One White Rose For Death is the fourth episode in the third season of Murder, She Wrote.
It’s not one of the most memorable episodes, probably because the setup of Jessica being used to help a classical performer from behind the Iron Curtain to defect while on an American tour was used in the first season (Death Takes a Curtain Call) and had the extremely memorable Major Anatole Karzof of the KGB. That said, this is a fun and interesting episode.
The plot is very different; instead of a former Russian defector and relative of the performer, who brought Jessica to the theater, being the one to help the couple, it’s a British secret agent they met at the theater, and instead of hiding out at Jessica’s house they end up hiding out at the British embassy in whatever country they’re in (most everyone has a British accent, but they hide out at the British embassy so the one country they can’t be in is Great Britain). It’s this later part that makes the episode so interesting: since the murder is committed inside of the embassy, it becomes a closed-mansion mystery.
There is the added tension from the defection story; only the brother (Franz) defected—he had been a spy for the British after the secret police murder his wife—while his sister (Gretta) was dragged along and isn’t happy about it. Then they find out that the East German secret police is holding their parents hostage. This spy-thrilleresque thread vies with the murder mystery thread to be the main plot; it keeps the tension up for the entire episode.
The murder victim gives us a clue—his dead hand clutches the titular white rose.
Jessica overheard the victim asking spy headquarters for information on a mission that had been called White Rose. Fortunately, Michael, the spy who got Jessica into this mess, knows what it was about—it was a failed mission to protect an anti-apartheid activist in South Africa, ten years before. (The activist was assassinated.)
The victim was also a spy, in fact Michael had recruited him into the spying business, so he took the murder very personally. He came from a long line of stuffy bankers and his “banker’s face” made him perfect for the spy businesses. The most important thing about being a spy is to be able to pass oneself off as anything, such as a tradesman.
Fortunately for everyone, not least of all the audience, because everyone in the embassy is a suspect, the diplomat in charge of the embassy gives Jessica free run to investigate the murder. I didn’t quite follow his logic, here, but it’s always more pleasant when the detective has the right to investigate, so I don’t want to look a gift horse in the mouth.
Initial investigations turn up that:
- the doctor had ties to anti-apartheid activists in South Africa
- the diplomat’s wife is from Rhodesia
- the victim’s fingernails and eyes show “moons”. He was killed with a fast-acting poison, which Jessica takes to mean a poisoned weapon.
#3 means that the murder weapon was probably professional; not many people besides professionals carry poisoned stabbing weapons. With the white rose connection, it seems likely that the victim recognized the assassin from operation White Rose. #1 gets dismissed fairly quickly because he was on the wrong side to have assassinated the activist being protected in operation White Rose. #2 bears more investigation, which happens fairly quickly.
The diplomat and his wife come clean.
While she came from Rhodesia, she was the daughter of a light-skinned servant who had been raped by one of her white masters. She was taken from Rhodesia as a child and grew up in England; she hadn’t been near South Africa in over a decade when the assassination happened. The diplomat was stationed in Hong Kong back then. They had been secretive and not forthcoming with their alibis because they wanted to keep the wife’s background a secret due to the diplomat’s needing social standing for his job. After this is revealed Michael walks in with the news that the doctor can be ruled out too because he was in prison (for having participated in a peace march) the day that the activist was killed.
Michael declares the theory that the victim was killed because he recognized the assassin a bust. “I mean, what would a professional assassin be doing here at the embassy?” This question is the spark which gives Jessica the answer. “Unless here is not where he was supposed to be,” she replies.
At this point we can figure out who did it by simple process of elimination. There’s no way it could be the East Germans, so the only person left is the literary agent who met Jessica at the airport and accompanied her to the concert.
There’s a brief scene at the beginning where we meet the literary agent who escorts Jessica and he apologized for the person, Jeffrey, who she expected wasn’t able to meet her because he got tied up in some meeting. Jessica reveals that she just called her agency and they knew nothing about Jeffrey being on any sort of assignment. The police went to his apartment and found him strangled in bed.
The literary agent pulls out his pipe, which the secret agent grabs from him. It turns out that there was a secret stiletto blade in it, presumably poisoned. Later on, we see him arrested. Jessica complains to the British spy that the faux literary agent used her to try to get at the Prime Minister to assassinate him, and it would have worked had the British spy not brought them to the embassy at gunpoint.
