body. Aaron tells Ernie that this is far from the worst thing he’s ever seen on the Ghan; 30 years ago, for instance, when it was still a freight train, the Ghan struck a school bus that was parked on the track. Four children, a teacher, and the bus driver were killed. Ernie directly addresses readers, commenting that “the past, in mystery novels, never sleeps. A second case always becomes important to the overall solution which […] is going to be the case here. Of course, there are a few timelines and second cases to choose from” (140). Royce announces that he needs to see McTavish’s room and his flask. When they arrive at McTavish’s room, Aaron opens the door and, seeing someone inside, angrily demands to know what the person is doing there.

Part 3, Chapter 15 Summary

Brooke sits on the floor of McTavish’s room, rifling through some papers. Royce draws Ernie’s attention to an expensive, half-full bottle of whiskey. Ernie realizes that McTavish himself gave Brooke a key to the room: His comment about the whiskey being too nice to drink alone was an invitation for her to share it with him. Brooke admits that McTavish was her hero but says that she was upset when he treated her like a sexual object and she refused to engage. In the trash, Ernie finds bloody tissues and a card saying, “From an admirer” (145). What he doesn’t see anywhere in the carriage is McTavish’s typewriter; he finds only a single pen. He sees Royce hide a piece of paper in his pocket. Royce asks Aaron about the flask, but when Aaron radios Cynthia, she says that she already washed it.


Ernie picks up a paper on which someone was trying to work out the significance of the name Archibald Bench. He allows Brooke to take it, assuming that it fell out of her scrapbook. When he accuses her of being in McTavish’s room to take his final manuscript as a souvenir, she admits that this is true. Ernie suspects that Brooke gave McTavish the bloody nose but keeps this to himself. Brooke shows him a 2003 review of McTavish’s second book that criticizes it as a poor follow-up to his successful debut. The reviewer mentions an Edinburgh writers’ panel that McTavish sat on that year, along with Lisa Fulton and S. F. Majors. Brooke points out that this took place a year before the publication of Off the Rails, McTavish’s third book, the one that returned him to his successful status and that Majors was asking questions about during the recent festival panel. Brooke makes the connection explicit: McTavish stole the idea for the book from Majors. Ernie asks about her Archie Bench comment, and she cryptically replies that Archie Bench is the reason she would not have killed McTavish. Royce appears and comments that Fulton and McTavish had sex in Edinburgh and that “Henry said she was a real firecracker of a lay” (155). The train comes to a sudden stop: They’ve arrived in Alice Springs.

Part 3, Chapter 16 Summary

Ernie and Juliette explore the town, stopping for dessert at a place that Majors recommended. They then join an excursion to Simpsons Gap. Most of the people from the train are along, enjoying the natural scenery. Harriet and Jasper take selfies, and Fulton puts some aloe on Brooke’s one sunburned arm. Ernie overhears part of an argument between Harriet and Jasper about something Jasper has agreed to do because he’s being offered a lot of money. When the group returns to the train, Ernie spots Douglas on the platform, surreptitiously tossing something into a trash can. When Ernie slips away to investigate, he finds that Douglas has thrown away a revolver.

Part 3 Analysis

“Forensic” focuses on Royce, who writes forensic thrillers, and details Ernie and Royce’s forensic investigation of McTavish’s corpse and rooms. Ernie’s weaknesses as a detective are on full display in these chapters: Although he’s looking in the right places, he often jumps too quickly to the wrong conclusions because he doesn’t think deeply about others’ perspectives.


Juliette and Ernie’s argument in Chapter 12 about McTavish’s death sets the tone for the remainder of the section and reinforces their previous characterizations: Juliette tries to get Ernie to show interest in her needs and desires, but he’s consumed with regret over what happened on the mountain and can’t attend to anything outside of his own impulses. He hastily concludes that her supportive comments mean that he can proceed however he wishes—not because this shows any insight into Juliette’s perspective but because it’s a convenient conclusion. The conflict between Juliette and Ernie that has been developing since they boarded the train is now out in the open, but Ernie still isn’t paying sufficient attention to realize that he’s alienating the woman he hopes to marry.


Ernie’s general obtuseness continues throughout this section. During his conversation with Royce in Royce’s room, it’s obvious that Royce suspects Ernie and is building a case against him, but Ernie steamrolls ahead, ignoring Royce’s cues, until Royce directly accuses him. In an amusing addition to the text’s thematic examination of The Foibles of Literary Culture and Authorial Ego, Ernie is stunned to have to consider for the first time that, just as he sees himself as the narrator and protagonist, Royce might also view himself as the story’s narrator and protagonist. Ernie begins to grapple with the idea that his story might not be the only one that matters.


When he has an opportunity to question Brooke, Ernie assumes that he knows why she’s in McTavish’s room. He doesn’t follow up on the clue she offers about Archibald Bench or think critically about why she might have only one sunburned arm. Obviously an intelligent woman, Brooke diverts Ernie’s questioning by showing him the review of McTavish’s book and providing a motive for Majors to have killed McTavish. However, Ernie apparently doesn’t notice her intelligence or anything unusual about the depth of her distress over McTavish’s sexual advances. Brooke isn’t the starry-eyed fan that Ernie assumes she is, but because he doesn’t look beneath the surface, he misunderstands her intense interest in McTavish. Her characterization throughout this scene foreshadows the later revelation that, although McTavish didn’t know it, she’s his daughter.


Despite Ernie’s cluelessness about other people, he continues to be an engaging narrator whom readers may feel encouraged to root for. His narrative voice is witty, and he seems to genuinely care about keeping his readers interested. His descriptions are studded with vivid metaphors and similes, such as his comment that “[s]ilence is a tap left running; it fills and fills until it overflows and becomes unsurmountable” (123). He creates humor through litotes, as when he remarks that “a hirsute man who punished his organs with lashings from a silver flask wasn’t an unlikely candidate for an early demise” (119). He offers frequent sarcastic quips, and he continues to parody his own genre by pointing out clues, joking about mystery tropes, and so on. Ernie’s constant commentary about his own authorial craft and the elements of his mystery contributes to the text’s metafictional consideration of the themes of Language as a Tool to Manipulate Perception and Genre and Its Impact on Creativity, but his commentary is also part of his sincere desire to “play fair” with readers so that the mystery’s solution is within reach and the story remains entertaining. In addition, Ernie is endearingly human. His flaws aren’t terrible—most people are self-involved at times. He’s ready to admit his own errors when he finally sees them, and he often pokes fun at himself. The revelation that he feels guilt over not being a good enough detective to have averted at least some of the murders on the mountain, like the earlier revelation of his survivor’s guilt, creates empathy and a desire to see him grow into a better detective and a better man.

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