Original subtitles

[ FOOTSTEPS ]

HI. YOU'RE A LITTLE EARLY.

FIX YOURSELF A DRINK. I'LL BE READY IN FIVE MINUTES.

[ DOOR CLOSES ]

WHAT HAPPENED?

[ MUFFLED SHOUT ]

[ CHIRPING ]

[ DOOR OPENS, CLOSES ]

HMM, THAT'S STRANGE.

BILL?

I DON'T KNOW.

POETRY.

"ONE FOR THE MONEY, TWO FOR THE SHOW,

"THREE TO MAKE READY, AND FOUR TO GO.

MIGHT EVEN MAKE IT A HUNDRED OR SO."

PRETTY BAD POETRY.

YEAH.

HEY, NICE-LOOKING GAL.

YEAH.

WHY THE "X"?

GOOD QUESTION.

THINK SOMEBODY'S TRYING TO TELL US SOMETHING?

HELLO? GET ME HOMICIDE, H.P.D., PLEASE.

IT'S PROBABLY A CRACKPOT, STEVE.

UNFORTUNATELY, CRACKPOTS KILL, DANNO.

LIEUTENANT PELAK? McGARRETT.

YOU HAVE ANY HOMICIDES LAST NIGHT, MAYBE EARLY THIS MORNING?

YEAH.

WAIT A MINUTE, LET ME GUESS.

FEMALE, LATE 20s,

PROBABLY MESTIZO OR FILIPINO?

YEAH.

YEAH, WHERE?

THANKS, LIEUTENANT.

WILL YOU MEET ME THERE?

SHE WAS KILLED?

YEAH.

THEY JUST FOUND HER BODY IN AN APARTMENT,

LIAHI AND MONSOHA.

CHIN?

TWO ENVELOPES AND A PICTURE ON MY DESK.

GET THEM OVER TO THE LAB AS SOON AS POSSIBLE.

SEE WHAT THEY CAN COME UP WITH BESIDES MAY'S PRINTS AND MINE.

LET'S GO.

[ ENGINE TURNS OVER ]

[ "HAWAII FIVE-O" THEME PLAYS ]

LIEUTENANT.

McGARRETT.

WHAT HAVE WE GOT?

HOW DID YOU FELLOWS KNOW ABOUT THIS ONE?

KILLER ADVERTISED HIMSELF WITH A PICTURE AND A POEM.

-POEM? -YEAH.

"ONE FOR THE MONEY, TWO FOR THE SHOW,

"THREE TO GET READY, FOUR TO GO.

I MIGHT EVEN MAKE IT A HUNDRED OR SO."

WAS SHE ASSAULTED?

JUST MURDERED.

"JUST," HUH?

WHO IS SHE?

AIMEE CROSS.

SINGLE. 33.

WORKED AS A SECRETARY

FOR HAWAIIAN AMALGAMATED INDUSTRIES.

BORN IN THE ISLANDS.

NO LINE ON BOYFRIENDS OR ACQUAINTANCES YET.

"MIGHT EVEN MAKE IT A HUNDRED OR SO."

HMM. AMBITIOUS.

NO MORE SO THAN JACK THE RIPPER.

HE HAD 18 OR 20 BEFORE HE STOPPED.

THE CLEVELAND TORSO MURDERS, ABOUT THE SAME NUMBER.

NOT TO MENTION THE BOSTON STRANGLER.

MAN, SOMETHING LIKE THAT BREAKS LOOSE,

AND IT'S PANIC TIME.

LEND ME YOUR GLASS A MINUTE, CHARLIE.

THANK YOU.

WHAT DO YOU THINK?

THE PICTURE WE GOT IN THE MAIL IS A BLOWUP OF THIS, I'LL BET.

DANNO, CHECK OUT THE PHOTOGRAPHER WHO TOOK IT.

SEE IF HE CAN IDENTIFY THE GROUP.

AND SEE WHAT HER EMPLOYER CAN ADD.

RIGHT.

CHARLIE?

AAH!

[ THUMP ]

YOU WERE RIGHT, BOSS.

THE PICTURE WAS BLOWN UP.

LAB THINKS IT'S HOMEMADE.

SO THE KILLER COULD BE

A CAMERA OR DARKROOM BUG, HUH?

WHAT ABOUT THE ENVELOPES?

FIVE-AND-DIME. NOT TRACEABLE.

