‘You mean because the set-up was perfect. Well, what’s to hinder the other set-up being as perfect as the Charles Martin one?’
‘Nothing, of course. Clever murders, as I say, do happen. But it is much easier to forge an identity than to get away with murder. How do you think it was done? Someone came in and slugged him after the train left Euston, and arranged it to look like a fall?’
‘Yes.’
‘But no one visited B Seven after the train left Euston. B Eight heard him come back shortly after the attendant had done his round, and close his door. After that there was no conversation.’
‘It doesn’t need conversation to slug a man on the back of the head.’
‘No, but it does need opportunity. The chances against opening that door and finding the occupant in the right position for slugging him are astronomical. It’s not an easy place to take a swing at anyone, even choosing your own time: a sleeping compartment. Anyone with lethal intentions would have to come into the compartment: it couldn’t be done from the corridor. It couldn’t be done when the victim was in bed. And it couldn’t be done with the victim facing you; and he would face round as soon as he was aware that there was someone in the compartment. Therefore it could only be done after preliminary conversation. And B Eight says there was no conversation or visiting. B Eight is the kind of woman who “can’t sleep on a train”. She makes up her mind about that beforehand, and every little sound and squeak and rattle is welcomed as a sign of her suffering. She is usually dead asleep and snoring by about half-past two; but long before that time Bill Kenrick was dead.’
‘Did she hear him fall?’
‘She heard a “thump”, it seems, and thought that he was taking down a suitcase. He had no suitcase, of course, that would make a thump in being handled. Did Bill speak French, by the way?’
‘Well enough to get by.’
‘ Avec moi. ’