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1
00:00:00,734 --> 00:00:03,104
[ FOOTSTEPS ]
2
00:00:12,285 --> 00:00:14,754
HI. YOU'RE A LITTLE EARLY.
3
00:00:14,787 --> 00:00:18,858
FIX YOURSELF A DRINK.
I'LL BE READY IN FIVE MINUTES.
4
00:00:18,891 --> 00:00:20,326
[ DOOR CLOSES ]
5
00:00:24,430 --> 00:00:25,966
WHAT HAPPENED?
6
00:00:32,605 --> 00:00:34,540
[ MUFFLED SHOUT ]
7
00:00:37,978 --> 00:00:41,214
[ CHIRPING ]
8
00:00:48,754 --> 00:00:52,392
[ DOOR OPENS, CLOSES ]
9
00:00:56,196 --> 00:00:59,299
HMM, THAT'S STRANGE.
10
00:00:59,332 --> 00:01:00,566
BILL?
11
00:01:00,600 --> 00:01:02,335
I DON'T KNOW.
12
00:01:03,569 --> 00:01:04,937
POETRY.
13
00:01:04,971 --> 00:01:07,540
"ONE FOR THE MONEY,
TWO FOR THE SHOW,
14
00:01:07,573 --> 00:01:10,376
"THREE TO MAKE READY,
AND FOUR TO GO.
15
00:01:10,410 --> 00:01:13,213
MIGHT EVEN MAKE IT
A HUNDRED OR SO."
16
00:01:13,246 --> 00:01:14,647
PRETTY BAD POETRY.
17
00:01:14,680 --> 00:01:17,117
YEAH.
18
00:01:18,951 --> 00:01:20,820
HEY, NICE-LOOKING GAL.
19
00:01:20,853 --> 00:01:21,854
YEAH.
20
00:01:21,887 --> 00:01:22,922
WHY THE "X"?
21
00:01:22,955 --> 00:01:24,324
GOOD QUESTION.
22
00:01:24,357 --> 00:01:27,560
THINK SOMEBODY'S TRYING
TO TELL US SOMETHING?
23
00:01:31,031 --> 00:01:34,334
HELLO? GET ME HOMICIDE,
H.P.D., PLEASE.
24
00:01:34,367 --> 00:01:36,602
IT'S PROBABLY
A CRACKPOT, STEVE.
25
00:01:36,636 --> 00:01:39,572
UNFORTUNATELY,
CRACKPOTS KILL, DANNO.
26
00:01:41,307 --> 00:01:42,808
LIEUTENANT PELAK? McGARRETT.
27
00:01:42,842 --> 00:01:46,746
YOU HAVE ANY HOMICIDES LAST
NIGHT, MAYBE EARLY THIS MORNING?
28
00:01:46,779 --> 00:01:48,114
YEAH.
29
00:01:48,148 --> 00:01:51,684
WAIT A MINUTE, LET ME GUESS.
30
00:01:51,717 --> 00:01:54,020
FEMALE, LATE 20s,
31
00:01:54,054 --> 00:01:56,656
PROBABLY MESTIZO OR FILIPINO?
32
00:01:59,392 --> 00:02:00,193
YEAH.
33
00:02:00,226 --> 00:02:02,028
YEAH, WHERE?
34
00:02:02,062 --> 00:02:04,697
THANKS, LIEUTENANT.
35
00:02:04,730 --> 00:02:07,167
WILL YOU MEET ME THERE?
36
00:02:07,200 --> 00:02:09,035
SHE WAS KILLED?
37
00:02:09,069 --> 00:02:10,036
YEAH.
38
00:02:10,070 --> 00:02:12,772
THEY JUST FOUND HER BODY
IN AN APARTMENT,
39
00:02:12,805 --> 00:02:14,840
LIAHI AND MONSOHA.
40
00:02:14,874 --> 00:02:16,042
CHIN?
41
00:02:16,076 --> 00:02:17,643
TWO ENVELOPES AND A PICTURE
ON MY DESK.
42
00:02:17,677 --> 00:02:19,612
GET THEM OVER TO THE LAB
AS SOON AS POSSIBLE.
43
00:02:19,645 --> 00:02:22,448
SEE WHAT THEY CAN COME UP WITH
BESIDES MAY'S PRINTS AND MINE.
44
00:02:22,482 --> 00:02:24,217
LET'S GO.
45
00:02:36,362 --> 00:02:38,198
[ ENGINE TURNS OVER ]
46
00:02:45,471 --> 00:02:48,674
[ "HAWAII FIVE-O" THEME PLAYS ]
47
00:04:08,221 --> 00:04:09,622
LIEUTENANT.
48
00:04:09,655 --> 00:04:10,723
McGARRETT.
49
00:04:10,756 --> 00:04:11,724
WHAT HAVE WE GOT?
50
00:04:11,757 --> 00:04:14,427
HOW DID YOU FELLOWS
KNOW ABOUT THIS ONE?
51
00:04:14,460 --> 00:04:17,263
KILLER ADVERTISED HIMSELF
WITH A PICTURE AND A POEM.
52
00:04:17,297 --> 00:04:19,332
-POEM?
-YEAH.
53
00:04:19,365 --> 00:04:21,334
"ONE FOR THE MONEY,
TWO FOR THE SHOW,
54
00:04:21,367 --> 00:04:23,169
"THREE TO GET READY,
FOUR TO GO.
55
00:04:23,203 --> 00:04:25,171
I MIGHT EVEN MAKE IT
A HUNDRED OR SO."
56
00:04:25,205 --> 00:04:27,039
WAS SHE ASSAULTED?
57
00:04:27,072 --> 00:04:28,641
JUST MURDERED.
58
00:04:28,674 --> 00:04:30,343
"JUST," HUH?
59
00:04:48,027 --> 00:04:49,662
WHO IS SHE?
60
00:04:49,695 --> 00:04:51,130
AIMEE CROSS.
61
00:04:51,163 --> 00:04:52,498
SINGLE. 33.
62
00:04:52,532 --> 00:04:53,766
WORKED AS A SECRETARY
63
00:04:53,799 --> 00:04:55,235
FOR HAWAIIAN
AMALGAMATED INDUSTRIES.
64
00:04:55,268 --> 00:04:57,002
BORN IN THE ISLANDS.
65
00:04:57,036 --> 00:04:59,772
NO LINE ON BOYFRIENDS
OR ACQUAINTANCES YET.
66
00:04:59,805 --> 00:05:02,742
"MIGHT EVEN MAKE IT
A HUNDRED OR SO."
67
00:05:02,775 --> 00:05:04,210
HMM. AMBITIOUS.
68
00:05:04,244 --> 00:05:06,612
NO MORE SO THAN
JACK THE RIPPER.
69
00:05:06,646 --> 00:05:09,081
HE HAD 18 OR 20
BEFORE HE STOPPED.
70
00:05:09,114 --> 00:05:11,784
THE CLEVELAND TORSO MURDERS,
ABOUT THE SAME NUMBER.
71
00:05:11,817 --> 00:05:14,354
NOT TO MENTION
THE BOSTON STRANGLER.
72
00:05:14,387 --> 00:05:16,489
MAN, SOMETHING LIKE
THAT BREAKS LOOSE,
73
00:05:16,522 --> 00:05:18,524
AND IT'S PANIC TIME.
74
00:05:24,764 --> 00:05:27,700
LEND ME YOUR GLASS
A MINUTE, CHARLIE.
75
00:05:27,733 --> 00:05:29,469
THANK YOU.
76
00:05:35,140 --> 00:05:36,776
WHAT DO YOU THINK?
77
00:05:36,809 --> 00:05:40,613
THE PICTURE WE GOT IN THE MAIL
IS A BLOWUP OF THIS, I'LL BET.
78
00:05:40,646 --> 00:05:43,383
DANNO, CHECK OUT
THE PHOTOGRAPHER WHO TOOK IT.
79
00:05:43,416 --> 00:05:45,518
SEE IF HE CAN
IDENTIFY THE GROUP.
80
00:05:45,551 --> 00:05:47,853
AND SEE WHAT
HER EMPLOYER CAN ADD.
81
00:05:47,887 --> 00:05:49,755
RIGHT.
82
00:05:51,657 --> 00:05:53,259
CHARLIE?
83
00:06:28,661 --> 00:06:31,364
AAH!
84
00:06:34,900 --> 00:06:36,669
[ THUMP ]
85
00:06:38,203 --> 00:06:39,472
YOU WERE RIGHT, BOSS.
86
00:06:39,505 --> 00:06:41,140
THE PICTURE WAS BLOWN UP.
87
00:06:41,173 --> 00:06:42,875
LAB THINKS IT'S HOMEMADE.