WHAT ELSE?

NO PRINTS. COUPLE SMUDGES.

KILLER USE GLOVES?

LAB THINKS RUBBER.

WHAT ABOUT THE TYPEWRITER?

POSSIBILITIES THERE.

THE "M" AND THE "A" ARE CHIPPED. LETTERS OUT OF LINE.

THEY THINK IT WAS A PORTABLE, MAYBE 25, 30 YEARS OLD.

WHAT MAKE?

NO LUCK THERE.

WE'LL MAKE SOME LUCK.

ASK THE LAB TO CHECK SAMPLE TYPEFACES OF EVERY MANUFACTURER.

TELL THEM TO CALL US AS SOON AS THEY KNOW.

-STEVE? -YEAH.

I FINALLY FOUND THE STUDIO THAT TOOK THIS.

DO THEY REMEMBER IT?

YEAH.

IT WAS TAKEN AT A COMPANY LUAU

THROWN BY THE OUTFIT SHE WORKED FOR

CALLED HAWAIIAN AMALGAMATED INDUSTRIES.

WHO'S THE GROUP?

JUST THE HOME OFFICE STAFF.

THEY'VE GOT A LOT OF DIVISIONS.

I CHECKED OUT AIMEE CROSS. THEY COULDN'T ADD ANYTHING.

WELL, WE'LL START CHECKING ELSEWHERE.

BOSS.

LOCKED. NO ANSWER.

THIS IS THE ADDRESS I GOT FROM HAWAIIAN AMALGAMATED.

MORNING PAPER. MAYBE SHE NEVER GOT HOME.

NO PARKED CAR IN FRONT. NONE IN THE DRIVEWAY.

LET'S CHECK THE GARAGE.

NUMBER TWO.

DANNO, WAIT HERE TILL THE LAB BOYS GET HERE.

MRS. WARDEN?

SAME AS MISS CROSS.

STABBED?

REPEATEDLY.

THAT'S AWFUL.

SHE WAS A FINE WOMAN.

I KNEW HER.

SHE'D BEEN HERE ALMOST 20 YEARS.

YOU HAVE ANY LEADS TO THE KILLER?

NOT YET.

MR. GORDLOW...

I WANT A MAN FROM MY OFFICE

TO GO THROUGH YOUR PERSONNEL RECORDS, PAST AND PRESENT,

AND I'D LIKE A ROOM WHERE WE CAN QUESTION YOUR EMPLOYEES.

YOU THINK ONE OF OUR PEOPLE IS GUILTY?

I DON'T KNOW.

I JUST KNOW BOTH WOMEN WORKED FOR THIS ORGANIZATION.

SOUNDS LIKE A PSYCHOTIC, A CRAZY KILLER.

ALL KILLERS ARE PSYCHOTIC.

CHARLIE, I WANT TO TALK TO YOU ABOUT --

OH, I'M SORRY. I DIDN'T KNOW YOU WERE BUSY.

ARNOLD, THIS IS MR. McGARRETT OF HAWAII FIVE-O.

THIS IS ARNOLD MARTIN, OUR EXECUTIVE VICE-PRESIDENT.

MR. MARTIN.

YOU'RE HERE ABOUT MISS CROSS?

YES. AND MRS. WARDEN.

MRS. WARDEN?

ALSO MURDERED.

SEEMS THAT SOMEBODY DOESN'T LIKE THE PEOPLE THAT WORK FOR US.

CHARLIE, THAT'S NOT FUNNY.

I'M SORRY. IT JUST CAME OUT.

WHAT ABOUT THE PERSONNEL RECORDS? MAY I SEE THEM?

AUNT MARTHA WILL HAVE TO OKAY THAT.

IT'S NOT A DECISION FOR A PERSONNEL MANAGER.

OH, YOU SEE, MR. McGARRETT,

ARNOLD AND I ARE THE PRIME EXAMPLES

OF THE REWARDS AND PERILS OF NEPOTISM.

WE ARE THE NEPHEWS OF AUNT MARTHA.

AND WHO IS AUNT MARTHA?

HMPH! IT'S PREPOSTEROUS.

THIS WHOLE AFFAIR CAN'T POSSIBLY HAVE ANY CONNECTION

WITH HAWAIIAN AMALGAMATED.

MY JOB IS TO FIND OUT IF IT HAS.

