Hawaii Five-O (1968–1980): Season 1, Episode 17 - One for the Money - full transcript
McGarrett receives a cryptic letter and a photo of a woman with an "x" drawn through it. The woman was stabbed repeatedly. Later, another is killed the same way and Five-O gets another letter. The victims both worked at the same company, Hawaiian Amalgamated Industries. The company is headed by the headstrong Martha, who employs two nephews, Arnold and Charlie. The killings are a ruse, intended to create the impression of a psychopath killer on the loose. In reality, the killer is Charlie and he kills Martha so he can inherit his share of her estate. He also stabs himself to make it appear he was a target of an attack. But Martha's will has Arnold take over running the company and a relatively modest trust for Charlie. The development spurs Charlie to try to kill Arnold and frame him for the killings.
(footsteps)
(doorbell rings)
Hi. You're a little early.
Fix yourself a drink.
I'll be ready in five minutes.
( ominous theme playing)
What happened?
(yelps)
(chirps)
(door closes)
McGARRETT: Hm. 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?
Love, 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, Filipino?
Yeah.
Yeah, where?
Thanks, lieutenant.
Will you meet me there?
She was killed?
Yeah.
They just found her body in an
apartment, Leahi and Monsarrat.
Chin, two envelopes
and a picture on my desk.
Get 'em over to the
lab as soon as possible.
See what they can come up
with beside May's prints and mine.
Let's go.
( tense theme playing)
( upbeat surf theme playing)
( mysterious theme playing)
Lieutenant.
McGarrett.
What have we got?
How did you fellas
know about this one?
Killer advertised himself
with a picture and a poem.
Poem?
Yeah.
Read: 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 on the islands.
No line on boyfriends
or acquaintances yet.
Might even make
it A hundred or so
Hm. 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.
Give me a glass
for a minute, Charlie.
Thank you.
What do you think?
The picture we got in the
mail is a blowup of this one.
I'll bet on it.
Danno, check out
the photographer.
See if he can
identify the group.
Then see what her
employer can add.
Right.
Charlie.
( peaceful theme playing)
( ominous theme playing)
(screams)
(rustle)
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.
Well, we'll make some luck.
Ask the lab to check on sample
typefaces of every manufacturer.
Tell 'em to call us
as soon as they know.
Steve? Yeah.
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.
( mysterious theme playing)
( mysterious theme playing)
Locked. No answer.
This is the address I got
from Hawaiian Amalgamated.
Morning paper. Maybe
she never got home.
No parked car in front.
Not in the driveway.
Let's check the garage.
( mysterious theme playing)
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, so 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 wanna
talk to you about...
I'm, uh, sorry, I didn't
know you were busy.
Arnold, this is Mr. McGarrett
of Hawaii Five-0.
This is Arnold Martin, our
executive vice president.
Mr. Martin.
You're here about Miss Cross?
Yes. And Mrs. Warden.
Mrs. Warden?
CHARLIE: Also murdered.
Seems that somebody doesn't
like the people who 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?
(scoffs)
It's preposterous.
This whole affair can't
possibly have any connection
with Hawaiian Amalgamated.
Well, 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 wanna see them.
Now, how about
my other requests?
Arnold.
Yes, Aunt Martha.
You'll 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.
( mysterious theme playing)
I'll see you tonight, Charlie.
At 9, at my home.
Yes, Aunt Martha.
There's 72 names on that list.
Leaves us 70 to protect.
How we gonna put a
bodyguard on every one of them?
We've got to.
What's the first name
and address, Danno?
Abasu, 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.
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?
( suspenseful theme playing)
I don't believe it.
Well, 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.
You see, I've become impatient.
And tired.
I'm tired of you.
I... 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'd 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 paid me.
But I can on half of
what you're gonna leave.
And I'll be free of you.
(gasps)
( suspenseful theme playing)
(grunts)
( line ringing)
Answer it.
Answer it.
WOMAN (over phone): Operator.
Operator? Yes, sir.
Police.
I've been s-stabbed.
Seven... Apartment
7, Huntington Towers.
I'll get an ambulance
right away.
(siren wailing)
(door breaks open)
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, let's go. How
bad is it, doctor?
He lost a lot of blood.
Can't tell till 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, then he passed out.
Danno, stay here.
Tell Che Fong I want
a fine-tooth 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.
But 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.