88
00:06:42,908 --> 00:06:44,410
SO THE KILLER COULD BE
89
00:06:44,444 --> 00:06:46,412
A CAMERA
OR DARKROOM BUG, HUH?
90
00:06:46,446 --> 00:06:48,414
WHAT ABOUT THE ENVELOPES?
91
00:06:48,448 --> 00:06:51,351
FIVE-AND-DIME. NOT TRACEABLE.
92
00:06:51,384 --> 00:06:52,685
WHAT ELSE?
93
00:06:52,718 --> 00:06:55,154
NO PRINTS. COUPLE SMUDGES.
94
00:06:55,187 --> 00:06:57,156
KILLER USE GLOVES?
95
00:06:57,189 --> 00:06:58,591
LAB THINKS RUBBER.
96
00:06:58,624 --> 00:07:00,926
WHAT ABOUT THE TYPEWRITER?
97
00:07:00,960 --> 00:07:02,495
POSSIBILITIES THERE.
98
00:07:02,528 --> 00:07:05,164
THE "M" AND THE "A" ARE CHIPPED.
LETTERS OUT OF LINE.
99
00:07:05,197 --> 00:07:08,468
THEY THINK IT WAS A PORTABLE,
MAYBE 25, 30 YEARS OLD.
100
00:07:08,501 --> 00:07:09,802
WHAT MAKE?
101
00:07:09,835 --> 00:07:11,070
NO LUCK THERE.
102
00:07:11,103 --> 00:07:12,304
WE'LL MAKE SOME LUCK.
103
00:07:12,338 --> 00:07:16,008
ASK THE LAB TO CHECK SAMPLE
TYPEFACES OF EVERY MANUFACTURER.
104
00:07:16,041 --> 00:07:19,945
TELL THEM TO CALL US
AS SOON AS THEY KNOW.
105
00:07:21,013 --> 00:07:21,947
-STEVE?
-YEAH.
106
00:07:21,981 --> 00:07:24,116
I FINALLY FOUND THE STUDIO
THAT TOOK THIS.
107
00:07:24,149 --> 00:07:25,250
DO THEY REMEMBER IT?
108
00:07:25,284 --> 00:07:26,552
YEAH.
109
00:07:28,220 --> 00:07:29,922
IT WAS TAKEN
AT A COMPANY LUAU
110
00:07:29,955 --> 00:07:31,657
THROWN BY THE OUTFIT
SHE WORKED FOR
111
00:07:31,691 --> 00:07:33,125
CALLED HAWAIIAN
AMALGAMATED INDUSTRIES.
112
00:07:33,158 --> 00:07:34,193
WHO'S THE GROUP?
113
00:07:34,226 --> 00:07:35,561
JUST THE HOME OFFICE STAFF.
114
00:07:35,595 --> 00:07:37,229
THEY'VE GOT
A LOT OF DIVISIONS.
115
00:07:37,262 --> 00:07:40,265
I CHECKED OUT AIMEE CROSS.
THEY COULDN'T ADD ANYTHING.
116
00:07:40,299 --> 00:07:42,101
WELL, WE'LL START
CHECKING ELSEWHERE.
117
00:07:42,134 --> 00:07:43,903
BOSS.
118
00:08:37,990 --> 00:08:39,725
LOCKED. NO ANSWER.
119
00:08:39,759 --> 00:08:43,863
THIS IS THE ADDRESS I GOT
FROM HAWAIIAN AMALGAMATED.
120
00:08:43,896 --> 00:08:46,932
MORNING PAPER.
MAYBE SHE NEVER GOT HOME.
121
00:08:46,966 --> 00:08:50,503
NO PARKED CAR IN FRONT.
NONE IN THE DRIVEWAY.
122
00:08:50,536 --> 00:08:52,438
LET'S CHECK THE GARAGE.
123
00:09:26,405 --> 00:09:28,641
NUMBER TWO.
124
00:09:33,012 --> 00:09:36,849
DANNO, WAIT HERE
TILL THE LAB BOYS GET HERE.
125
00:09:43,155 --> 00:09:45,124
MRS. WARDEN?
126
00:09:45,157 --> 00:09:46,759
SAME AS MISS CROSS.
127
00:09:46,792 --> 00:09:48,127
STABBED?
128
00:09:48,160 --> 00:09:49,995
REPEATEDLY.
129
00:09:50,029 --> 00:09:51,731
THAT'S AWFUL.
130
00:09:51,764 --> 00:09:53,933
SHE WAS A FINE WOMAN.
131
00:09:53,966 --> 00:09:56,602
I KNEW HER.
132
00:09:56,636 --> 00:10:00,139
SHE'D BEEN HERE ALMOST 20 YEARS.
133
00:10:00,172 --> 00:10:03,342
YOU HAVE ANY LEADS
TO THE KILLER?
134
00:10:03,375 --> 00:10:04,610
NOT YET.
135
00:10:04,644 --> 00:10:06,278
MR. GORDLOW...
136
00:10:06,311 --> 00:10:08,013
I WANT A MAN FROM MY OFFICE
137
00:10:08,047 --> 00:10:11,016
TO GO THROUGH YOUR PERSONNEL
RECORDS, PAST AND PRESENT,
138
00:10:11,050 --> 00:10:13,919
AND I'D LIKE A ROOM WHERE WE
CAN QUESTION YOUR EMPLOYEES.
139
00:10:13,953 --> 00:10:15,955
YOU THINK ONE OF OUR
PEOPLE IS GUILTY?
140
00:10:15,988 --> 00:10:17,089
I DON'T KNOW.
141
00:10:17,122 --> 00:10:19,692
I JUST KNOW BOTH WOMEN WORKED
FOR THIS ORGANIZATION.
142
00:10:19,725 --> 00:10:23,763
SOUNDS LIKE A PSYCHOTIC,
A CRAZY KILLER.
143
00:10:23,796 --> 00:10:26,766
ALL KILLERS ARE PSYCHOTIC.
144
00:10:26,799 --> 00:10:29,001
CHARLIE, I WANT TO TALK
TO YOU ABOUT --
145
00:10:30,269 --> 00:10:32,872
OH, I'M SORRY.
I DIDN'T KNOW YOU WERE BUSY.
146
00:10:32,905 --> 00:10:35,274
ARNOLD, THIS IS MR. McGARRETT
OF HAWAII FIVE-O.
147
00:10:35,307 --> 00:10:38,210
THIS IS ARNOLD MARTIN,
OUR EXECUTIVE VICE-PRESIDENT.
148
00:10:38,243 --> 00:10:39,478
MR. MARTIN.
149
00:10:39,511 --> 00:10:41,213
YOU'RE HERE ABOUT MISS CROSS?
150
00:10:41,246 --> 00:10:42,948
YES. AND MRS. WARDEN.
151
00:10:42,982 --> 00:10:44,516
MRS. WARDEN?
152
00:10:45,751 --> 00:10:47,286
ALSO MURDERED.
153
00:10:47,319 --> 00:10:50,222
SEEMS THAT SOMEBODY DOESN'T LIKE
THE PEOPLE THAT WORK FOR US.
154
00:10:50,255 --> 00:10:52,491
CHARLIE, THAT'S NOT FUNNY.
155
00:10:52,524 --> 00:10:55,060
I'M SORRY. IT JUST CAME OUT.
156
00:10:55,094 --> 00:10:57,129
WHAT ABOUT THE PERSONNEL
RECORDS? MAY I SEE THEM?
157
00:10:57,162 --> 00:10:59,064
AUNT MARTHA WILL
HAVE TO OKAY THAT.
158
00:10:59,098 --> 00:11:02,367
IT'S NOT A DECISION
FOR A PERSONNEL MANAGER.
159
00:11:02,401 --> 00:11:04,069
OH, YOU SEE, MR. McGARRETT,
160
00:11:04,103 --> 00:11:06,939
ARNOLD AND I ARE
THE PRIME EXAMPLES
161
00:11:06,972 --> 00:11:09,775
OF THE REWARDS AND PERILS
OF NEPOTISM.
162
00:11:09,809 --> 00:11:12,477
WE ARE THE NEPHEWS
OF AUNT MARTHA.
163
00:11:12,511 --> 00:11:15,480
AND WHO IS AUNT MARTHA?
164
00:11:15,514 --> 00:11:17,116
HMPH! IT'S PREPOSTEROUS.
165
00:11:17,149 --> 00:11:20,653
THIS WHOLE AFFAIR CAN'T
POSSIBLY HAVE ANY CONNECTION
166
00:11:20,686 --> 00:11:22,554
WITH HAWAIIAN AMALGAMATED.
167
00:11:22,588 --> 00:11:24,824
MY JOB IS TO FIND OUT
IF IT HAS.
168
00:11:24,857 --> 00:11:28,293
ONE MORE THING -- I'D LIKE
TO SEE YOUR TYPEWRITERS.