ONE MORE THING -- I'D LIKE TO SEE YOUR TYPEWRITERS.

TYPEWRITERS?

TO COMPARE THIS TYPING.

I CAN SAVE YOU THAT TROUBLE.

GOOD. HOW?

THIS IS OBVIOUSLY AN OLD TYPEWRITER.

VINTAGE.

WE REPLACED EVERY TYPEWRITER IN THIS PLACE SIX MONTHS AGO.

LARGE-FACE TYPE.

I STILL WANT TO SEE THEM.

NOW, HOW ABOUT MY OTHER REQUESTS?

ARNOLD?

YES, AUNT MARTHA?

YOU WILL COOPERATE WITH MR. McGARRETT'S PEOPLE.

GOODBYE, MR. McGARRETT.

MA'AM.

CHARLIE?

YES, AUNT MARTHA?

CHARLIE, DO YOU REMEMBER...

YES, AUNT MARTHA?

NEVER MIND.

WE'LL TALK ABOUT IT TONIGHT AT MY HOUSE.

TONIGHT? BUT I HAVE A DATE TONIGHT.

THEN BREAK IT.

I'LL SEE YOU TONIGHT, CHARLIE,

AT 9:00 AT MY HOME.

YES, AUNT MARTHA.

THERE'S 72 NAMES ON THAT LIST.

LEAVES US 70 TO PROTECT.

HOW ARE WE GOING TO PUT A BODYGUARD ON EVERY ONE OF THEM?

WE'VE GOT TO.

WHAT'S THE FIRST NAME AND ADDRESS, DANNO?

AVASU, JEAN. 210 MORO DRIVE.

210 MORO DRIVE.

THAT'S IN THE DISTRICT COVERED BY CAR 14.

RIGHT.

SO WE PUT A MARK ON THE MAP

FOR EVERY NAME AND ADDRESS ON THAT LIST.

THEN EVERY PATROL CAR GETS A LIST FOR THEIR DISTRICT,

AND WE MAKE A CONTINUING CHECK.

THAT'S ABOUT FOUR ROUNDS EACH TOUR OF DUTY.

RIGHT -- PROTECTION FOR EVERYBODY IN THAT PICTURE,

FROM THE JANITOR ON UP TO AND INCLUDING MARTHA GORDLOW.

I AM HERE, AUNT MARTHA.

I AM AWARE OF THAT.

I HAPPEN TO BE THINKING.

IT SOUNDS SERIOUS.

IT MIGHT BE VERY.

OH?

CHARLIE...

I GAVE ARNOLD A GIFT A LONG TIME AGO,

ON HIS 21st BIRTHDAY.

WELL, YOU WOULDN'T REMEMBER IT.

BUT I DO, AUNT MARTHA.

YOU DO?

SURE.

I WAS GREEN WITH ENVY.

MY BIRTHDAY WAS THE MONTH BEFORE,

AND YOU GAVE ME PAJAMAS, SOCKS, UNDERWEAR,

AND HANDKERCHIEFS.

"GOOD PRACTICAL GIFTS," YOU SAID.

[ SIGHS ]

YOU WERE VERY YOUNG THEN AND VERY WILD.

YOU WOULD HAVE BROKEN A TYPEWRITER IN A MONTH,

TWO AT THE MOST.

I SUPPOSE YOU'RE RIGHT, AUNT MARTHA.

ARNOLD STILL HAS IT.

YEAH, I KNOW.

HE HAS IT AT HOME.

HE TYPES MEMOS TO ME ON IT ALMOST EVERY DAY.

HE DOES?

YES.

CHARLIE, DID YOU GET A GOOD LOOK AT THAT ENVELOPE

THAT MR. McGARRETT SHOWED TO ME TODAY?

YES, AUNT MARTHA.

DID IT SEEM FAMILIAR?

NATURALLY,

SINCE IT WAS TYPED ON ARNOLD'S PORTABLE.

ARE YOU SURE?

OF COURSE.

I TYPED IT.

OH, CHARLIE, YOU TYPED IT?

YES, AUNT MARTHA.

[ SIGHS ]

THAT'S PREPOSTEROUS.

IS IT?

I DON'T BELIEVE IT.

BUT IF YOU DON'T BELIEVE IT, IT CAN'T BE TRUE,

CAN IT, AUNT MARTHA?

WERE YOU...

INVOLVED...

WITH THOSE WOMEN?

