64 pages • 2 hours read
Anthony HorowitzA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Susan finishes reading Atticus Pünd Takes the Case. She feels she has learned nothing as the novel’s events bear only a superficial resemblance to Frank Parris’s murder. Susan recalls the edits she unsuccessfully tried to persuade Alan Conway into making, such as his offensive portrayal of Eric Chandler. It occurs to Susan that Alan may have refused certain changes as they were vital to the secret message of the novel. For example, she felt the chapter “Darkness Falls” was too derivative of Agatha Christie’s Endless Night. She also objected to the references to real people such as Bert Lahr and Alfred Hitchcock. Most of all, she was troubled by the anachronistic inclusion of the LMR 57 steam engine in the final chapter.
Susan looks for patterns in the text and realizes that all the characters’ last names reference mystery writers such as Raymond Chandler, Ngaio Marsh, James M. Cain, and P.D. James. Also, each character’s name is connected to a real-life person. For example, Leonard Collins and Lionel Corby share the same initials, as do Simon Cox and Stefan Codrescu. However, Susan can detect little logic in these connections. For example, Melissa James shares the initials of Melissa Johnson, but her character seems to be based on Lisa Treherne.
Susan notes that both Frank Parris and Francis Pendleton lied about attending The Marriage of Figaro. Also, the dogs, Bear and Kimba, both barked when a murder occurred. However, Susan is unsure of the significance of these parallels. Returning to the novel’s dedication, “For Frank and Leo: in remembrance” (477), Susan is convinced Leo must be the sex worker Frank hired. She texts James Taylor, asking if Leo died. James replies that he does not know but suggests Leo may have been a “pet” name.
Lisa confronts Susan, saying that as her investigations have been unsuccessful, she should leave. Susan asks if Lisa’s parents know she was sleeping with Stefan before she fired him. Lisa agrees to allow Susan to stay for two more days.
Susan realizes she wants to return to Crete and Andreas but hopes to solve the case first. Still suspicious of Eloise, she calls the agency Knightsbridge Nannies. Susan learns that Eloise was a receptionist at McCann Erickson, the advertising agency where Frank Parris also worked.
Susan confronts Martin and Joanne Williams, revealing that she knows Frank was forcing them to sell Heath House. She also calls Martin out on his lie, explaining that Frank could not have seen the marquee on the morning of the wedding. Martin insists Frank must have made a mistake and asks her to leave.
Next, Susan visits the Brambles, the small, run-down cottage where Derek Endicott lives with his mother. Gwyneth Endicott has emphysema, and her friendly manner is nothing like that of Phyllis Chandler. Susan asks Derek about the day when he overheard Cecily calling her parents. He tells her that no one else was around apart from Eloise Radmani. Derek also admits that he was distressed on the night of Frank’s murder as he recognized that George Saunders was his old principal. Derek was bullied at school, and Saunders humiliated him in front of his classmates. Susan feels guilty that she allowed Alan’s cruel distortion of Derek and his mother to be published.
Susan confronts Katie, revealing she knows that her sister has consulted a divorce solicitor. Katie admits that Gordon has left her for his young secretary. The children have been badly affected by the news, and they must sell the house. When Susan returns to the hotel, she calls Andreas, but he does not answer.
In the hotel reception, Susan recognizes Alan Conway’s ex-wife Melissa. When Susan mentions meeting Lionel Corby in London, Melissa refers to the personal trainer as Leo. Melissa admits that she saw Frank Parris at Branlow Hall and disliked him for his role in introducing Alan to young, gay men. Their conversation is interrupted when someone calls reception, claiming that Susan’s MGB is blocking them in. Susan goes outside, and Andreas appears, pushing her out of the way as a stone owl sculpture crashes to the ground.
Andreas explains that Susan’s emails went to their computer’s spam. As soon as he discovered them, he flew to England. Andreas declares that if Susan wants to return to publishing, he will move back to London for her. However, Susan assures him there is nothing left for her in England, and she would be content to work as a freelance editor in Crete. Andreas observes that Branlow Hall is more luxurious than the Polydorus, but Susan asserts the Cretan views are more beautiful. As she looks out the window, she sees Martin Williams getting into his car.
