Jonathan Creek: No Trace of Tracy (TV)

Episode Details

First broadcast May 31, 1997

Season One, Episode Four
Preceded by The Reconstituted Corpse
Followed by The House of Monkeys

Written by David Renwick
Directed by Sandy Johnson

The Verdict

One of Jonathan’s least colorful cases but the logic is sound and I appreciate how it continues to build Jonathan and Maddy’s relationship.


My Thoughts

Roy Pilgrim is an aging rock star who had been a part of the band Edwin Drood in the seventies. After coming back home from a jog outdoors, Roy notices his door is open and when he investigates he is struck from behind. He wakes up some time later chained to a radiator and then spends hours waiting for someone to come to rescue him.

Meanwhile teenaged fan Tracy is getting ready to meet her idol having received a letter from him. She is seen arriving at his home by some other teens and she enters. When she does not return home her parents contact the police who arrive at the house to investigate. When they and Pilgrim’s fiancee Francine enter they find Roy still handcuffed. He tells them that he never wrote the letter and that he never saw her enter the building. The question then is what happened to Tracy…

This story is a different sort of case to those we have seen in the previous three episodes. Each of those were presented as murder investigations but No Trace of Tracy instead places its focus on explaining the apparently inexplicable. If we accept that Roy really was knocked unconscious as we were shown and was awake as he appeared to be, how could he not see Tracy arrive at his home?

As such this represents an interesting change of pace for the series and I appreciate that it places a focus on the contradictions of these two credible accounts of what happened. By directly showing us the sequence of events leading up to Roy being attacked we are encouraged to view them as accurate and so it is clear that something more devious or unusual must be behind the incident.

This case, like many of the best Creek cases, boils down to an exploration of several small and seemingly innocuous details. Building on these small curiosities, Jonathan and the viewer can begin to make some logical inferences that change our understanding of what we are seeing. This is, for me, the show’s great idea and I think this episode presents us with several strong examples of it.

The deductions are all pretty clever. While I think the case is simpler than those in either of the two previous episodes, the focus on a single aspect of the case does place added attention on Jonathan’s process of logically working through the significance of each of those small details that seem out of place. In terms of the main mystery plot I think this episode works rather well although it should be said that this is the least whimsical episode of the first season.

I also appreciate the growing tensions between Maddy and Jonathan that we see develop during this episode. Those tensions had been hinted at in the B-plot in the previous story but there are a few moments in this story that seem to bring them into an even more direct focus. I think this gives their respective feelings and assumptions about their relationship a greater clarity while also suggesting that this relationship continues to change and evolve as they work closer together. It helps that there are a few very funny moments along the way.

Unfortunately I am a little less enamored of some of the other elements of this episode. The tree bonding antics at Hogs Belly Farm are rather broad and veer away from the quirky sweet spot that is so comfortable for the series. Comedy is, of course, subjective and others may well have loved this but in my opinion Jacob and Polly feel too consciously comedic and over-the-top to take seriously.

I also think that some aspects of Roy’s character have perhaps not aged well, particularly in light of events over the past decade. In particular the assertion that Roy likes them young, while important to the plot, sits pretty uncomfortably given it attracts no further comment or discussion. Ralph Brown is good in the part though, adding to the character’s credibility.

In terms of its mystery plotting I think No Trace of Tracy represents one of the stronger efforts in this first season of the show. The case is not only a welcome change of pace, it features a few genuinely puzzling elements and the solution is simple but clever and absolutely fair game for the viewer. The broadness of the comedy and the relatively bland backdrop for the story perhaps keep it from being one of the highlights of the season but it is clever enough that it didn’t struggle to keep my interest.

Jonathan Creek: The Wrestler’s Tomb

If you follow me on Twitter you may have seen that I found myself in a bit of confusion about exactly what I had planned to follow up on my Columbo posts. Well, after much thinking and feeling inspired by the recent discussion between Jim and John about magic in detective novels in the In GAD We Trust podcast, I decided it would be fun to take a look at and discuss Jonathan Creek.

Unlike Columbo I come to these having seen them all before though. I remember watching these episodes together with my family when they first aired. This first season however is probably the one I remember least – partly because I was much younger when it broadcast but also because, until recently, the US BritBox service only offered the second, third and fourth series.

I look forward to rediscovering these stories over the next few weeks and chatting about them with you.


Episode Details

First broadcast May 10, 1997

Season One, Episode One *
Followed by Jack in the Box

Written by David Renwick
Directed by Marcus Mortimer

* Originally broadcast as a single ninety minute episode – it is now often split into two episodes.

Key Guest Cast

Our victim is played by Colin Baker, the Sixth Doctor in Doctor Who. He had previously played Paul Merroney, a ruthless banker in The Brothers.

Anthony Head was not intended to be a guest cast member – his role of the magician Adam Klaus was supposed to be an ongoing one. The filming of this show overlapped with his casting as Giles in the fantasy TV show Buffy the Vampire Slayer. He is replaced in the show’s second season by Stuart Milligan.

The Verdict

This episode does the important work of establishing the characters and their relationship well. Unfortunately the case is not particularly compelling and has a rather underwhelming conclusion.


A note: The thoughts below, while not explicitly revealing the solution, may well push you much further towards it than you would like. If you haven’t seen this episode I would suggest you do so before reading them to avoid being spoiled.

My Thoughts

Although I don’t write much about it here, I am a huge Doctor Who fan so I was particularly interested in rewatching the Colin Baker episode. I only started watching Who when the radio pilot for Death Comes to Time was released so when I watched this I had no idea who Baker was.

