Benedict Arnold Slipped Here first aired on March 13, 1988, which puts it in the later part of the fourth season of Murder, She Wrote. “Slipped here”, in the title, is, of course, a play on “slept here.” For those not familiar: there was a trend—or at least a supposed trend—of making places such as bed & breakfasts in the United States more interesting by claiming that a famous person once slept there. George Washington was a popular figure for this.
Also for those who aren’t familiar: Benedict Arnold was an American general in the American revolutionary war who switched sides and fought for the British. In consequence, he is regarded as a traitor in America and his name became, here, synonymous with betrayal and treason. Curiously, I don’t know how much that is still the case. American history largely isn’t taught, anymore, and the current fashion against patriotism heavily mitigates against being angry at someone for switching sides. Some of the punch of the episode will thus be lost to modern audiences.
The scene opens with Jessica and Seth entering an old and very cluttered house, with Seth holding a paper bag and asking Jessica, “Now what did you get for her?”
The “her” is an old woman named Tillie who doesn’t leave her house much owing to her age and health. They talk a little bit about what poor repair the house is in and what little evidence there is that the cleaning woman does anything, then they go up to see Tillie.
Tillie, however, is dead. Jessica and Seth are somber, but not shocked.
The scene shifts to a pawn shop:
The young fellow is Kevin Tibbles, son of Benny Tibbles (in the center), and on the right is the cleaning lady who doesn’t clean, Emily Goshen. She tries to buy something back from him at the price he paid for it six months ago, $30, but the price has gone up to $50 now. ($70 and $118 in 2022 dollars.) She accuses him of trying to cheat her and he accuses her of stealing it from Tillie’s house. Emily leaves and Kevin gives the news that Tillie is dead. Benny declares he had nothing to do with it and Kevin tells him that she died of natural causes. Benny begins to calculate what money he can make off of Tillie’s estate if he can get his hands on it.
The funeral is not very big.
Nothing happens at the funeral, other than Benny loudly sobbing and everyone rolling their eyes at him. I’m not sure who he was trying to impress; no one there had any power over the disposition of Tillie’s stuff. The scene then shifts to Jessica’s house after the funeral, where Amos Tupper visits.
Amos missed the funeral because he had to be in court, but while there he ran into Tillie’s lawyer, who told him about the contents of Tillie’s will. Tillie left her house to her grand niece, and the contents of the house to Benny Tibbles. Jessica was named executor of the will. Jessica is honored, but Seth points out that this leaves a lot of work for Jessica, since she’ll need to catalog what all it is so that death taxes can be paid.
The next scene is in a fancy antique shop, where Benny’s younger brother, Wilton, receives a call from Benny.
Benny asks him to come down to help him with Tillie’s stuff. Initially reluctant, he decides to go when he finds out a customer just purchased a settee for twelve thousand dollars which he bought from Benny for seventy (the $12k would be about $28k in 2022 dollars). He decides to go to Cabot Cove since there might be more where that came from.
In the next scene Eve Simpson, the town real estate agent, comes in and talks to Jessica and tells her that the house is in truly awful condition.
Jessica asks if there isn’t some redeeming feature? She recalls there being a legend about some American revolutionary war figure who slept there. Eve breaks the news that it was Benedict Arnold, which is hardly likely to make the house go up in value.
After Eve leaves, Jessica talks with Emily Goshen, who tells her that Tillie (who was a relative of Benedict Arnold on the wrong side of the sheets) told her that there was treasure in the house, though no one knows where it is hidden.
That night, Liza Adams, Tillie’s grand niece, shows up.
She is a gruff, unpleasant person. She says that she heard that Tillie is dead and has come for her inheritance—in cash. Jessica raises her eyebrows and the scene moves to early the next morning.
Jessica answers the phone and it’s Eve Simpson, who has a gentleman from out of town who is very interested in buying Tillie’s house. Jessica says that this may be premature, as legal ownership hasn’t been established yet, but she will certainly introduce Eve to Tillie’s grand niece.
Seth comes over while Jessica is on the phone. After she hangs up, he notices that Jessica has a squatter in her back yard.
Jessica told Eve, in Seth’s hearing, that she had advised Liza to stay close. When Jessica identifies the squatter as Liza Adams, Seth remarks, “Appears she took your advice. Couldn’t be much closer unless she moved in.”
The scene then shifts to Tillie’s house, where Jessica is taking inventory and Seth is sitting around complaining about how Tillie never threw anything out. Jessica then pauses to reflect on the sampler on the wall, saying that she’s gone past it many times but never really noticed it.