NO, AUNT MARTHA.

WELL, THEN WHAT OTHER POSSIBLE REASON COULD THERE BE?

YOU, AUNT MARTHA.

SEE, I'VE BECOME IMPATIENT...

AND TIRED.

I'M TIRED OF YOU.

I'M SICK OF LIVING ON YOUR CHARITY,

BEING TREATED LIKE A CHILD.

"DON'T DO THIS, DON'T DO THAT.

DO THIS, DO THAT."

I'M A MAN, AUNT MARTHA. A MAN.

AND YOU NEVER LET ME BE ONE.

YOU NEVER LET ME DO ANYTHING BY MYSELF.

I COULD NEVER ENJOY LIFE DOING WHAT YOU TOLD ME,

LIVING ON WHAT YOU PAY ME,

BUT I CAN ON HALF OF WHAT YOU'RE GOING TO LEAVE,

AND I'LL BE FREE OF YOU.

[ GASPS ]

[ GASPS ]

[ Telephone ringing ]

ANSWER IT.

ANSWER IT.

Operator.

OPERATOR.

Yes, sir?

POLICE.

I'VE BEEN S-STABBED.

SEVEN --

APARTMENT SEVEN,

HUNTINGTON TOWERS.

I'll get an ambulance right away.

[ SIRENS WAILING ]

CHARLIE? CHARLIE, CAN YOU HEAR ME?

CHARLIE, WHO DID IT? WHAT HAPPENED?

I...

CHARLIE, DID YOU SEE HIM?

NO...HEARD VOICE.

WHOSE VOICE, CHARLIE? WHOSE?

FAMILIAR. VERY...

-OKAY. -HOW BAD IS IT, DOCTOR?

HE LOST A LOT OF BLOOD.

CAN'T TELL UNTIL I GET HIM TO THE HOSPITAL.

OKAY, LET'S GO.

HOW BAD IS HE?

I DON'T KNOW.

COULD HE MAKE ANY IDENTIFICATION?

HE SAID SOMETHING ABOUT A VOICE,

AND THEN HE PASSED OUT.

DANNO, STAY HERE.

TELL CHE FONG I WANT A FINE-TOOTHED COMB JOB,

PICTURES FROM EVERY ANGLE, ANYTHING HE CAN PICK UP.

[ SIREN WAILING ]

WELL, DOCTOR, WHAT'S THE VERDICT?

AN INCH OR TWO HIGHER OR LOWER,

AND YOU COULD HAVE ORDERED FLOWERS.

-CAN I TALK TO HIM NOW? -HE'S OUT -- WAY OUT.

HE'LL BE WELL ENOUGH BY TOMORROW AFTERNOON.

IT'S SUPERFICIAL. NO COMPLICATIONS.

YOU SURE I CAN'T TALK TO HIM?

IMPOSSIBLE. HE HAVE RELATIVES?

YEAH, AN AUNT AND A COUSIN. I'LL CALL THEM.

[ TELEPHONE RINGING ]

AUNT MARTHA?

OH, NO.

LOOKS LIKE YOU WERE MEANT TO BE NUMBER THREE, CHARLIE.

HAS ARNOLD BEEN TOLD?

YES.

HE SAID HE'D BE HERE AS SOON AS HE MADE

THE NECESSARY ARRANGEMENTS.

NOW LET'S HEAR WHAT HAPPENED TO YOU.

I'M AFRAID I'M NOT GOING TO BE MUCH HELP.

LET ME DECIDE THAT.

WELL, I WENT TO BED EARLY. I WASN'T FEELING VERY WELL.

I, UH, I GUESS I WAS UPSET BY WHAT HAD BEEN HAPPENING.

THEN THE DOORBELL RANG --

WHAT TIME WAS THAT?

OH, I DON'T KNOW.

I GOT UP TO ANSWER IT. I WAS GROGGY AND ASLEEP.

TURN ON ANY LIGHTS?

NO. THAT'S ONE PLACE I KNOW MY WAY IN THE DARK.

AND YOU WENT RIGHT TO THE DOOR?

YEAH, BUT, UH,

AS SOON AS I OPENED IT,

A FLASHLIGHT SHINED IN MY EYES.

IT BLINDED ME, AND THEN A VOICE SAID, "CHARLIE."

THEN I FELT A SHARP PAIN IN MY SIDE, LIKE A KNIFE.