169
00:11:28,327 --> 00:11:29,862
TYPEWRITERS?
170
00:11:29,895 --> 00:11:32,331
TO COMPARE THIS TYPING.
171
00:11:37,002 --> 00:11:40,305
I CAN SAVE YOU THAT TROUBLE.
172
00:11:40,339 --> 00:11:42,107
GOOD. HOW?
173
00:11:42,141 --> 00:11:44,576
THIS IS OBVIOUSLY
AN OLD TYPEWRITER.
174
00:11:44,610 --> 00:11:46,178
VINTAGE.
175
00:11:46,211 --> 00:11:49,448
WE REPLACED EVERY TYPEWRITER
IN THIS PLACE SIX MONTHS AGO.
176
00:11:49,481 --> 00:11:51,383
LARGE-FACE TYPE.
177
00:11:51,416 --> 00:11:52,852
I STILL WANT TO SEE THEM.
178
00:11:52,885 --> 00:11:56,221
NOW, HOW ABOUT
MY OTHER REQUESTS?
179
00:11:56,255 --> 00:11:57,589
ARNOLD?
180
00:11:57,623 --> 00:11:59,124
YES, AUNT MARTHA?
181
00:11:59,158 --> 00:12:01,994
YOU WILL COOPERATE
WITH MR. McGARRETT'S PEOPLE.
182
00:12:02,027 --> 00:12:03,495
GOODBYE, MR. McGARRETT.
183
00:12:03,528 --> 00:12:05,597
MA'AM.
184
00:12:09,401 --> 00:12:10,836
CHARLIE?
185
00:12:10,870 --> 00:12:13,639
YES, AUNT MARTHA?
186
00:12:13,673 --> 00:12:19,344
CHARLIE, DO YOU REMEMBER...
187
00:12:19,378 --> 00:12:21,747
YES, AUNT MARTHA?
188
00:12:23,382 --> 00:12:24,717
NEVER MIND.
189
00:12:24,750 --> 00:12:27,152
WE'LL TALK ABOUT IT
TONIGHT AT MY HOUSE.
190
00:12:27,186 --> 00:12:30,089
TONIGHT?
BUT I HAVE A DATE TONIGHT.
191
00:12:30,122 --> 00:12:31,323
THEN BREAK IT.
192
00:12:32,624 --> 00:12:35,194
I'LL SEE YOU TONIGHT,
CHARLIE,
193
00:12:35,227 --> 00:12:38,297
AT 9:00 AT MY HOME.
194
00:12:38,330 --> 00:12:41,333
YES, AUNT MARTHA.
195
00:13:07,259 --> 00:13:09,061
THERE'S 72 NAMES
ON THAT LIST.
196
00:13:09,094 --> 00:13:10,495
LEAVES US 70
TO PROTECT.
197
00:13:10,529 --> 00:13:13,432
HOW ARE WE GOING TO PUT A
BODYGUARD ON EVERY ONE OF THEM?
198
00:13:13,465 --> 00:13:14,399
WE'VE GOT TO.
199
00:13:14,433 --> 00:13:16,535
WHAT'S THE FIRST NAME
AND ADDRESS, DANNO?
200
00:13:16,568 --> 00:13:19,872
AVASU, JEAN.
210 MORO DRIVE.
201
00:13:19,905 --> 00:13:21,106
210 MORO DRIVE.
202
00:13:21,140 --> 00:13:23,442
THAT'S IN THE DISTRICT
COVERED BY CAR 14.
203
00:13:23,475 --> 00:13:24,543
RIGHT.
204
00:13:24,576 --> 00:13:26,378
SO WE PUT A MARK ON THE MAP
205
00:13:26,411 --> 00:13:28,480
FOR EVERY NAME AND ADDRESS
ON THAT LIST.
206
00:13:28,513 --> 00:13:31,350
THEN EVERY PATROL CAR GETS
A LIST FOR THEIR DISTRICT,
207
00:13:31,383 --> 00:13:33,218
AND WE MAKE
A CONTINUING CHECK.
208
00:13:33,252 --> 00:13:35,287
THAT'S ABOUT FOUR ROUNDS
EACH TOUR OF DUTY.
209
00:13:35,320 --> 00:13:38,490
RIGHT -- PROTECTION FOR
EVERYBODY IN THAT PICTURE,
210
00:13:38,523 --> 00:13:41,126
FROM THE JANITOR ON UP TO
AND INCLUDING MARTHA GORDLOW.
211
00:13:53,939 --> 00:13:57,142
I AM HERE, AUNT MARTHA.
212
00:13:59,945 --> 00:14:03,648
I AM AWARE OF THAT.
213
00:14:03,682 --> 00:14:06,919
I HAPPEN TO BE THINKING.
214
00:14:06,952 --> 00:14:09,188
IT SOUNDS SERIOUS.
215
00:14:09,221 --> 00:14:11,290
IT MIGHT BE VERY.
216
00:14:11,323 --> 00:14:13,558
OH?
217
00:14:13,592 --> 00:14:17,062
CHARLIE...
218
00:14:17,096 --> 00:14:22,601
I GAVE ARNOLD A GIFT
A LONG TIME AGO,
219
00:14:22,634 --> 00:14:25,905
ON HIS 21st BIRTHDAY.
220
00:14:25,938 --> 00:14:28,974
WELL, YOU WOULDN'T
REMEMBER IT.
221
00:14:29,008 --> 00:14:32,077
BUT I DO, AUNT MARTHA.
222
00:14:33,813 --> 00:14:35,347
YOU DO?
223
00:14:35,380 --> 00:14:37,382
SURE.
224
00:14:37,416 --> 00:14:40,119
I WAS GREEN WITH ENVY.
225
00:14:40,152 --> 00:14:42,454
MY BIRTHDAY WAS
THE MONTH BEFORE,
226
00:14:42,487 --> 00:14:46,058
AND YOU GAVE ME PAJAMAS,
SOCKS, UNDERWEAR,
227
00:14:46,091 --> 00:14:48,127
AND HANDKERCHIEFS.
228
00:14:48,160 --> 00:14:51,196
"GOOD PRACTICAL GIFTS,"
YOU SAID.
229
00:14:51,230 --> 00:14:53,999
[ SIGHS ]
230
00:14:54,033 --> 00:14:57,269
YOU WERE VERY YOUNG
THEN AND VERY WILD.
231
00:14:57,302 --> 00:15:01,206
YOU WOULD HAVE BROKEN
A TYPEWRITER IN A MONTH,
232
00:15:01,240 --> 00:15:02,741
TWO AT THE MOST.
233
00:15:02,774 --> 00:15:06,345
I SUPPOSE YOU'RE RIGHT,
AUNT MARTHA.
234
00:15:06,378 --> 00:15:08,914
ARNOLD STILL HAS IT.
235
00:15:08,948 --> 00:15:10,916
YEAH, I KNOW.
236
00:15:10,950 --> 00:15:12,551
HE HAS IT AT HOME.
237
00:15:12,584 --> 00:15:16,755
HE TYPES MEMOS TO ME ON IT
ALMOST EVERY DAY.
238
00:15:16,788 --> 00:15:19,224
HE DOES?
239
00:15:19,258 --> 00:15:21,026
YES.
240
00:15:21,060 --> 00:15:26,431
CHARLIE, DID YOU GET
A GOOD LOOK AT THAT ENVELOPE
241
00:15:26,465 --> 00:15:29,768
THAT MR. McGARRETT
SHOWED TO ME TODAY?
242
00:15:29,801 --> 00:15:32,437
YES, AUNT MARTHA.
243
00:15:32,471 --> 00:15:34,907
DID IT SEEM FAMILIAR?
244
00:15:34,940 --> 00:15:36,308
NATURALLY,
245
00:15:36,341 --> 00:15:40,112
SINCE IT WAS TYPED
ON ARNOLD'S PORTABLE.
246
00:15:44,783 --> 00:15:46,919
ARE YOU SURE?
247
00:15:46,952 --> 00:15:48,787
OF COURSE.
248
00:15:48,820 --> 00:15:51,924
I TYPED IT.
249
00:15:51,957 --> 00:15:55,560
OH, CHARLIE, YOU TYPED IT?
250
00:15:55,594 --> 00:15:57,596
YES, AUNT MARTHA.
251
00:15:59,231 --> 00:16:02,034
[ SIGHS ]
252
00:16:02,067 --> 00:16:05,504
THAT'S PREPOSTEROUS.
253
00:16:05,537 --> 00:16:07,539
IS IT?
254
00:16:15,080 --> 00:16:16,916
I DON'T BELIEVE IT.
255
00:16:16,949 --> 00:16:20,052
BUT IF YOU DON'T BELIEVE IT,
IT CAN'T BE TRUE,
256
00:16:20,085 --> 00:16:22,287
CAN IT, AUNT MARTHA?