Samplers normally have an alphabet and a homely motto that shows off the worker’s skill. Whoever made this one was short on either skill or patience. (That’s Jessica’s appraisal.)
Shortly after, Benny, his Brother Wilton, Wilton’s lovely assistant, Liza Adams, and Emily Goshen show up (at slightly separate times) and, though bickering, insults, and general unpleasantness, all establish that they all have motives for whichever of them is going to be murdered.
Later that evening, Mr. Andrews—the gentleman from out of town who’s interested in buying Tillie’s house—shows up at Jessica’s house.
He’s hoping to get a look at the house. Jessica asks why he’s so eager and he explains he has a fascination with Benedict Arnold. He had worked in cryptographer during the war (World War 2) and in doing so worked with Americans, one of whom was a new Englander who made a joking reference to General Arnold’s mistress. He’s been writing a book on Benedict Arnold from a whole new perspective, and he requests to see the house.
Jessica says that she can’t let him in on his own and is so far behind in her writing that she can’t spare the time to accompany him. She offers to arrange with Eve Simpson to show him the house the next morning. He thanks her and leaves.
The scene shifts to somewhere—I think Benny’s pawn shop—where Wilton is adding numbers on an antique adding machine.
After each number he enters, he pulls the handle back to add it to the total. I can’t imagine why the thing is there. Perhaps to show how utterly cheap Benny is that he hasn’t bought an electronic calculator in the decades that they’ve been out?
Anyway, Wilton makes Benny an offer which is ridiculously low and Benny ridicules it, then tells Wilton to leave. Wilton tells Benny, “Well, there’s more than one way to skin a cat.” Benny says that he’s heard it all his life and still doesn’t know what it means. “Be careful,” replies Wilton. “You might find out.” This raises the odds of the victim being Benny, but there were no witnesses to the threat, which is unusual for Murder, She Wrote.
The next day Jessica and Seth come to Tillie’s house but find the door unlocked. When they go in the door to the den is open, too. Jessica suggests perhaps Emily came back, and tells Seth to remind her to ask Emily for her key.
Then they find the corpse.
Seth goes to it and turns the corpse over, recognizes it as Benny, then takes a pulse and pronounces him dead.
Then we go to commercial break.
When we come back, Amos Tupper is at the house, investigating. He identifies the poker by the floor as the murder weapon and goes to pick it up until Jessica stops him and points out it should be checked for finger prints. Seth puts the time of death at around midnight, give or take an hour.
Eve shows up with Mr. Andrews, who asks about the presence of the ambulance and police car, but Eve tells him to nevermind all that and begins showing him the house. Then they wheel the body through. Eve tries to keep showing him the house but Amos puts the kabosh on that. Mr. Andrews agrees, saying that he’ll have to see the original part of the house some other time.
Some conversation ensues in which it comes out that Mr. Andrews intends to buy the house, have it dismantled and shipped to England, where it will be reassembled as a shrine to Benedict Arnold. Amos is none to pleased at this, taking a more traditional American view of Benedict Arnold, and is sent by Jessica out to get his police tape while he mutters, “next thing you know we’ll be celebrating Mussolini’s birthday.”
Mr. Andrews takes his leave and Eve stays behind to tell Jessica that she is in dire financial straights and desperately needs the sale of this house. She asks Jessica to give her some support in getting it sold, and upbraids the doctor for doing nothing. After she leaves Jessica remarks to Seth that Eve’s behavior is strange; she never even asked who had been murdered. This is an interesting detail; I don’t know that it makes Eve a suspect, though. Her interest is in selling the house and murdering Benny couldn’t help with that. If anything, it would get in the way since he was going to clean out all of the junk which a buyer wouldn’t want to have to haul away.
Seth and Jessica begin their inventory work, and Jessica notices that the sampler is missing. Seth says that there was a picture of it in the gazette last year; Tillie stood in front of it for a picture for her ninetieth birthday. He’ll see if he can get her a copy.
He wonders if everything will go to Kevin and Jessica suspects it will, then wonders how many people will attend Benny’s funeral. In the next scene we get the answer:
It’s the same number as attended Tillie’s funeral. Like at Tillie’s funeral, the scene lasted a few seconds and no one spoke a word.
The next scene involves Wilton, his assistant, and Kevin, and further cements that they are unpleasant characters. The one practical upshot is that Wilton and Kevin agree to go in together to buy Tillie’s house so that they can take possession of the antiques inside of it without Liza Adam’s interference. (That said, while Liza spoke some nasty words about Benny’s taking the stuff he inherited, she’s not actually causing any trouble for the disbursing of the goods. The holdup, if there even is one, is that Jessica and Seth are taking a long time to inventory the place.)