I MEAN, IT WAS A KNIFE.

AND THEN I PUSHED HIM OUT, AND I SHUT THE DOOR,

AND THEN I GRABBED MY SIDE AND I FELT THE BLOOD.

AND THEN WHAT?

THEN I PHONED FOR HELP, AND I PASSED OUT.

IT SOUNDS LIKE HE KNEW YOU, CHARLIE.

DID YOU RECOGNIZE THE VOICE?

UH, NO. IT WAS JUST A VOICE.

BUT YOU SAID IT WAS FAMILIAR.

DID I? I DON'T REMEMBER.

BUT IT WAS A MAN'S VOICE.

YEAH, AS FAR AS I COULD TELL.

[ KNOCK ON DOOR ]

ARNIE.

HELLO, CHARLIE. MR. McGARRETT.

MR. MARTIN.

IT'S HARD TO BELIEVE, ISN'T IT?

AUNT MARTHA GONE.

YES.

CHARLIE, BO CALLED ME.

WHO'S THAT?

BO WILSON. AUNT MARTHA'S ATTORNEY.

SHE TOLD HIM TO GIVE US THIS UPON HER DEATH.

"TO CHARLES GORDLOW AND ARNOLD MARTIN,

TO BE OPENED UPON MY DEATH."

[ PAPER RUSTLES ]

WHAT'S IT SAY?

SIMPLY, "PLAY IT."

AHEM.

I'VE ALWAYS WANTED TO TALK LIKE THIS TO BOTH OF YOU,

BUT I NEVER COULD.

I DON'T KNOW WHY.

IT MIGHT BE THE HERITAGE OF MY MISSIONARY FORBEARERS --

THEY LEFT TOO MANY OF THE ROCKS

OF THEIR NEW ENGLAND COAST IN MY SOUL.

I...

LOVE YOU...

BOTH.

IT'S FUNNY HOW EASY THAT WORD IS TO SAY WHEN YOU'RE ALONE,

AND I NEVER COULD SAY IT TO ANYONE.

I GUESS THAT'S WHY I'VE GOT NEPHEWS FOR SONS

INSTEAD OF MY OWN,

AND YOU ARE MY SONS.

ARNOLD...

YOU'RE THE SENSIBLE ONE, THE LEVELHEADED ONE.

TO YOU I AM LEAVING THE CONTROLLING STOCK

AND THE MANAGEMENT OF THE COMPANY.

CHARLIE...

[ CHUCKLES ]

CHARLIE, YOU ALWAYS DID DEVIL ME,

AND I GUESS I DEVILED YOU.

BUT...

I...

LOVE YOU --

MY, THAT'S SUCH A NICE WORD TO SAY --

LOVE YOU TOO MUCH TO LET YOU SQUANDER YOUR BIRTHRIGHT,

SO I LEAVE YOU AN INCOME FROM A TRUST.

IT'S ENOUGH TO LIVE VERY WELL,

BUT NOT TOO WILDLY.

TAKE CARE OF HIM, ARNOLD,

AND HAVE THIS MEMORY OF ME.

I LOVED YOU BOTH,

BUT MAYBE...

YOU A LITTLE MORE, CHARLIE.

[ Echoing ] YOU A LITTLE MORE, CHARLIE.

OKAY, WHAT DO WE GOT?

PICTURES, ENVELOPES, TYPING --

BUT NOTHING TO HOLD THEM TOGETHER

AND NOTHING TO FINGER THE KILLER.

CHIN.

THE LAB CAME THROUGH ON THE TYPEWRITER --

-YEAR AND MAKE. -GO.

MANUFACTURED 1948.

I WONDER HOW MANY OF THOSE ARE SOLD ON THE ISLANDS.

IF IT WAS BOUGHT HERE.

COULD'VE BEEN BROUGHT IN BY A TOURIST

OR SOMEBODY WHO MOVED HERE FROM THE MAINLAND.

OKAY, CHIN, GET ON IT, ANYWAY.

CHECK OUT SALES RECORDS WITH EVERY JOB AND RETAIL

AS FAR BACK AS THEY GO.

DONE.

REAL SHOT IN THE DARK, HUH?

YEAH.

THE PICTURES CHE FONG TOOK OF CHARLIE GORDLOW'S APARTMENT.

LET ME SEE THEM.

ANY FINGERPRINTS IN THE APARTMENT?