257
00:16:27,426 --> 00:16:30,662
WERE YOU...
258
00:16:30,695 --> 00:16:33,798
INVOLVED...
259
00:16:33,832 --> 00:16:37,402
WITH THOSE WOMEN?
260
00:16:37,436 --> 00:16:39,771
NO, AUNT MARTHA.
261
00:16:39,804 --> 00:16:44,676
WELL, THEN WHAT OTHER POSSIBLE
REASON COULD THERE BE?
262
00:16:44,709 --> 00:16:47,212
YOU, AUNT MARTHA.
263
00:16:48,813 --> 00:16:53,953
SEE, I'VE BECOME IMPATIENT...
264
00:16:53,986 --> 00:16:56,788
AND TIRED.
265
00:16:56,821 --> 00:16:59,959
I'M TIRED OF YOU.
266
00:16:59,992 --> 00:17:02,995
I'M SICK OF LIVING
ON YOUR CHARITY,
267
00:17:03,028 --> 00:17:05,230
BEING TREATED LIKE A CHILD.
268
00:17:05,264 --> 00:17:08,100
"DON'T DO THIS,
DON'T DO THAT.
269
00:17:08,133 --> 00:17:09,834
DO THIS, DO THAT."
270
00:17:09,868 --> 00:17:14,373
I'M A MAN, AUNT MARTHA.
A MAN.
271
00:17:14,406 --> 00:17:17,376
AND YOU NEVER
LET ME BE ONE.
272
00:17:17,409 --> 00:17:20,545
YOU NEVER LET ME
DO ANYTHING BY MYSELF.
273
00:17:20,579 --> 00:17:24,716
I COULD NEVER ENJOY LIFE
DOING WHAT YOU TOLD ME,
274
00:17:24,749 --> 00:17:26,685
LIVING ON WHAT YOU PAY ME,
275
00:17:26,718 --> 00:17:32,191
BUT I CAN ON HALF OF WHAT
YOU'RE GOING TO LEAVE,
276
00:17:32,224 --> 00:17:34,526
AND I'LL BE FREE OF YOU.
277
00:17:34,559 --> 00:17:37,496
[ GASPS ]
278
00:20:04,476 --> 00:20:05,777
[ GASPS ]
279
00:20:46,351 --> 00:20:48,287
[ Telephone ringing ]
280
00:20:55,194 --> 00:20:57,262
ANSWER IT.
281
00:20:57,762 --> 00:20:59,498
ANSWER IT.
282
00:20:59,531 --> 00:21:01,500
Operator.
283
00:21:01,533 --> 00:21:02,767
OPERATOR.
284
00:21:02,801 --> 00:21:04,636
Yes, sir?
285
00:21:04,669 --> 00:21:06,305
POLICE.
286
00:21:06,338 --> 00:21:10,409
I'VE BEEN S-STABBED.
287
00:21:12,811 --> 00:21:15,647
SEVEN --
288
00:21:15,680 --> 00:21:17,449
APARTMENT SEVEN,
289
00:21:17,482 --> 00:21:19,718
HUNTINGTON TOWERS.
290
00:21:19,751 --> 00:21:24,856
I'll get an ambulance
right away.
291
00:21:24,889 --> 00:21:27,892
[ SIRENS WAILING ]
292
00:21:43,242 --> 00:21:46,611
CHARLIE?
CHARLIE, CAN YOU HEAR ME?
293
00:21:46,645 --> 00:21:49,214
CHARLIE, WHO DID IT?
WHAT HAPPENED?
294
00:21:49,248 --> 00:21:50,849
I...
295
00:21:54,853 --> 00:21:57,889
CHARLIE, DID YOU SEE HIM?
296
00:21:57,922 --> 00:22:00,091
NO...HEARD VOICE.
297
00:22:00,124 --> 00:22:03,695
WHOSE VOICE, CHARLIE? WHOSE?
298
00:22:03,728 --> 00:22:08,333
FAMILIAR. VERY...
299
00:22:18,810 --> 00:22:21,246
-OKAY.
-HOW BAD IS IT, DOCTOR?
300
00:22:21,280 --> 00:22:23,248
HE LOST A LOT OF BLOOD.
301
00:22:23,282 --> 00:22:28,119
CAN'T TELL UNTIL I GET HIM
TO THE HOSPITAL.
302
00:22:28,152 --> 00:22:30,355
OKAY, LET'S GO.
303
00:22:36,027 --> 00:22:37,996
HOW BAD IS HE?
304
00:22:38,029 --> 00:22:39,431
I DON'T KNOW.
305
00:22:39,464 --> 00:22:41,700
COULD HE MAKE
ANY IDENTIFICATION?
306
00:22:41,733 --> 00:22:43,535
HE SAID SOMETHING
ABOUT A VOICE,
307
00:22:43,568 --> 00:22:44,936
AND THEN HE PASSED OUT.
308
00:22:44,969 --> 00:22:45,904
DANNO, STAY HERE.
309
00:22:45,937 --> 00:22:48,072
TELL CHE FONG I WANT
A FINE-TOOTHED COMB JOB,
310
00:22:48,106 --> 00:22:50,975
PICTURES FROM EVERY ANGLE,
ANYTHING HE CAN PICK UP.
311
00:22:55,213 --> 00:22:58,417
[ SIREN WAILING ]
312
00:23:05,924 --> 00:23:07,692
WELL, DOCTOR,
WHAT'S THE VERDICT?
313
00:23:07,726 --> 00:23:09,428
AN INCH OR TWO
HIGHER OR LOWER,
314
00:23:09,461 --> 00:23:11,095
AND YOU COULD HAVE
ORDERED FLOWERS.
315
00:23:11,129 --> 00:23:13,732
-CAN I TALK TO HIM NOW?
-HE'S OUT -- WAY OUT.
316
00:23:13,765 --> 00:23:16,301
HE'LL BE WELL ENOUGH
BY TOMORROW AFTERNOON.
317
00:23:16,335 --> 00:23:18,337
IT'S SUPERFICIAL.
NO COMPLICATIONS.
318
00:23:18,370 --> 00:23:20,171
YOU SURE I CAN'T
TALK TO HIM?
319
00:23:20,204 --> 00:23:21,840
IMPOSSIBLE.
HE HAVE RELATIVES?
320
00:23:21,873 --> 00:23:25,677
YEAH, AN AUNT AND A COUSIN.
I'LL CALL THEM.
321
00:23:35,620 --> 00:23:38,623
[ TELEPHONE RINGING ]
322
00:24:33,445 --> 00:24:35,146
AUNT MARTHA?
323
00:24:35,179 --> 00:24:37,382
OH, NO.
324
00:24:38,983 --> 00:24:43,187
LOOKS LIKE YOU WERE MEANT
TO BE NUMBER THREE, CHARLIE.
325
00:24:43,221 --> 00:24:45,189
HAS ARNOLD BEEN TOLD?
326
00:24:45,223 --> 00:24:46,991
YES.
327
00:24:47,025 --> 00:24:49,494
HE SAID HE'D BE HERE
AS SOON AS HE MADE
328
00:24:49,528 --> 00:24:51,396
THE NECESSARY ARRANGEMENTS.
329
00:24:51,430 --> 00:24:53,465
NOW LET'S HEAR
WHAT HAPPENED TO YOU.
330
00:24:53,498 --> 00:24:56,468
I'M AFRAID I'M NOT
GOING TO BE MUCH HELP.
331
00:24:56,501 --> 00:24:57,802
LET ME DECIDE THAT.
332
00:24:57,836 --> 00:25:02,340
WELL, I WENT TO BED EARLY.
I WASN'T FEELING VERY WELL.
333
00:25:02,373 --> 00:25:06,711
I, UH, I GUESS I WAS UPSET
BY WHAT HAD BEEN HAPPENING.
334
00:25:06,745 --> 00:25:08,713
THEN THE DOORBELL RANG --
335
00:25:08,747 --> 00:25:10,381
WHAT TIME WAS THAT?
336
00:25:10,415 --> 00:25:11,750
OH, I DON'T KNOW.
337
00:25:11,783 --> 00:25:15,386
I GOT UP TO ANSWER IT.
I WAS GROGGY AND ASLEEP.
338
00:25:15,420 --> 00:25:16,821
TURN ON ANY LIGHTS?
339
00:25:16,855 --> 00:25:19,290
NO. THAT'S ONE PLACE I KNOW
MY WAY IN THE DARK.
340
00:25:19,323 --> 00:25:22,293
AND YOU WENT
RIGHT TO THE DOOR?