The next day, Susan visits Stefan Codrescu in prison. Stefan reveals that Cecily wrote to him the day before her disappearance. She stated that she knew who killed Frank Parris from the “very first page” of Atticus Pünd Takes the Case (538). Stefan claims that Locke persuaded him to confess to Frank’s murder despite his innocence. Locke contended that the evidence against him was damning and said Stefan would receive a lighter sentence for admitting to the crime. Stefan states that he would kill himself but that he has one reason not to.
Stefan recalls events on the night of Frank Parris’s death. He felt tired after drinking a couple of glasses of wine at the party. As soon as Lionel Corby helped him to his room, he fell into a deep sleep, only waking at 8:30 the next morning. Stefan describes how Lisa coerced him into a sexual relationship and then threatened to claim he was a thief when he stopped complying. Susan mentions that Lionel saw him having sex in the woods with Lisa two weeks before Frank’s death. Momentarily taken aback, Stefan states this was his last liaison with Lisa. Susan knows he is lying. On the drive back, Susan tells Andreas she has worked out who killed Frank Parris.
Susan returns to Heath House. She tells Martin Williams that she knows he did not kill Frank Parris, despite his attempts to make Joanne believe otherwise. Susan suggests that Martin was tired of being dominated and controlled by his wife. He saw Frank’s murder as an opportunity to make Joanne perceive him as potentially dangerous. Martin also intended Susan to believe that he was trying to kill her when he pushed the stone owl from the hotel’s roof. Martin confirms that he did not intend to hurt Susan, and Andreas punches him as they leave.
Susan admits that she criticized the denouement of Atticus Pünd Takes the Case when all the suspects gathered. Nevertheless, she summons Lawrence and Pauline Treherne, Aiden MacNeil, Eloise Radmani, Lisa Treherne, Detective Superintendent Locke, and Andreas to Branlow Hall’s lounge. Susan runs through various possible scenarios she considered in investigating Frank’s murder. She suggests that Melissa may have blamed Frank for the end of her marriage or that Frank recognized Lionel Corby as Leo, a former sex worker, when he arrived at the hotel. She also points out that Eloise worked at the same company as Frank in London and suggests that the nanny’s husband may have contracted AIDS from having sex with Frank. However, she ultimately dismisses these theories.
Susan reveals that Cecily had a sexual relationship with Stefan. Although Stefan tried to conceal this fact during the prison visit, she realized that Lionel Corby mistook Cecily for Lisa in the woods. When Stefan revealed he had only one thing to live for, she also realized that Roxana was his daughter. Cecily’s claim that she knew the identity of Frank’s killer from the first page of Conway’s novel referred to the book’s dedication to Frank and Leo. Cecily was profoundly influenced by astrology, illustrated by her study of horoscopes and her decision to call her dog after a constellation. When she first met Aiden on his birthday, she realized that her own star sign, Sagittarius, was compatible with Aiden’s Leo. Her instinct that they were made for each other seemed to be confirmed by the tattoo of the Leo symbol on Aiden’s shoulder.
Susan states that Aiden first met Frank Parris when he was working as an estate agent in London and boosting his income with sex work. He met his gay clients at an empty flat in Mayfair for which he had the keys. In her recorded interview with Alan, Cecily mentioned that Frank seemed to be sneering at them and emphasized how he was looking forward to The Marriage of Figaro. Susan explains that Mozart’s opera is about a sadistic nobleman, Count Almaviva. The Count uses his “droit de seigneur” (an ancient feudal right to have sex with one’s subjects) to sleep with his wife’s maid, Susanna, on the night before she marries Figaro. Recognizing Aiden as the former sex worker Leo, Frank tried to recreate this scenario, blackmailing Aiden into having sex with him the night before he married Cecily. During the strange handshake Cecily observed, Frank handed Aiden his room key. That night, at the party, Aiden spiked Stefan’s drink with the same sleeping pills Cecily had taken. Once Cecily and Stefan were soundly asleep, Aiden went to Frank’s room, posing as Stefan with his toolbox. He ensured that Derek glimpsed him by pricking Bear with the figeen pin, making him yelp. After beating Frank to death with a hammer, Aiden placed a “Do Not Disturb” sign on the door as he did not want the discovery of the body to prevent the wedding from going ahead. He entered Stefan’s room, planted Frank’s money under the mattress, and, using Cecily’s missing fountain pen, transferred Frank’s blood to Stefan’s clothes.