Strangely though I had misremembered which story he appeared in, thinking it was the season closer The House of Monkeys – I have no idea why given he doesn’t look at all like Charles Kay – so it was a lovely surprise to find I was getting to see him much earlier than expected!

Here he plays an artist, Hedley Shale, whose output seems to consist of nudes. We first meet him at an exhibition where he openly flirts with a model to his wife’s disgust. We see the pair in conversation as she prepares to leave for work the next morning and he works on a new painting. He insists that he has not had a live model in some time but shortly after she leaves he makes a phone call, telling his lover to “make me bark like a sea lion”.

Yeah, that’s an image that’s not going away any time soon…

A short while later his cleaner arrives to find him lying shot dead on the bedroom floor with a blonde woman tied up and gagged a short distance from him. Jewels had been stolen from a locked drawer but they had been dropped on the lawn, making it seem more like a plant to suggest robbery rather than murder. When a local thief is apprehended he confesses to other robberies with the same method but insists that he did not commit this crime, seeking the assistance of investigative journalist Maddy Magellan in proving his innocence.

Hedley’s wife, the editor of Eve Magazine, is the prime suspect but she has what appears to be a cast-iron alibi. Her assistant vouches for her that she had not left her office all morning. There is only one exit out of the office and the windows were sealed shut. Maddy, certain that the wife must be guilty, seeks help from illusion creator Jonathan Creek to find a way she could have pulled it off.

Okay, we have a fair amount we can discuss here in terms of the case but I think it would be best to start by talking about our two series leads – Alan Davies and Caroline Quentin. A significant part of this episode is devoted to introducing these characters and building a relationship between them that is an entertaining mixture of flirtation and aggravation.

This episode not only has to bring these two characters together but it has to do it in such a way that, given their very different professions and personalities, we accept that they will seek each other out to solve mysteries in the future. I think this story accomplishes this in a couple of ways – firstly, by making it clear that the two bounce ideas off each other effectively (and sometimes competitively). Secondly, because of the chemistry between the pair. I think there is a sense, even in this first episode, that the cases provide a reason for these two people to spend time together.

The idea of someone with a stage magic background solving mysteries is hardly unique to this show. For proof of that (and some great reading recommendations) check out that podcast I linked at the start of this post. What Renwick does very effectively though is combine this sense of stagecraft with a consideration for the practical. This episode provides us with a clear example of that with the first solution which is pretty acceptable as a way to work around the facts of the case but unsatisfactory for logical and practical concerns.

I also really appreciate that Maddy plays an active role in the investigations, often proposing ideas that are helpful – even if they do not always turn out to be the actual solution. Her skill set is different than Jonathan’s but it is still important to solving the crimes, particularly given that she has an ability to persuade people to talk to her through means fair and foul. Well, mostly foul…

Turning to the case itself, I think this is a fairly typical mystery series pilot in that its focus is on developing the continuing series elements. I think this comes at the expense of the case itself which I found a little underwhelming once you get past that eye catching problem about the office door.

Let’s start with that problem because it so quickly becomes the focal point of the episode. The direction very effectively demonstrates that the layout of the office and the sight lines make it impossible that Serena Shale could have left it once the door was closed, assuming that the personal assistant’s statement that she never was out of sight of the door is to be believed. It seems wonderfully impossible and is built up so much that the resolution cannot match what the viewer was likely hoping for – to be dazzled by a very clever piece of logical reasoning.

The story instead chooses to reinforce an idea that Jonathan has already expressed – that the explanation for a magic trick is inherently disappointing. Establishing that from the beginning of the series may well have been a wise move in the long term but I feel later episodes manage to develop a second explanation that feels as compelling as the first in terms of motive, means and opportunity. Unfortunately, I just cannot buy that here.

My problem with the story is that while I think there is a mechanical ingenuity to the explanation, the killer’s motivations to commit the murder are beyond weak and their plan seems ludicrously risky. I cannot really say much more than that without explicitly discussing those elements but this killer either needed to have a better motive or there needed to be a better explanation of why the motive given would lead to them taking the enormous risks they do here.

Now, that being said, I was impressed with a couple of pieces of clueing in the episode. One of the best examples of this relates to information we find out in the second half of the episode that significantly changes our understanding of what has happened. When you look back at the episode you see that there are several moments that visually (and logically) hint at what that will be.

I guess you could sum up my view as I don’t love the ultimate destination but the path to that point is pretty good.

That just leaves me with one other thing I want to touch on – Adam Klaus.

I mention in the guest cast section above that Anthony Stewart Head plays this key role in this episode but due to scheduling conflicts with Buffy he had to drop out of the rest of the series. What strikes me on revisiting this episode is that he has a rather different take on the character than his successor in the role, playing it relatively straight.

The problem with Head’s Klaus is that he is too handsome and too dashing to make it feel ridiculous that everyone swoons over him. There is one moment that clearly ought to be comedic – in which he offers his protection to a young woman – but which ends up feeling almost gentlemanly and heroic. Two adjectives I would never associate with the more bumbling Klaus of the later seasons who I think better fits the tone of the series, becoming a very effective source of comic relief.

I did enjoy this return visit to the world of Jonathan Creek. I was impressed by just how many elements of the series’ success fell into place here and I still love the chemistry between the two leads. Unfortunately the motive given for the murder doesn’t work for me but the mechanics of the crime are clever and I did enjoy following our investigators as they work out what happened.