341
00:25:22,326 --> 00:25:23,695
YEAH, BUT, UH,
342
00:25:23,728 --> 00:25:25,430
AS SOON AS I OPENED IT,
343
00:25:25,464 --> 00:25:27,699
A FLASHLIGHT SHINED
IN MY EYES.
344
00:25:27,732 --> 00:25:31,703
IT BLINDED ME, AND THEN
A VOICE SAID, "CHARLIE."
345
00:25:31,736 --> 00:25:37,509
THEN I FELT A SHARP PAIN
IN MY SIDE, LIKE A KNIFE.
346
00:25:37,542 --> 00:25:39,678
I MEAN, IT WAS A KNIFE.
347
00:25:40,945 --> 00:25:45,717
AND THEN I PUSHED HIM OUT,
AND I SHUT THE DOOR,
348
00:25:45,750 --> 00:25:50,188
AND THEN I GRABBED MY SIDE
AND I FELT THE BLOOD.
349
00:25:50,221 --> 00:25:51,990
AND THEN WHAT?
350
00:25:52,023 --> 00:25:57,629
THEN I PHONED FOR HELP,
AND I PASSED OUT.
351
00:25:57,662 --> 00:26:01,232
IT SOUNDS LIKE
HE KNEW YOU, CHARLIE.
352
00:26:01,265 --> 00:26:04,002
DID YOU RECOGNIZE
THE VOICE?
353
00:26:04,035 --> 00:26:07,238
UH, NO.
IT WAS JUST A VOICE.
354
00:26:07,271 --> 00:26:10,775
BUT YOU SAID
IT WAS FAMILIAR.
355
00:26:10,809 --> 00:26:14,178
DID I?
I DON'T REMEMBER.
356
00:26:14,212 --> 00:26:15,614
BUT IT WAS A MAN'S VOICE.
357
00:26:15,647 --> 00:26:17,582
YEAH, AS FAR AS
I COULD TELL.
358
00:26:17,616 --> 00:26:19,584
[ KNOCK ON DOOR ]
359
00:26:20,519 --> 00:26:21,886
ARNIE.
360
00:26:21,920 --> 00:26:25,289
HELLO, CHARLIE.
MR. McGARRETT.
361
00:26:25,323 --> 00:26:27,291
MR. MARTIN.
362
00:26:27,325 --> 00:26:30,261
IT'S HARD TO BELIEVE,
ISN'T IT?
363
00:26:30,294 --> 00:26:31,996
AUNT MARTHA GONE.
364
00:26:32,030 --> 00:26:34,265
YES.
365
00:26:34,298 --> 00:26:36,501
CHARLIE, BO CALLED ME.
366
00:26:36,535 --> 00:26:37,902
WHO'S THAT?
367
00:26:37,936 --> 00:26:40,104
BO WILSON.
AUNT MARTHA'S ATTORNEY.
368
00:26:40,138 --> 00:26:43,107
SHE TOLD HIM TO GIVE US
THIS UPON HER DEATH.
369
00:26:43,141 --> 00:26:46,277
"TO CHARLES GORDLOW
AND ARNOLD MARTIN,
370
00:26:46,310 --> 00:26:48,613
TO BE OPENED UPON MY DEATH."
371
00:26:50,148 --> 00:26:52,150
[ PAPER RUSTLES ]
372
00:26:57,556 --> 00:26:59,157
WHAT'S IT SAY?
373
00:26:59,190 --> 00:27:02,160
SIMPLY, "PLAY IT."
374
00:27:06,330 --> 00:27:09,100
AHEM.
375
00:27:09,133 --> 00:27:16,174
I'VE ALWAYS WANTED TO TALK
LIKE THIS TO BOTH OF YOU,
376
00:27:16,207 --> 00:27:18,743
BUT I NEVER COULD.
377
00:27:18,777 --> 00:27:21,379
I DON'T KNOW WHY.
378
00:27:21,412 --> 00:27:26,585
IT MIGHT BE THE HERITAGE OF
MY MISSIONARY FORBEARERS --
379
00:27:26,618 --> 00:27:29,187
THEY LEFT TOO MANY
OF THE ROCKS
380
00:27:29,220 --> 00:27:32,591
OF THEIR NEW ENGLAND COAST
IN MY SOUL.
381
00:27:32,624 --> 00:27:35,727
I...
382
00:27:35,760 --> 00:27:38,062
LOVE YOU...
383
00:27:38,096 --> 00:27:40,665
BOTH.
384
00:27:40,699 --> 00:27:46,237
IT'S FUNNY HOW EASY THAT WORD
IS TO SAY WHEN YOU'RE ALONE,
385
00:27:46,270 --> 00:27:50,208
AND I NEVER COULD SAY IT
TO ANYONE.
386
00:27:50,241 --> 00:27:55,847
I GUESS THAT'S WHY
I'VE GOT NEPHEWS FOR SONS
387
00:27:55,880 --> 00:27:58,482
INSTEAD OF MY OWN,
388
00:27:58,516 --> 00:28:02,687
AND YOU ARE MY SONS.
389
00:28:02,721 --> 00:28:05,223
ARNOLD...
390
00:28:05,256 --> 00:28:11,229
YOU'RE THE SENSIBLE ONE,
THE LEVELHEADED ONE.
391
00:28:11,262 --> 00:28:15,967
TO YOU I AM LEAVING
THE CONTROLLING STOCK
392
00:28:16,000 --> 00:28:19,337
AND THE MANAGEMENT
OF THE COMPANY.
393
00:28:21,339 --> 00:28:23,875
CHARLIE...
394
00:28:23,908 --> 00:28:25,744
[ CHUCKLES ]
395
00:28:25,777 --> 00:28:28,647
CHARLIE, YOU ALWAYS DID
DEVIL ME,
396
00:28:28,680 --> 00:28:34,585
AND I GUESS I DEVILED YOU.
397
00:28:34,619 --> 00:28:36,454
BUT...
398
00:28:36,487 --> 00:28:39,190
I...
399
00:28:39,223 --> 00:28:40,992
LOVE YOU --
400
00:28:41,025 --> 00:28:44,996
MY, THAT'S SUCH
A NICE WORD TO SAY --
401
00:28:45,029 --> 00:28:51,169
LOVE YOU TOO MUCH TO LET YOU
SQUANDER YOUR BIRTHRIGHT,
402
00:28:51,202 --> 00:28:57,075
SO I LEAVE YOU AN INCOME
FROM A TRUST.
403
00:28:57,108 --> 00:29:00,879
IT'S ENOUGH TO LIVE VERY WELL,
404
00:29:00,912 --> 00:29:05,684
BUT NOT TOO WILDLY.
405
00:29:05,717 --> 00:29:09,654
TAKE CARE OF HIM, ARNOLD,
406
00:29:09,688 --> 00:29:16,160
AND HAVE THIS MEMORY OF ME.
407
00:29:18,697 --> 00:29:24,168
I LOVED YOU BOTH,
408
00:29:24,202 --> 00:29:27,571
BUT MAYBE...
409
00:29:27,605 --> 00:29:30,842
YOU A LITTLE MORE, CHARLIE.
410
00:29:33,277 --> 00:29:37,281
[ Echoing ]
YOU A LITTLE MORE, CHARLIE.
411
00:29:51,429 --> 00:29:52,764
OKAY, WHAT DO WE GOT?
412
00:29:52,797 --> 00:29:54,733
PICTURES,
ENVELOPES, TYPING --
413
00:29:54,766 --> 00:29:57,101
BUT NOTHING
TO HOLD THEM TOGETHER
414
00:29:57,135 --> 00:29:59,670
AND NOTHING
TO FINGER THE KILLER.
415
00:29:59,704 --> 00:30:01,305
CHIN.
416
00:30:01,339 --> 00:30:03,674
THE LAB CAME THROUGH
ON THE TYPEWRITER --
417
00:30:03,708 --> 00:30:05,576
-YEAR AND MAKE.
-GO.
418
00:30:05,609 --> 00:30:08,412
MANUFACTURED 1948.
419
00:30:08,446 --> 00:30:10,815
I WONDER HOW MANY OF THOSE
ARE SOLD ON THE ISLANDS.
420
00:30:10,849 --> 00:30:12,784
IF IT WAS BOUGHT HERE.
421
00:30:12,817 --> 00:30:14,418
COULD'VE BEEN BROUGHT IN
BY A TOURIST
422
00:30:14,452 --> 00:30:16,721
OR SOMEBODY WHO MOVED HERE
FROM THE MAINLAND.
423
00:30:16,755 --> 00:30:18,256
OKAY, CHIN, GET ON IT, ANYWAY.
424
00:30:18,289 --> 00:30:21,059
CHECK OUT SALES RECORDS
WITH EVERY JOB AND RETAIL
425
00:30:21,092 --> 00:30:22,526
AS FAR BACK AS THEY GO.
426
00:30:22,560 --> 00:30:24,128
DONE.