NOTHING.

DANNO, TAKE A GOOD LOOK AT THESE PICTURES.

TELL ME WHAT YOU SEE.

NICE APARTMENT.

PHONE KNOCKED ON THE FLOOR.

LARGE BLOOD STAINS ON THE CARPET NEAR THE DESK.

TRAIL OF BLOOD LEADING BACK TO THE PHONE.

ALL I SEE IS A NICE APARTMENT.

NOTHING ELSE?

THAT'S ALL I CAN SEE.

WELL, IT'S THERE. DON'T ASK ME WHAT OR WHERE.

BUT SOMEWHERE IN THESE PHOTOGRAPHS MUST BE THE ANSWER.

MAYBE KONO CAN DO BETTER.

NOT ME. I'VE TRIED.

WITH A PSYCHO LOOSE, NOTHING MAKES SENSE.

I...LOVE YOU.

ARNOLD, YOU'RE THE SENSIBLE ONE.

I...LOVE YOU.

[ TIRES SCREECH ]

ARNOLD, YOU'RE THE SENSIBLE ONE.

I...LOVE YOU.

[ DOORBELL RINGING ]

CHARLIE?

I COULDN'T SLEEP.

I TOOK A DRIVE, AND I HAD YOUR TYPEWRITER IN THE CAR.

I THOUGHT I'D RETURN IT.

CHARLIE, IT'S 6:00 IN THE MORNING.

[ SIGHS ] ALL RIGHT. COME ON IN.

I GUESS MAYBE WE OUGHT TO TALK.

IT'S KIND OF HARD TO GET USED TO, ISN'T IT?

NO.

OH, AUNT MARTHA? YES.

LOOK, IF WE'RE GOING TO HAVE A TALK, ARNOLD,

DO YOU HAVE ANY COFFEE?

SURE.

SURE, SURE. I'LL FIX SOME.

YOU KNOW, IT'S KIND OF FUNNY HOW LITTLE YOU KNOW PEOPLE

THAT YOU THINK YOU KNOW.

WELL, YOU THOUGHT YOU KNEW HER. I NEVER DID.

SHE NEVER SHOWED THAT SIDE OF HER WE HEARD ON THE TAPE.

I GUESS WE ALL HIDE FROM EACH OTHER.

I DON'T THINK I EVER HEARD HER SAY THAT WORD BEFORE.

WHAT WORD?

"LOVE."

SHE'D LIKE SOMETHING, BUT, UH, LOVE?

NEVER.

CREAM AND SUGAR?

BLACK.

YEAH.

IT'S TOO BAD SHE NEVER USED IT BEFORE.

WELL, IT'S HARD TO IMAGINE HER

TELLING US ANYTHING LIKE THAT FACE-TO-FACE.

WELL, I GUESS WE ALL ARE WHAT WE ARE,

AND THERE'S NOTHING WE CAN DO ABOUT IT.

WELL, IT'S TOO BAD SHE COULDN'T.

I'D HAVE LIKED HEARING HER SAY IT --

"I LOVE YOU."

WOULDN'T YOU, CHARLIE?

CHARLIE?

CHARLIE?

CHARLIE!

TSK, TSK, TSK, TSK, TSK.

TOO BAD, ARNOLD.

YOU SHOULDN'T HAVE KILLED AUNT MARTHA

AND TRIED TO KILL ME.

[ ENGINE TURNS OVER ]

SHALL WE GO OVER WHAT WE GOT AGAIN?

MAYBE WE'LL TURN UP SOMETHING WE OVERLOOKED.

OR HAVE YOU GOT SOMETHING, STEVE?

YOU SAID A NICE SIMPLE MURDER WITH A MOTIVE.

-YOU GOT ONE? -MAYBE.

FOR ALL THREE DEATHS?

NO, JUST FOR ONE OF THEM -- MARTHA GORDLOW.

HER DEATH GAVE ARNOLD MARTIN CONTROL

OF HAWAIIAN AMALGAMATED.

WHAT ABOUT CHARLIE AND THE OTHER TWO?

WHY WOULD ARNOLD KILL THEM?

TO CONCEAL HIS REAL TARGET.

HE'D HAVE TO BE CRAZY.

YEAH. COME ON, DANNO.

LET'S FIND OUT WHERE ARNOLD WAS WHEN MARTHA GORDLOW WAS KILLED.

