The novel deals with the unspoken nature of "female love". Clotilde Bradbury-Scott is depicted as an elderly
gentlewoman, living with her two sisters. Upon meeting Clotilde, Miss Marple senses Clotilde's real nature. Yet Marple seems blinded from seeing the truth in this case, due to her own expectations concerning gender. Marple thinks to herself that Clotilde "would have made a magnificent
Clytemnestra – she could have stabbed a husband in his bath with exultation." Yet, she dismisses this thought. Clotilde has never married, and Marple thinks Clotilde incapable of murdering anyone but her version of
Agamemnon. In her conclusion, Miss Marple seems to view the passionate friendship between women as just a phase in their life, a phase destined to end when one of the women chooses a male lover instead. This was a choice typically open to the younger woman in a same-sex relationship. This was a conventional view, held by people of Marple's generation and
social class. Christie's works in general imply that women have an "imperative need for and right to full sexual experience". Yet in this novel Christie does not even entertain the possibility that a lesbian relationship could be just as fulfilling as a heterosexual one. In the novel, Verity eventually rejects Clotilde in favour of Michael Rafiel. The wisdom of this choice is not really questioned. Miss Marple herself acknowledges that Michael "has never been any good", and that he had little chance of ever reforming, though he has
been convicted wrongfully of the murder. Yet Miss Marple seems convinced that Michael was the right man for "the young, beautiful, innocent, and good" Verity, perhaps because he could offer her sexual fulfilment and children. Michael is thus depicted as a superior choice as a romantic partner to Clotilde – the same Clotilde depicted as noble and intelligent, and loving Verity more than anyone or anything in the world. Clotilde is the only character who refuses to accept Verity's natural preference for men. Verity is not the only one murdered by Clotilde. The other victim is Nora Broad, an attractive
working class girl. Clotilde offers Nora "seductive gifts" and acts of friendship, but proceeds to brutally murder her. When asked to identify Nora's corpse, Clotilde falsely identifies her as Verity. This is repeating a pattern from
The Body in the Library (1942). In both cases, a person asked to identify a corpse has secret motivations and intentionally makes a false identification. While the police investigate the murder of the upper-class Verity, Nora's disappearance is not investigated. The police consider her just another "promiscuous" girl who did not inform her family that she was running away with a man. == Adaptations ==