427
00:30:25,563 --> 00:30:27,631
REAL SHOT IN THE DARK, HUH?
428
00:30:27,665 --> 00:30:29,100
YEAH.
429
00:30:29,133 --> 00:30:32,804
THE PICTURES CHE FONG TOOK
OF CHARLIE GORDLOW'S APARTMENT.
430
00:30:32,837 --> 00:30:34,172
LET ME SEE THEM.
431
00:30:43,014 --> 00:30:46,484
ANY FINGERPRINTS
IN THE APARTMENT?
432
00:30:46,517 --> 00:30:48,019
NOTHING.
433
00:30:48,052 --> 00:30:50,922
DANNO, TAKE A GOOD LOOK
AT THESE PICTURES.
434
00:30:50,955 --> 00:30:52,891
TELL ME WHAT YOU SEE.
435
00:30:52,924 --> 00:30:54,859
NICE APARTMENT.
436
00:30:54,893 --> 00:30:57,328
PHONE KNOCKED ON THE FLOOR.
437
00:30:57,361 --> 00:31:00,531
LARGE BLOOD STAINS
ON THE CARPET NEAR THE DESK.
438
00:31:00,564 --> 00:31:04,035
TRAIL OF BLOOD LEADING
BACK TO THE PHONE.
439
00:31:06,805 --> 00:31:08,840
ALL I SEE
IS A NICE APARTMENT.
440
00:31:08,873 --> 00:31:10,608
NOTHING ELSE?
441
00:31:10,641 --> 00:31:12,243
THAT'S ALL I CAN SEE.
442
00:31:12,276 --> 00:31:14,745
WELL, IT'S THERE.
DON'T ASK ME WHAT OR WHERE.
443
00:31:14,779 --> 00:31:17,882
BUT SOMEWHERE IN THESE
PHOTOGRAPHS MUST BE THE ANSWER.
444
00:31:17,916 --> 00:31:20,318
MAYBE KONO CAN DO BETTER.
445
00:31:20,351 --> 00:31:21,385
NOT ME. I'VE TRIED.
446
00:31:21,419 --> 00:31:24,488
WITH A PSYCHO LOOSE,
NOTHING MAKES SENSE.
447
00:31:30,361 --> 00:31:34,933
I...LOVE YOU.
448
00:31:34,966 --> 00:31:39,003
ARNOLD,
YOU'RE THE SENSIBLE ONE.
449
00:31:39,037 --> 00:31:42,740
I...LOVE YOU.
450
00:31:42,773 --> 00:31:45,276
[ TIRES SCREECH ]
451
00:31:51,482 --> 00:31:55,987
ARNOLD,
YOU'RE THE SENSIBLE ONE.
452
00:31:56,020 --> 00:32:00,859
I...LOVE YOU.
453
00:32:02,726 --> 00:32:04,863
[ DOORBELL RINGING ]
454
00:32:18,176 --> 00:32:19,810
CHARLIE?
455
00:32:19,844 --> 00:32:21,245
I COULDN'T SLEEP.
456
00:32:21,279 --> 00:32:24,582
I TOOK A DRIVE, AND I HAD
YOUR TYPEWRITER IN THE CAR.
457
00:32:24,615 --> 00:32:26,250
I THOUGHT I'D RETURN IT.
458
00:32:26,284 --> 00:32:30,154
CHARLIE, IT'S 6:00
IN THE MORNING.
459
00:32:30,188 --> 00:32:33,091
[ SIGHS ]
ALL RIGHT. COME ON IN.
460
00:32:33,124 --> 00:32:36,227
I GUESS MAYBE
WE OUGHT TO TALK.
461
00:32:40,164 --> 00:32:43,868
IT'S KIND OF HARD
TO GET USED TO, ISN'T IT?
462
00:32:43,902 --> 00:32:46,470
NO.
463
00:32:46,504 --> 00:32:48,406
OH, AUNT MARTHA? YES.
464
00:32:48,439 --> 00:32:51,142
LOOK, IF WE'RE GOING TO
HAVE A TALK, ARNOLD,
465
00:32:51,175 --> 00:32:52,743
DO YOU HAVE ANY COFFEE?
466
00:32:52,776 --> 00:32:54,145
SURE.
467
00:32:54,178 --> 00:32:56,380
SURE, SURE.
I'LL FIX SOME.
468
00:33:00,684 --> 00:33:04,122
YOU KNOW, IT'S KIND OF FUNNY
HOW LITTLE YOU KNOW PEOPLE
469
00:33:04,155 --> 00:33:06,624
THAT YOU THINK YOU KNOW.
470
00:33:06,657 --> 00:33:11,829
WELL, YOU THOUGHT YOU KNEW HER.
I NEVER DID.
471
00:33:11,862 --> 00:33:16,100
SHE NEVER SHOWED THAT SIDE
OF HER WE HEARD ON THE TAPE.
472
00:33:16,134 --> 00:33:18,702
I GUESS WE ALL HIDE
FROM EACH OTHER.
473
00:33:18,736 --> 00:33:22,040
I DON'T THINK I EVER HEARD HER
SAY THAT WORD BEFORE.
474
00:33:22,073 --> 00:33:23,641
WHAT WORD?
475
00:33:23,674 --> 00:33:26,310
"LOVE."
476
00:33:26,344 --> 00:33:30,915
SHE'D LIKE SOMETHING,
BUT, UH, LOVE?
477
00:33:30,949 --> 00:33:32,483
NEVER.
478
00:33:35,954 --> 00:33:38,722
CREAM AND SUGAR?
479
00:33:38,756 --> 00:33:40,858
BLACK.
480
00:33:40,891 --> 00:33:42,660
YEAH.
481
00:33:42,693 --> 00:33:46,397
IT'S TOO BAD SHE NEVER
USED IT BEFORE.
482
00:33:46,430 --> 00:33:48,666
WELL, IT'S HARD
TO IMAGINE HER
483
00:33:48,699 --> 00:33:52,170
TELLING US ANYTHING
LIKE THAT FACE-TO-FACE.
484
00:33:55,573 --> 00:34:00,144
WELL, I GUESS WE ALL ARE
WHAT WE ARE,
485
00:34:00,178 --> 00:34:02,947
AND THERE'S NOTHING
WE CAN DO ABOUT IT.
486
00:34:02,981 --> 00:34:07,185
WELL, IT'S TOO BAD
SHE COULDN'T.
487
00:34:13,591 --> 00:34:17,028
I'D HAVE LIKED
HEARING HER SAY IT --
488
00:34:17,061 --> 00:34:20,031
"I LOVE YOU."
489
00:34:20,064 --> 00:34:22,666
WOULDN'T YOU, CHARLIE?
490
00:34:24,935 --> 00:34:27,138
CHARLIE?
491
00:34:32,676 --> 00:34:34,678
CHARLIE?
492
00:34:43,954 --> 00:34:46,424
CHARLIE!
493
00:35:03,907 --> 00:35:06,877
TSK, TSK, TSK, TSK, TSK.
494
00:35:06,910 --> 00:35:09,513
TOO BAD, ARNOLD.
495
00:35:11,182 --> 00:35:14,152
YOU SHOULDN'T HAVE
KILLED AUNT MARTHA
496
00:35:14,185 --> 00:35:16,520
AND TRIED TO KILL ME.
497
00:36:50,248 --> 00:36:52,416
[ ENGINE TURNS OVER ]
498
00:37:20,444 --> 00:37:22,813
SHALL WE GO OVER
WHAT WE GOT AGAIN?
499
00:37:22,846 --> 00:37:25,783
MAYBE WE'LL TURN UP
SOMETHING WE OVERLOOKED.
500
00:37:25,816 --> 00:37:28,286
OR HAVE YOU
GOT SOMETHING, STEVE?
501
00:37:28,319 --> 00:37:30,188
YOU SAID A NICE SIMPLE
MURDER WITH A MOTIVE.
502
00:37:30,221 --> 00:37:32,456
-YOU GOT ONE?
-MAYBE.
503
00:37:32,490 --> 00:37:33,591
FOR ALL THREE DEATHS?
504
00:37:33,624 --> 00:37:35,726
NO, JUST FOR ONE OF THEM --
MARTHA GORDLOW.
505
00:37:35,759 --> 00:37:37,928
HER DEATH GAVE
ARNOLD MARTIN CONTROL
506
00:37:37,961 --> 00:37:39,730
OF HAWAIIAN AMALGAMATED.
507
00:37:39,763 --> 00:37:42,065
WHAT ABOUT CHARLIE
AND THE OTHER TWO?
508
00:37:42,099 --> 00:37:43,601
WHY WOULD ARNOLD KILL THEM?
509
00:37:43,634 --> 00:37:45,469
TO CONCEAL HIS REAL TARGET.