After that, Jessica talks to Liza Adams, who heard about Benny’s murder on Jessica’s radio and who was not in her tent last night because she went out for a walk. Also, she has no form of identification, having burned her birth certificate in 1970 and her driver’s license in 1972, which Jessica points out will make it difficult for her to establish a legal claim to the house. Liza is offended by this, rather than taken aback that her actions rendered it difficult for people who don’t know her to recognize her claim, proving that she’s stupid and unimaginative.
Hippy Moonbeam leaves and Eve Simpson calls Jessica and asks for help. She’s got a second bidder on Tillie’s house, but Mr. Andrews insists on seeing the rest of the house today. Can Jessica show him around? Jessica reluctantly agrees.
That evening, she shows Mr. Andrews around in the house. Just as they’re getting to the original room the doorbell rings and Jessica excuses herself. It turns out to be Amos who saw the light on and wanted to check that everything was OK. When they get back to the room, the light is on and Andrews is standing by the fireplace, soaking in the presence of Benedict Arnold. He talks about how magnificent it is, then excuses himself as he has to go home and write down the feeling before he loses it. Amos offers to give Jessica a ride home, which she accepts.
On the way out of the room Amos goes to turn off the light but there’s no switch by the door. Instead it’s on another wall by a bookshelf.
Amos remarks on how this is a strange place for a light switch, and Jessica explains that when they wired up these old houses they sometimes had to put things in rather strange places. What she doesn’t explain is why anyone bothered with a light switch in such a strange place. If a switch is that far out of the way, it’s easier to just use the knob or pull chain on the lamp itself.
They talk about the case as they leave and Amos says that his deputies looked all over the house and couldn’t find any sign of forced entry. If Benny got there after the killer, then the killer had to break in unless he had a key. The only people with keys, though, were Jessica, Eve Simpson, and Emily Goshen. The sheriff suspects Emily, but Jessica can’t bring herself to think that Emily is a thief, to say nothing of a murderer.
In the next scene Emily Goshen breaks into the pawn shop and tries to steal the brooche she was trying to buy back earlier in the episode, but she’s caught by Kevin and Wilton’s assistant who heard the sound of the breaking glass while they were discussing antiques in the next room.
Amos gets Jessica out of bed to come get Emily Goshen, as apparently they only have a single cell and he wouldn’t want to put a drunk in with Emily should one be arrested before morning. This clearly isn’t Jessica posting bail (Jessica later says that the Sheriff is releasing Emily into Jessica’s custody), so I guess Jessica is supposed to lock Emily up in a closet in her house?
Anyway, they get Emily out of the cell and upon seeing Jessica Emily asks if Jessica has been arrested too. Jessica asks Emily if she understands why she’s been arrested and Emily replies, “I can’t say that I do.” I guess she’s supposed to be mentally retarded? She didn’t seem like it before, but from this point on Jessica talks to her as if she’s a child and she replies much as if she is. Jessica asks if Emily took the sampler on the wall and she says that she wouldn’t want it. The words on it didn’t make any sense.
The next day Seth is over at Jessica’s house with a blow-up of the section of the photo that had the sampler in it. Jessica points out that Emily is right, the words don’t make sense. It should be “Pause and Relfect” not “Reflect and Pause”. Then Jessica suddenly realizes what this means: it’s a key to the treasure. Jessica looks at the picture of the sampler in the mirror. Most letters stay the same in the reflection, but capital ‘E’ becomes a 3 and the small ‘r’ becomes a 7. Seth points out the B, so it’s 3B7. Jessica figures that this might mean the third brick in the seventh row on the fireplace.
Jessica decides to set a trap by calling Eve Simpson, who was concluding a deal where Liza Adams was selling the house to Wilton for a handsome price, to tell her that the building inspector said that the fireplace was about to collapse and that the house would be closed until the fireplace was completely rebuilt. This is a little ironic because fireplaces are generally the most structurally sound part of a building—they’re masonry resting directly on the foundation. They often survive the building burning down or rotting away. That said, it’s not like anyone Jessica was trying to bait was likely to know that. Seth, who was standing next to Jessica, remarks, “Now that’s what I call throwing the fat into the fire.”
(For those not familiar, fat, once in a fire, will burn very intensely, producing a large flame.)
We next see the murderer letting himself into the trap:
The figure remains in shadows, his face framed out of the shot as he walks along with a flashlight, giving us time to talk over who it is with the people we’re watching with.