SOUNDS LIKE A CAR ENGINE.

IT'S THAT ONE THERE.

IT WON'T BUDGE.

AUTOMATIC DOOR.

HOW'S IT OPEN?

ELECTRONIC SIGNAL, I GUESS.

-SWELL. -WAIT A MINUTE.

McGARRETT, FIVE-O, CALLING DISPATCH.

McGARRETT, FIVE-O, CALLING DISPATCH.

This is dispatch. Go ahead.

CAN YOU GIVE ME A HIGH-FREQUENCY SIGNAL

THAT MIGHT OPEN A GARAGE DOOR

ABOUT SIX OR EIGHT FEET FROM WHERE I AM?

We'll try it, McGarrett.

TRY IT FAST, PLEASE.

[ BEEPING ]

NOTHING HAPPENING SO FAR.

We'll try a higher frequency.

When you don't hear it, you have maximum.

[ BEEPING ]

YEAH, IT'S WORKING.

STEVE, IT'S ARNOLD MARTIN!

DISPATCH? DISPATCH?

SEND AN AMBULANCE AND A RESUSCITATOR

TO 322 KAHALA AVENUE -- REPEAT -- 322 KAHALA AVENUE.

[ SIRENS WAILING ]

WHAT ARE HIS CHANCES?

PRETTY GOOD. I THINK YOU GOT HIM OUT IN TIME.

STEVE.

YEAH? THAT ROUNDS IT OFF, HUH?

OPEN AND SHUT, IF TYPING MATCHES.

IT WILL.

WHAT MORE DO WE NEED?

THE TYPEWRITER, RUBBER GLOVES,

A KNIFE IN THE GLOVE BOX.

YEAH, YOU HAD IT FIGURED RIGHT.

DID I? WHY DID HE TRY TO KILL HIMSELF?

GUILTY CONSCIENCE?

-DOESN'T WASH, DANNO. -WHY NOT?

THE THREE KILLINGS -- AIMEE CROSS, RUTH WARDEN,

AND HIS AUNT MARTHA -- WERE VICIOUS AND BRUTAL.

THE MURDERER HAD TO BE SOMEONE

WITHOUT CONSCIENCE OR FEELING OF GUILT -- HAD TO BE.

OKAY -- MAYBE ARNOLD THOUGHT CHARLIE GOT A LOOK AT HIM

BEFORE HE WAS SHOVED OUT THE DOOR.

WAIT A MINUTE -- THE DOOR.

YEAH, THE DOOR.

MAYBE THAT'S WHAT'S BOTHERING ME.

THANK YOU, MA'AM.

SOMETHING ABOUT THIS DOOR BOTHERS ME, DANNO.

LET'S SEE IF WE CAN PIECE IT TOGETHER, HUH?

HE WAS IN BED WHEN THE DOORBELL RANG, RIGHT?

YEAH, AND HE GOT OUT OF BED.

TURN ON THE LIGHTS?

NO. HE SAID HE WENT TO THE DOOR IN THE DARK.

HE SAID HE WAS BLINDED BY A FLASHLIGHT,

AND HE HEARD SOMEBODY SAY, "CHARLIE."

THAT'S WHEN HE WAS STABBED, RIGHT?

YEAH.

HE SHOVED THE MURDERER BACK INTO THE HALL

AND SLAMMED THE DOOR.

THEN HE WENT FROM THE DOOR

TO THE TELEPHONE AND CALLED FOR HELP.

WAIT A MINUTE, DANNO.

THERE ARE NO BLOODSTAINS AT THE DOOR.

YEAH?

HE SAID HE WAS STABBED AT THE DOOR.

HE DIDN'T BLEED AT THE DOOR.

BLOOD STAINS AT THE DESK.

SEE...ALL THE WAY TO THE PHONE,

BUT THERE ARE NO STAINS AT THE DOOR

OR FROM THE DOOR TO THE PHONE.

WHY?

OKAY, LET ME TRY.

HE WAS STABBED AT THE DOOR, RIGHT?

AND THEN HE FELT THE PAIN AND GRABBED HIS SIDE

TO STOP THE BLEEDING.

UNTIL HE GOT TO THE DESK.

BUT WHY DID HE GO TO THE DESK,

INSTEAD OF DIRECTLY FROM THE DOOR TO THE PHONE?

I CAN'T TELL YOU WHAT A SHOCK IT'S BEEN.