510
00:37:45,503 --> 00:37:47,205
HE'D HAVE TO BE CRAZY.
511
00:37:47,238 --> 00:37:49,873
YEAH. COME ON, DANNO.
512
00:37:49,907 --> 00:37:54,845
LET'S FIND OUT WHERE ARNOLD WAS
WHEN MARTHA GORDLOW WAS KILLED.
513
00:38:11,362 --> 00:38:13,431
SOUNDS LIKE A CAR ENGINE.
514
00:38:17,235 --> 00:38:19,437
IT'S THAT ONE THERE.
515
00:38:20,471 --> 00:38:22,172
IT WON'T BUDGE.
516
00:38:22,206 --> 00:38:23,907
AUTOMATIC DOOR.
517
00:38:23,941 --> 00:38:24,608
HOW'S IT OPEN?
518
00:38:24,642 --> 00:38:26,310
ELECTRONIC SIGNAL, I GUESS.
519
00:38:26,344 --> 00:38:29,680
-SWELL.
-WAIT A MINUTE.
520
00:38:43,261 --> 00:38:45,663
McGARRETT, FIVE-O,
CALLING DISPATCH.
521
00:38:45,696 --> 00:38:47,931
McGARRETT, FIVE-O,
CALLING DISPATCH.
522
00:38:47,965 --> 00:38:49,433
This is dispatch.
Go ahead.
523
00:38:49,467 --> 00:38:51,369
CAN YOU GIVE ME
A HIGH-FREQUENCY SIGNAL
524
00:38:51,402 --> 00:38:52,670
THAT MIGHT OPEN A GARAGE DOOR
525
00:38:52,703 --> 00:38:54,972
ABOUT SIX OR EIGHT FEET
FROM WHERE I AM?
526
00:38:55,005 --> 00:38:56,507
We'll try it, McGarrett.
527
00:38:56,540 --> 00:38:58,242
TRY IT FAST, PLEASE.
528
00:38:58,276 --> 00:39:01,612
[ BEEPING ]
529
00:39:04,882 --> 00:39:06,350
NOTHING HAPPENING SO FAR.
530
00:39:06,384 --> 00:39:08,352
We'll try
a higher frequency.
531
00:39:08,386 --> 00:39:11,355
When you don't hear it,
you have maximum.
532
00:39:13,156 --> 00:39:14,925
[ BEEPING ]
533
00:39:21,832 --> 00:39:23,334
YEAH, IT'S WORKING.
534
00:39:27,638 --> 00:39:31,975
STEVE, IT'S ARNOLD MARTIN!
535
00:39:32,009 --> 00:39:34,378
DISPATCH? DISPATCH?
536
00:39:34,412 --> 00:39:36,780
SEND AN AMBULANCE
AND A RESUSCITATOR
537
00:39:36,814 --> 00:39:41,919
TO 322 KAHALA AVENUE --
REPEAT -- 322 KAHALA AVENUE.
538
00:39:53,331 --> 00:39:55,899
[ SIRENS WAILING ]
539
00:40:12,182 --> 00:40:13,984
WHAT ARE HIS CHANCES?
540
00:40:14,017 --> 00:40:18,288
PRETTY GOOD. I THINK YOU
GOT HIM OUT IN TIME.
541
00:40:21,224 --> 00:40:22,593
STEVE.
542
00:40:22,626 --> 00:40:24,595
YEAH? THAT ROUNDS
IT OFF, HUH?
543
00:40:24,628 --> 00:40:26,664
OPEN AND SHUT,
IF TYPING MATCHES.
544
00:40:26,697 --> 00:40:27,598
IT WILL.
545
00:40:27,631 --> 00:40:28,866
WHAT MORE DO WE NEED?
546
00:40:28,899 --> 00:40:31,569
THE TYPEWRITER,
RUBBER GLOVES,
547
00:40:31,602 --> 00:40:33,871
A KNIFE IN THE GLOVE BOX.
548
00:40:33,904 --> 00:40:36,306
YEAH, YOU HAD IT
FIGURED RIGHT.
549
00:40:36,340 --> 00:40:39,076
DID I? WHY DID HE
TRY TO KILL HIMSELF?
550
00:40:39,109 --> 00:40:41,512
GUILTY CONSCIENCE?
551
00:40:41,545 --> 00:40:44,114
-DOESN'T WASH, DANNO.
-WHY NOT?
552
00:40:44,147 --> 00:40:46,517
THE THREE KILLINGS --
AIMEE CROSS, RUTH WARDEN,
553
00:40:46,550 --> 00:40:48,719
AND HIS AUNT MARTHA --
WERE VICIOUS AND BRUTAL.
554
00:40:48,752 --> 00:40:50,153
THE MURDERER
HAD TO BE SOMEONE
555
00:40:50,187 --> 00:40:52,723
WITHOUT CONSCIENCE OR FEELING
OF GUILT -- HAD TO BE.
556
00:40:52,756 --> 00:40:55,926
OKAY -- MAYBE ARNOLD THOUGHT
CHARLIE GOT A LOOK AT HIM
557
00:40:55,959 --> 00:40:58,362
BEFORE HE WAS
SHOVED OUT THE DOOR.
558
00:40:58,396 --> 00:41:00,831
WAIT A MINUTE --
THE DOOR.
559
00:41:00,864 --> 00:41:02,500
YEAH, THE DOOR.
560
00:41:02,533 --> 00:41:05,102
MAYBE THAT'S
WHAT'S BOTHERING ME.
561
00:41:07,137 --> 00:41:09,339
THANK YOU, MA'AM.
562
00:41:13,777 --> 00:41:17,047
SOMETHING ABOUT THIS DOOR
BOTHERS ME, DANNO.
563
00:41:17,080 --> 00:41:20,651
LET'S SEE IF WE CAN
PIECE IT TOGETHER, HUH?
564
00:41:20,684 --> 00:41:23,621
HE WAS IN BED WHEN
THE DOORBELL RANG, RIGHT?
565
00:41:23,654 --> 00:41:25,656
YEAH, AND HE GOT
OUT OF BED.
566
00:41:25,689 --> 00:41:27,625
TURN ON THE LIGHTS?
567
00:41:27,658 --> 00:41:31,629
NO. HE SAID HE WENT
TO THE DOOR IN THE DARK.
568
00:41:31,662 --> 00:41:34,398
HE SAID HE WAS BLINDED
BY A FLASHLIGHT,
569
00:41:34,432 --> 00:41:36,066
AND HE HEARD SOMEBODY SAY,
"CHARLIE."
570
00:41:36,099 --> 00:41:38,702
THAT'S WHEN
HE WAS STABBED, RIGHT?
571
00:41:38,736 --> 00:41:39,903
YEAH.
572
00:41:39,937 --> 00:41:42,673
HE SHOVED THE MURDERER
BACK INTO THE HALL
573
00:41:42,706 --> 00:41:44,274
AND SLAMMED THE DOOR.
574
00:41:44,307 --> 00:41:46,043
THEN HE WENT
FROM THE DOOR
575
00:41:46,076 --> 00:41:49,012
TO THE TELEPHONE
AND CALLED FOR HELP.
576
00:41:52,015 --> 00:41:54,785
WAIT A MINUTE, DANNO.
577
00:41:54,818 --> 00:41:57,588
THERE ARE NO BLOODSTAINS
AT THE DOOR.
578
00:42:00,023 --> 00:42:01,058
YEAH?
579
00:42:01,091 --> 00:42:03,260
HE SAID HE WAS STABBED
AT THE DOOR.
580
00:42:03,293 --> 00:42:06,263
HE DIDN'T BLEED
AT THE DOOR.
581
00:42:06,296 --> 00:42:10,734
BLOOD STAINS AT THE DESK.
582
00:42:10,768 --> 00:42:13,471
SEE...ALL THE WAY
TO THE PHONE,
583
00:42:13,504 --> 00:42:16,406
BUT THERE ARE
NO STAINS AT THE DOOR
584
00:42:16,440 --> 00:42:19,209
OR FROM THE DOOR
TO THE PHONE.
585
00:42:19,242 --> 00:42:21,211
WHY?
586
00:42:21,244 --> 00:42:22,513
OKAY, LET ME TRY.
587
00:42:22,546 --> 00:42:24,648
HE WAS STABBED
AT THE DOOR, RIGHT?
588
00:42:24,682 --> 00:42:27,651
AND THEN HE FELT THE PAIN
AND GRABBED HIS SIDE
589
00:42:27,685 --> 00:42:29,286
TO STOP THE BLEEDING.
590
00:42:29,319 --> 00:42:30,654
UNTIL HE GOT TO THE DESK.