Alan Conway also recognized Aiden as Leo. When Cecily saw the dedication in Atticus Pünd Takes the Case, she realized the truth, calling her parents from the hotel as she did not want Aiden to hear. However, Eloise overheard and told him. Aiden could not get a copy of Conway’s book due to booksellers’ supply issues. However, he guessed that Cecily knew the truth, intercepted her on her dog walk, and killed her. He took some of Cecily’s clothes to the charity shop to explain the DNA left by her body in the trunk of his Range Rover.
Aiden suddenly springs into action as Susan concludes her explanation. He stabs Locke in the neck with the figeen’s pin, smashes through the French windows, and disappears into the grounds.
Locke suffers a punctured carotid artery from Aiden’s attack and narrowly escapes death. Meanwhile, Susan and Andreas take a room in a different hotel until they can return to Crete. They receive payment from Lawrence Treherne, who reveals that Aiden died by suicide after escaping by throwing himself in front of a train. However, before doing so, he mailed a letter to Lawrence. Stefan will soon be released from jail, and the Trehernes have offered their support to him and recognition that he is Roxana’s father.
Susan reads the letter Aiden sent to Lawrence. It reveals he never liked his parents-in-law and found them condescending. Aiden describes growing up in a deprived area of Glasgow. When he was 17, he moved to London, hoping to profit from his good looks and charm. While he envied the wealth surrounding him in London, the jobs he got paid little until he turned to sex work. Aiden clarifies that he was not gay, and he says his clients disgusted him; still, sex work was far more profitable than working as an estate agent. When he met Cecily, he was not attracted to her but saw an opportunity to exploit her for a better life, craving her family’s money and social status. He framed Stefan for Frank’s murder as he knew Cecily was sleeping with him. Aiden describes how he dug Cecily’s grave on the night before he killed her and explains that he strangled her with a stocking. He reveals that he buried her on track 12—a carved arrow on a tree trunk points to her grave.
Susan and Andreas return to Crete, and Katie visits them. Susan works part-time for Penguin Random House. The extra money allows them to hire more staff at the Polydorus.
Susan realizes that Alan did not openly expose Aiden MacNeil as Frank’s murderer, as it would have laid bare his own personal life. He had not yet come out as gay, and the revelation that he paid young sex workers would have conflicted with the “wholesome” image of the Atticus Pünd books.
Susan continues to scour Atticus Pünd Takes the Case, convinced she must have missed other clues in the text. Finally, she realizes that there are numerous allusions to the name “Leo” in the form of lions. The pub is named the Red Lion; the church is dedicated to St. Daniel (of the lion’s den); and Clarence Keep recalls the movie Clarence, the Cross-Eyed Lion. Further, Melissa’s dog, Kimba, is a chow, known as a “puffy lion dog” (589); The Wizard of Oz poster is signed by Bert Lahr, the actor who played the Cowardly Lion; and the MGM logo on Melissa’s cigarette box is a roaring lion. Nancy Mitchell reads The Lion, the Witch, and the Wardrobe to the Collins children; Algernon’s Peugeot bears the insignia of a prancing lion; and the LMR 57 steam engine was also known as “Lion.” Susan also realizes that the name Leo is embedded in that of Melissa’s killer, Leonard Collins. Meanwhile, the second murderer, Madeline Cain, is an anagram of Aiden MacNeil.