The murderer removes the brick in question and Amos switches on the lights, remarking, “Looks like you were right, Mrs. Fletcher.”
Then we see who the murderer is.
Jessica presents the theory that he let himself into the house and found the sampler while he was looking for the den. Being a cryptographer, he recognized the simple code and knew at once what it meant. Benny surprised him and was an excitable person. Mr. Andrews figured he could kill Benny to keep him quiet and return later, so he killed Benny, then stole the sampler on his way out in order to prevent anyone else from figuring out the secret.
Mr. Andrews points out that this is pure conjecture and he will swear that he knew the location through other sources. Jessica then points out earlier when he revealed he knew the location of the light switch despite it being in a stupid location since he found it in a few seconds, in the dark.
He crumbles at this and admits his guilt. He asks if he can take a look at the contents of the hiding place, and Amos says that it can’t hurt and he is curious, himself. Andrews looks inside and find a box which contains a very old letter. Andrews says that if his theory is correct, the document will prove that Benedict Arnold was under the direct orders of George Washington when he surrendered West Point to the British.
It turns out to be an angry letter from Benedict Arnold’s mistress saying that he betrayed not only his country, but his mistress with one of her maids.
Andrews remarks, “It’s ironic. It seems that I, too, was betrayed by Benedict Arnold.”
The episode ends in Jessica’s house, where she makes a present of the chess set from Tillie’s house that Seth fell in love with because it was an 18th century British chess set with intricate workmanship—he saw one like it in a museum once. After Seth thanks Jessica in a very unpracticed way, they sit down to a game of chess and we go to credits.
This was better than the last two episodes, but it was not one of the greats. It’s also much better in the way I related it, with most of the scenes of anyone with the last name Tibble in them left out. Both generations of Tibbles were terrible, the older generation focused on greed and the younger generation on greed and lust (I’m counting Wilton’s assistant as an dishonorary Tibble for these purposes). Emily Goshen was unpleasant in every scene she was in and Liza Adams really should have been shot. Eve Simpson, who is, as always, a comedic figure, was practically having a panic attack in every scene instead of being funny. That’s the majority of the characters in the episode.
Standing against this, Seth was a lot of fun. He’s often a curmudgeon, but in this episode his sense of humor wasn’t nearly as biting as it often is and his detachment was, most of the time, detached amusement. He was one of the bright points of the episode.
Amos Tupper was also fun in this episode. He wasn’t at his best, but he was in good form. (As a side note, this is the last episode he appears in.)
Cabot Cove outside of Jessica’s house didn’t show up too much, but Jessica’s house did show up a lot, which is always pleasant because it’s familiar and homely. Jessica is at her best in Cabot Cove, and especially in her home.
Alistair Andrews, the Benedict-Arnold loving Brit, was mostly enjoyable. He was constantly impatient, which wasn’t great thought it was necessary to the plot, and at least he was impatient in a very polite way. It also helped to give him character flaws which make him turning to murder more plausible. It was not wildly plausible, but by Murder, She Wrote standards it was in character. It at least wasn’t directly contrary to both his immediate and long-term interests, though, unfortunately, it wasn’t directly in line with them, either. It would probably have made more sense to just offer to pay Benny for the letter, or at least a copy of it—it would not have been hugely valuable to anyone else—but he was shown to be impatient and to not have the greatest self discipline. Also, fun fact: the author who played Alistair Andrews played Robin Hood in the 1973 Disney movie of the same name where Robin Hood was a fox and Little John was a bear.
There were a few plot holes in the story, though not really major ones. It doesn’t make any sense how Liza Adams heard of her great aunt’s death and got to Cabot Cove so quickly. The last anyone had heard of her was around the time of Woodstock (the Woodstock Music and Art Fair was in 1969, which was 19 years before this episode). No one even knew if she was dead or alive. Since she showed up on the night of Tillie’s funeral, this gives us a rough idea of how much time she had to show up—about a week, at most. How on earth did the news of Tillie’s death reach wherever Liza was in that time? We can expect that there was an obituary for Tillie in the Cabot Cove Gazette, but I doubt that’s a daily paper and its circulation is going to be limited to Cabot Cove. It’s hardly likely that Jessica would have put a notice in more major newspapers, though to be fair that was the thing to do if you have no idea where the relatives are. That said, even if she did, I can’t imagine that Liza would regularly read the obituary section of major newspapers. And she didn’t seem like the sort to have friends, let alone friends who would read the newspaper and tell her about it. (I’m not counting this has a major plot hole, by the way, because the episode would have been improved had Liza been written out of it, and that would certainly have solved this problem.)