The setting of this episode is really excellent. Especially when it comes to a TV show, the embassy of a reasonably rich country like Great Britain makes for a spectacular setting. It’s one of the few places where you can have an ornate, old-fashioned mansion outside of England. Even more, it’s one of the few places where you can have a sealed mansion in America that’s not on a private island. It’s a really great setting. It’s not surprising that embassies are a popular place to set a murder. Really, it’s only surprising that they’re not more popular. After all, there are a lot of embassies in the world.
The construction of this episode is interesting. The dramatic event of an East German trying to defect to the west is merely the setting for the murder. This complicates the plot and serves as an excellent distraction. Further, it does a very good job of hiding the murderer to have him brought along at gunpoint to where he would rather not be. As Chesterton put it:
A great part of the craft or trick of writing mystery stories consists in finding a convincing but misleading reason for the prominence of the criminal, over and above his legitimate business of committing the crime. Many mysteries fail merely by leaving him at loose ends in the story, with apparently nothing to do except to commit the crime. He is generally well off, or our just and equal law would probably have him arrested as a vagrant long before he was arrested as a murderer. We reach the stage of suspecting such a character by a very rapid if unconscious process of elimination. Generally we suspect him merely because he has not been suspected. The art of narrative consists in convincing the reader for a time, not only that the character might have come on the premises with no intention to commit a felony, but that the author has put him there with some intention that is not felonious.
Now, the device of the murderer having to improvise a murder because he was recognized by someone he was thrown together with by chance fulfills this criteria exceedingly well. It does so with a trade-off, of course. That trade-off is that there is exceedingly little that could point to one person instead of another as the murderer. Structurally, the murderer could be anyone since he has an entirely secret relationship to the victim. There is no alternative to examining each person in turn and arriving at the correct conclusion by a process of elimination.
The best the author can do is to eliminate all of the suspects, in which case there is some deductive work to do in figuring out which suspect should not have been eliminated. The second best one can do is what was done in this episode, where it merely seems that all of the suspects have been eliminated because there was one we never thought of.
There is a difficult question which comes up here of giving the murderer an opportunity to murder the victim. This is difficult precisely because it must be done in a way that the reader sees, but not in a way that he notices.
That was done in this episode by an exchange where the faux literary agent demanded to leave and when he was told that he was not yet free to leave no matter who in the home office he knows, he excused himself to go to the bathroom. This exchange was colorful and mildly humorous, which seemed to explain its presence. It did put him alone for a time, which gives him opportunity, but it didn’t give him much opportunity. The body is discovered about two and a half minutes later in the episode, which is close to what it would have been in the story. There’s only one scene break, and it’s Jessica going to find Gretta—they discover the body together after their conversation. This gave the faux literary agent very little time to find his man, stab him, and make his escape. Other than that very brief time, he was always in the lounge, at least as far as we can tell, and always with one or more others there with him. It was enough time, but only if he was lucky and ran into his man, alone, almost immediately.
One thing that was never explained—and possibly because this would have been difficult, never questioned—was what the victim was doing in the garden. We last saw him trying to dig up information on operation White Rose on the telephone. There’s no obvious reason for him to go into the garden. And the body was not hidden, so it pretty much had to have been killed in the garden. If the body was moved to the garden, it would have been hidden. The last thing that the faux literary agent wanted was for the body to be found. The garden was clearly large enough to hide a body such that it would take a while for people who weren’t looking for it to find it. Where it was, Gretta only found it by tripping over an extended foot. (Also, had the body been moved, the killer would presumably have removed the white rose which pointed to him.)
The final thing to discuss, I think, is the choice of killer and victim. The killer was a professional assassin and the victim a professional spy. Granted, the professional assassin murdered the victim only in order to protect himself from being recognized and not because he was being paid for it, but it still removes the murder from those ordinary motives and passions which make murder mysteries morality plays. It’s just difficult to relate to someone being able to identify one as a professional assassin when one has never killed for money.
(Also, come to think of it, how on earth did the victim recognize the killer? The activist who was killed during operation White Rose was stabbed to death, but the assassin escaped into the crowd “before anyone knew what had happened”. That’s not really the sort of circumstance under which one will get a really good look at the assassin, to recognize him 9 years later in a completely different context. And, given that the victim did recognize him, why did the victim let him get within stabbing range in the garden? He was stabbed in the chest, not in the back. A solitary garden, even in the dark, is a sub-optimal place to sneak up on a man to stab him in the chest. I suppose he could have sneaked up on the victim from behind and at the last moment the victim heard him and wheeled around, too late to defend himself.)
Overall, I think that the plotting and structure of this episode are above average for Murder, She Wrote. It’s a fun episode, though of course part of that is the setting. That said, the setting is a choice, and it was a good one. A good setting can go a long way to making a good plot easier to pull off.