591
00:42:30,688 --> 00:42:32,656
BUT WHY DID HE GO
TO THE DESK,
592
00:42:32,690 --> 00:42:35,893
INSTEAD OF DIRECTLY
FROM THE DOOR TO THE PHONE?
593
00:42:47,771 --> 00:42:51,308
I CAN'T TELL YOU
WHAT A SHOCK IT'S BEEN.
594
00:42:51,341 --> 00:42:54,945
FIRST AUNT MARTHA,
THEN ARNOLD.
595
00:43:00,017 --> 00:43:05,523
WHAT KIND OF A -- A MAN
WOULD KILL FOUR PEOPLE? WHY?
596
00:43:05,556 --> 00:43:07,491
THREE PEOPLE, CHARLIE.
597
00:43:07,525 --> 00:43:09,459
WHAT DO YOU MEAN?
598
00:43:09,493 --> 00:43:11,829
ARNOLD'S ALIVE.
HE'S GONNA MAKE IT.
599
00:43:12,896 --> 00:43:15,365
BUT I THOUGHT HE -- HE WAS --
600
00:43:15,398 --> 00:43:17,568
WHAT? WHAT DID YOU THINK,
CHARLIE?
601
00:43:17,601 --> 00:43:20,904
UH, DEAD.
602
00:43:20,938 --> 00:43:26,710
THAT'S, UH -- THAT'S GREAT NEWS.
OLD ARNIE'S ALIVE.
603
00:43:26,744 --> 00:43:30,948
I, UH -- I GUESS WE'RE
TOO TOUGH TO KILL, HUH?
604
00:43:30,981 --> 00:43:32,015
UH, I MEAN, LIKE,
605
00:43:32,049 --> 00:43:35,285
THE KILLER MUST FEEL
LIKE A LOSER NOW, RIGHT?
606
00:43:35,318 --> 00:43:39,557
FIRST HE MISSES KILLING ME,
AND THEN HE MISSES ARNIE.
607
00:43:41,959 --> 00:43:46,063
YOU, UH -- YOU GOT ANY LEADS
ON WHO THE KILLER IS?
608
00:43:46,096 --> 00:43:49,299
WE'LL FIND HIM.
WE'RE GETTING CLOSE NOW.
609
00:43:49,332 --> 00:43:50,834
OH, YEAH. HOW'S THAT?
610
00:43:50,868 --> 00:43:52,903
WE FIGURED ARNOLD
MUST HAVE SEEN HIM.
611
00:43:52,936 --> 00:43:54,872
AS SOON AS HE REGAINS
CONSCIOUSNESS,
612
00:43:54,905 --> 00:43:56,574
HE'LL BE ABLE TO TELL US.
613
00:43:56,607 --> 00:43:59,242
YEAH. SURE.
614
00:43:59,276 --> 00:44:02,112
THEN, UH, IT'S ALL OVER.
615
00:44:02,145 --> 00:44:05,148
THE STRAIN MUST HAVE
BEEN TERRIBLE.
616
00:44:05,182 --> 00:44:07,851
IT'S BEEN UNBEARABLE.
617
00:44:07,885 --> 00:44:09,653
I'LL BET.
618
00:44:09,687 --> 00:44:11,889
WELL, WE'LL SEE YOU,
CHARLIE.
619
00:44:49,627 --> 00:44:51,194
EXCUSE ME.
620
00:44:51,228 --> 00:44:52,329
YES?
621
00:44:52,362 --> 00:44:53,263
MAY I VISIT WITH HIM?
622
00:44:53,296 --> 00:44:55,332
WELL, HE'S UNCONSCIOUS.
WHO ARE YOU?
623
00:44:55,365 --> 00:44:56,734
HIS COUSIN.
624
00:44:56,767 --> 00:44:58,736
IT'S AFTER VISITING HOURS.
625
00:44:58,769 --> 00:45:00,738
I TRIED TO GET HERE SOONER,
BUT, UH --
626
00:45:00,771 --> 00:45:04,041
PLEASE, HE'S THE ONLY
FAMILY I HAVE.
627
00:45:04,074 --> 00:45:08,011
IF I COULD JUST SEE HIM
FOR A FEW MINUTES.
628
00:45:08,045 --> 00:45:09,613
ALL RIGHT,
FOR A FEW MINUTES.
629
00:45:09,647 --> 00:45:11,214
THANK YOU.
THANK YOU VERY MUCH.
630
00:45:11,248 --> 00:45:12,616
OH, EXCUSE ME.
631
00:45:12,650 --> 00:45:14,985
WHERE ARE THE POLICE?
I-IN THERE?
632
00:45:15,018 --> 00:45:18,455
NO POLICE. DON'T WORRY.
WE'RE LOOKING AFTER HIM.
633
00:45:18,488 --> 00:45:21,424
BUT HE -- HE SHOULD BE GUARDED.
634
00:45:21,458 --> 00:45:24,061
WE'LL KEEP AN EYE ON HIM.
635
00:45:46,483 --> 00:45:49,687
ARNIE?
YOU AWAKE YET, ARNIE?
636
00:46:11,675 --> 00:46:14,712
I WISH YOU COULD
HEAR ME, COUSIN.
637
00:46:15,946 --> 00:46:17,715
YOU KNOW,
THE TRUTH IS, ARNIE,
638
00:46:17,748 --> 00:46:23,053
I FEEL KIND OF BAD ABOUT HAVING
TO PUT YOU THROUGH THIS TWICE.
639
00:46:23,086 --> 00:46:26,256
YOU KNOW,
THE WAY I FIGURE IT,
640
00:46:26,289 --> 00:46:28,926
DYING IS DULL.
641
00:46:31,128 --> 00:46:34,297
BUT I GUESS YOU'RE GOING TO
HAVE TO PUT UP
642
00:46:34,331 --> 00:46:36,834
WITH BEING KILLED AGAIN.
643
00:46:36,867 --> 00:46:41,671
I'LL TELL YOU ONE THING --
IT WASN'T MY FAULT.
644
00:46:41,705 --> 00:46:43,606
THE WAY I HAD IT PLANNED,
645
00:46:43,640 --> 00:46:45,809
YOU SHOULD HAVE DIED
IN THE GARAGE.
646
00:46:47,010 --> 00:46:49,379
McGARRETT, HE WORRIES ME.
647
00:46:49,412 --> 00:46:54,752
SOMETIMES I THINK
HE KNOWS SOMETHING.
648
00:47:09,332 --> 00:47:14,872
BUT WHATEVER HE KNOWS,
HE WON'T BE ABLE TO PROVE IT
649
00:47:14,905 --> 00:47:18,608
BECAUSE HE NEEDS YOU
TO PROVE IT,
650
00:47:18,641 --> 00:47:22,245
AND YOU WON'T BE AROUND.
651
00:47:31,521 --> 00:47:34,491
AUNT MARTHA.
652
00:47:42,532 --> 00:47:45,903
WHAT ARE YOU DOING HERE?
653
00:47:45,936 --> 00:47:48,071
I KILLED YOU.
654
00:47:49,206 --> 00:47:54,744
I KNOW I KILLED YOU.
NOW PLEASE, PLEASE GO AWAY.
655
00:47:58,882 --> 00:48:01,718
AUNT MARTHA,
YOU SAID YOU LOVED ME.
656
00:48:01,751 --> 00:48:03,486
WHY DID YOU COME BACK?
657
00:48:08,025 --> 00:48:10,928
ANSWER ME, AUNT MARTHA!
658
00:48:17,500 --> 00:48:19,502
AUNT MARTHA.
659
00:48:23,440 --> 00:48:26,877
IF YOU DON'T
GO AWAY RIGHT NOW,
660
00:48:26,910 --> 00:48:30,113
I'M GOING TO KILL YOU AGAIN.
661
00:48:38,621 --> 00:48:42,392
ALL RIGHT.
662
00:48:50,633 --> 00:48:52,836
[ SOBBING ]
663
00:49:00,577 --> 00:49:05,448
AUNT MARTHA, SHE DID IT.
SHE SAID SHE LOVED ME.
664
00:49:05,482 --> 00:49:09,419
SHE HATED ME.
I HAD TO KILL HER.
665
00:49:11,188 --> 00:49:13,123
GIVE ME THE KNIFE, CHARLIE.
666
00:49:13,156 --> 00:49:15,825
GIVE ME THE KNIFE!
667
00:49:27,871 --> 00:49:31,408
YOU ALL LOOK AT ME
LIKE I'M CRAZY.
668
00:49:34,711 --> 00:49:37,814
I'M NOT.
669
00:49:37,847 --> 00:49:40,317
AM I, AUNT MARTHA?
670
00:49:41,885 --> 00:49:44,487
AM I?
671
00:50:02,172 --> 00:50:05,375
[ "HAWAII FIVE-O" THEME PLAYS ]
672
00:50:05,425 --> 00:50:09,975
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