It’s also never explained how Alistair Andrews managed to make a duplicate key to the house for himself. How would he have stolen the key to have a duplicate made? I suppose he could have stolen it from Eve Simpson; this is not as hard to work around as Liza Adams hearing of her great Aunt’s death. It would have been nice to have it addressed, though.
Another minor plot hole is that it’s not explained why Benny showed up to the house at night (the night he was murdered) despite not having a key and thus not being able to expect to get in. What possible motive could he have had to go to the house and peer in the windows so late at night?
There’s also the question of why anyone hid this letter from Benedict Arnold’s mistress in the house and kept it secret. I can’t really see a possible motive for this. Still less can I see a motive for it that would extend as far as creating a sampler with secret instructions as a sort of homely treasure map. Who could have thought it valuable but also in need of such secrecy? And since the house belonged to Benedict Arnold’s mistress, why would she write the letter and then not send it but keep it in her own house in a secret hiding spot and then make a low quality sampler as a coded treasure map to it? Who could she want to hide it from? And who could she have wanted to find it?
(On the plus side, Benedict Arnold did actually go through Maine, though I doubt by where present day Cabot Cove would theoretically be, so having a mistress in Maine has some slight historical plausibility.) Still, though there is no obvious solution to this problem, it can be waved away through the quirks of people long dead. Human beings do occasionally do strange things, and when we know so little about them because they’ve been dead for two hundred years, who are we to say that it didn’t make sense to them at the time?
A related problem is why Alistair Andrews removed the sampler. As a cryptographer he could recognize the code, but it wasn’t likely anyone else would have—most of them had seen it for years and took no notice of it. This wasn’t something just discovered in a box, it was hanging on the wall in front of the noses of everyone but Andrews. And, in fact, removing the sampler had the predictable effect of drawing attention to it. This could have been fixed by simply having taken the sampler down to examine it and put it back up slightly wrong because of some mishap, or having disturbed the dust that Emily Goshen never disturbed, or something like that.
Not really a plot hole but just a kind of loose thread, Eve Simpson’s odd behavior of not even asking who was murdered was never explained. It was only ever meant to confuse suspicion, of course, but it’s always nicer when those red herrings get explained in the story.
The main problems with this episode were related to the characters, not the plot.
This episode is marred by a lot of scenes that are both hard to watch because of the characters in them and are also irrelevant to the mystery. Mostly these involve any of the Tibbles and/or Wilton’s assistant, though Emily Goshen is such an unpleasant character that I can’t think of any scene with her in it that’s a good scene. I also don’t understand whether she was meant to be mentally retarded or not. She seemed to understand what was going on some times, but not others. Not understanding why she was arrested for breaking and entering in order to steal something suggests she should be in somebody’s custody who has power of attorney over her. On the other hand, living independently and being hired to do cleaning for an old woman suggests that she was trusted on her own.
One real lesson of this episode is the difference between making a character unpleasant and making him a suspect. Most of the characters were unpleasant, I suspect to try to cast suspicion in their direction. But none of them were given motives. Well, that’s not quite true—Kevin could have murdered his father to inherit the family pawn shop—he asked his father for money to go start his own business in Boston and was refused—and Wilton could have murdered his brother because Benny dismissed him and he thought Kevin might have been easier to manipulate. Neither of these seems a serious possibility, though. Wilton is too delicate to commit murder, and his assistant was only really interested in getting her leg over Kevin (to use a British expression). Kevin was, perhaps, a bit more plausible, except that as a jock type that likes restoring old cars it’s hard to see him coveting a pawn shop—and it would be a hard thing to convert into ready cash.
This brings up a problem with Murder, She Wrote as a game where you’re supposed to guess who did it that applies to the concept of fair play in general but is especially significant in Murder, She Wrote—it’s very hard to account for plot holes when trying to make deductions. There was no way for Kevin or Wilton to get into the house before Benny, but it was kind of a plot hole that Alistair Andrews had a key, too. None of the Tibbles had a plausible motive, but Alistair Andrews’ motive was… not very convincing. If a Tibble had wanted to put an end to Benny, they could have done it anywhere—but there was equally no reason for Benny to go the house at night. This makes guessing the murderer as much an exercise in mind reading as it is in deduction. Even if a particular episode doesn’t have plot holes, since so many other episodes do it still requires telepathy to know that this one is the exception. That said, I suspect that the best we can do is to guess at who the murderer is if there are no plotholes, and merely give ourselves credit anyway if the episode’s murderer required a plot hole to do it.
Next week’s episode is Just Another Fish Story, which is a Grady episode. Those are always fun.