FIRST AUNT MARTHA, THEN ARNOLD.

WHAT KIND OF A -- A MAN WOULD KILL FOUR PEOPLE? WHY?

THREE PEOPLE, CHARLIE.

WHAT DO YOU MEAN?

ARNOLD'S ALIVE. HE'S GONNA MAKE IT.

BUT I THOUGHT HE -- HE WAS --

WHAT? WHAT DID YOU THINK, CHARLIE?

UH, DEAD.

THAT'S, UH -- THAT'S GREAT NEWS. OLD ARNIE'S ALIVE.

I, UH -- I GUESS WE'RE TOO TOUGH TO KILL, HUH?

UH, I MEAN, LIKE,

THE KILLER MUST FEEL LIKE A LOSER NOW, RIGHT?

FIRST HE MISSES KILLING ME, AND THEN HE MISSES ARNIE.

YOU, UH -- YOU GOT ANY LEADS ON WHO THE KILLER IS?

WE'LL FIND HIM. WE'RE GETTING CLOSE NOW.

OH, YEAH. HOW'S THAT?

WE FIGURED ARNOLD MUST HAVE SEEN HIM.

AS SOON AS HE REGAINS CONSCIOUSNESS,

HE'LL BE ABLE TO TELL US.

YEAH. SURE.

THEN, UH, IT'S ALL OVER.

THE STRAIN MUST HAVE BEEN TERRIBLE.

IT'S BEEN UNBEARABLE.

I'LL BET.

WELL, WE'LL SEE YOU, CHARLIE.

EXCUSE ME.

YES?

MAY I VISIT WITH HIM?

WELL, HE'S UNCONSCIOUS. WHO ARE YOU?

HIS COUSIN.

IT'S AFTER VISITING HOURS.

I TRIED TO GET HERE SOONER, BUT, UH --

PLEASE, HE'S THE ONLY FAMILY I HAVE.

IF I COULD JUST SEE HIM FOR A FEW MINUTES.

ALL RIGHT, FOR A FEW MINUTES.

THANK YOU. THANK YOU VERY MUCH.

OH, EXCUSE ME.

WHERE ARE THE POLICE? I-IN THERE?

NO POLICE. DON'T WORRY. WE'RE LOOKING AFTER HIM.

BUT HE -- HE SHOULD BE GUARDED.

WE'LL KEEP AN EYE ON HIM.

ARNIE? YOU AWAKE YET, ARNIE?

I WISH YOU COULD HEAR ME, COUSIN.

YOU KNOW, THE TRUTH IS, ARNIE,

I FEEL KIND OF BAD ABOUT HAVING TO PUT YOU THROUGH THIS TWICE.

YOU KNOW, THE WAY I FIGURE IT,

DYING IS DULL.

BUT I GUESS YOU'RE GOING TO HAVE TO PUT UP

WITH BEING KILLED AGAIN.

I'LL TELL YOU ONE THING -- IT WASN'T MY FAULT.

THE WAY I HAD IT PLANNED,

YOU SHOULD HAVE DIED IN THE GARAGE.

McGARRETT, HE WORRIES ME.

SOMETIMES I THINK HE KNOWS SOMETHING.

BUT WHATEVER HE KNOWS, HE WON'T BE ABLE TO PROVE IT

BECAUSE HE NEEDS YOU TO PROVE IT,

AND YOU WON'T BE AROUND.

AUNT MARTHA.

WHAT ARE YOU DOING HERE?

I KILLED YOU.

I KNOW I KILLED YOU. NOW PLEASE, PLEASE GO AWAY.

AUNT MARTHA, YOU SAID YOU LOVED ME.

WHY DID YOU COME BACK?

ANSWER ME, AUNT MARTHA!

AUNT MARTHA.

IF YOU DON'T GO AWAY RIGHT NOW,

I'M GOING TO KILL YOU AGAIN.

ALL RIGHT.

[ SOBBING ]

AUNT MARTHA, SHE DID IT. SHE SAID SHE LOVED ME.

SHE HATED ME. I HAD TO KILL HER.

GIVE ME THE KNIFE, CHARLIE.

GIVE ME THE KNIFE!

YOU ALL LOOK AT ME LIKE I'M CRAZY.

I'M NOT.

AM I, AUNT MARTHA?

AM I?

[ "HAWAII FIVE-O" THEME PLAYS ]

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