Andreas says that Susan has allowed Alan Conway’s literary games to consume her long enough. He takes her to the Cave of Zeus, where she offers Alan’s books to the gods by burning them.
The final section of Moonflower Murders returns to protagonist Susan Ryeland and the frame narrative. As the novel approaches its dramatic climax, narrative tension and the pace of the action intensifies. Susan is under pressure to solve the case before returning to Crete. Furthermore, Andreas’s failure to reply to her messages suggests that she may have jeopardized her future happiness.
The theme of The Limits of the Criminal Justice System is underscored by Susan’s prison visit to Stefan Codrescu, who is suffering the consequences of a miscarriage of justice. The revelation that DSI Locke persuaded Stefan into a false confession emphasizes the insidious impact of discriminatory police practices. Meanwhile, Alan Conway’s decision to keep quiet about Stefan’s innocence and present the true killer’s identity as a literary puzzle makes him complicit in both the crime and the miscarriage of justice. Susan’s reflections on why Conway did so highlight the separation between authors and their work. To reveal “Leo’s” identity, Conway would have to admit that his sexually unrestrained lifestyle conflicted with the wholesome quality of the Atticus Pünd novels. Susan’s fondness for the Atticus Pünd novels and their protagonist despite disliking their creator demonstrates that writers and their work are separate entities. However, Conway realized that readers like to assume that an author’s fiction reflects their values and character.
Horowitz’s exploration of The Power of Storytelling reaches its peak in the novel’s final chapters. Susan’s takes on the role of mediator between fact and fiction, and this is emphasized when she compares meeting Stefan Codrescu to “coming across the central character in a novel but only after two or three hundred pages and in the knowledge that there are very few more before the end” (535). This observation draws attention to the layered, metafictional nature of the narrative. For readers, Stefan is a key character who is introduced late in the novel. However, for Susan, the encounter is a reminder that Stefan is a real person—a fact that she has all but forgotten while navigating both real and fictional mysteries. In the novel’s denouement, Susan’s actions mirror those of the German detective in Atticus Pünd Takes the Case. Reality and fiction blur as she is not only influenced by Atticus Pünd but also feels his presence. Like Pünd, Susan follows the conventions of the Golden Age mystery: She tells Andreas she knows who the killer is without sharing her conclusion with him or the reader; then, she gathers the suspects together to reveal how the murder was committed and by whom. Horowitz emphasizes the irony of Susan’s behavior as she enacts tropes that she criticized for being clichéd in Alan Conway’s original manuscript. By examining the use of such well-worn conceits, Horowitz updates them while acknowledging that mystery readers anticipate them and find them satisfying.
The novel’s nocturnal imagery recurs in these chapters. Susan’s close encounter with the stone owl underlines the association of this imagery with death and dark human impulses. Meanwhile, Aiden MacNeil’s letter, explaining his motivations, again recalls the plot of Agatha Christie’s Endless Night. Aiden’s description of his socially deprived upbringing and his predatory targeting of Cecily resembles the thought processes of Christie’s protagonist, Michael Rogers. A drifter who craves wealth and social status, Michael Rogers marries and kills an unsuspecting heiress.
Susan’s character development is emphasized in these chapters, as she is shown to experience personal growth due to her experiences. Recognizing the cruelty in Alan Conway’s portrayal of certain characters and the author’s insertion of secret messages into his text, Susan undergoes a personal reckoning. She blames herself for failing to assert editorial control of his work, reflecting that insisting on certain changes would have limited the devastating impact of Alan Conway’s novel. She also berates herself for missing the signs that her sister’s life was unraveling. Susan experiences an epiphany as she realizes she only misses her connection with the world of books rather than with England. Consequently, she recommits to her new life with Andreas in Crete with the caveat that she will take on freelance editorial work. Susan’s change in values is reflected in her assertion that while Branlow Hall may be more luxurious, the Polydorus has better views. The novel ends on a cathartic note with Susan’s visit to Zeus’s Cave. She burns Alan Conway’s books, symbolizing a rejection of the dark legacy of his fiction.
By Anthony Horowitz