(bell dings)
(phone ringing)
( ominous theme playing)
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 gonna be
much help, Mr. McGarrett.
Let me decide that.
Well, uh, I went to bed early,
I wasn't feeling very well.
I, uh, guess I was upset by
what had been happening.
Then the doorbell rang.
What time was that?
Oh, I don't know,
I, uh, got up to answer
it, I was groggy with sleep.
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 shone in my eyes,
blinded me, and a...
And 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-I pushed him
out and I shut the door.
And, uh, then I grabbed
my side and I felt the blood.
And then what?
Then I phoned for
help and I passed out.
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, far as I could tell.
(knock on door)
CHARLIE: Arnie. Hello, Charlie.
Mr. McGarrett.
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."
What's it say? Simply "Play it."
( Aunt Martha
clears throat on tape)
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 forebearers.
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.
( Aunt Martha laughs)
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.
( dramatic theme playing)
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.
You a little more, Charlie.
( suspenseful theme playing)
Okay, what have we got?
Pictures, envelopes, typing.
But nothing to
hold them together
and nothing that
fingers a killer.
Chin?
The lab came through
on the typewriter.
Year and make. Go.
Manufactured 1948,
a Star-Gaymont.
I wonder how many of
those were sold in the islands.
If it was bought here.
Could have 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 jobber and retailer,
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 bloodstains 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.
( dramatic theme playing)
AUNT MARTHA
(echoing): I... love you.
Arnold, you're the sensible one.
I... love you.
(tires screeching)
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.
All right, come on in. I
guess maybe we ought to talk.
It's, uh, kind of hard
to get used to, isn't it?
No.
Oh, Aunt Martha? Yes.
Look, if we're gonna
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.
Well, 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!
( tense theme playing)
Tsk, tsk, tsk.
Too bad, Arnold.
You shouldn't have
killed Aunt Martha
and tried to kill me.
(engine starts)
Shall we go over
what we've 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.
( suspenseful theme playing)
(engine idling)
McGARRETT: Sounds
like a car engine.
Oh, it's that one.
Won't budge. Automatic door.
How's it open?
Electronic signal, I guess.
Swell. Wait a minute.
(engine starts)
McGarrett, Five-0,
calling Dispatch.
McGarrett, Five-0,
calling Dispatch.
MAN: This is Dispatch, go ahead.
Can you give me a
high-frequency signal
that might open a
garage door about,
oh, 6 or 8 feet from where I am?
We'll try it, McGarrett.
Try it fast, please.
(high-pitched tone over radio)
Nothing happening so far.
We'll try a higher frequency.
When you don't hear
it, you have maximum.
(high-pitched tone over radio)
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
the typing matches.
It will. So, 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. (snaps fingers)
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.
Turned on the lights?
No, he said he went
to the door in the dark.
Said he was blinded
by a flashlight,
and he heard
somebody say, "Charlie."
That's when he
was stabbed, right?
Yeah.
Then 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.
Bloodstains 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?
The minute he felt the
pain, he 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?
Dead.
Hey, that's, uh, great
news, old Arnie's alive.
I, uh, guess we're
too tough to kill, huh?
Uh, I mean, like,
the, uh, killer must feel
like a loser now, right?
First he misses killing me,
and then he misses Arnie.
You, uh, got any, uh,
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.
Strain must have
been terrible, huh?
It's been unbearable.
I'll bet.
Well, we'll see you, Charlie.
( dramatic theme playing)
E-excuse me. Yes?
Uh, may I visit with him?
Well, he's unconscious.
Who are you?
His cousin.
Oh, it's after visiting hours.
I tried to get here
sooner, but, uh...
Please, uh, he's the
only family I have.
If I could just see
him for a few minutes.
All right, a few minutes.
Thank you. Thank you very much.
Excuse me, where
are the police? In there?
No police, don't worry.
We're looking after him.
But h-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 gonna have
to put up with being killed again.
I'll tell you one thing,
it wasn't my fault.
Way I had it planned,
you should have
died in the garage.
McGarrett, he worries me.
Sometimes I think
he knows something.
(switch clicking)
(switch clicking)
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.
( ominous theme playing)
Aunt Martha!
What are you doing here?
No, I killed you.
I know I killed you. Now,
please, please, go away.
Aunt Martha, you
said you loved me.
Why'd you come back?
Answer me, Aunt Martha!
Aunt Martha?
If you don't go away right
now, I'm gonna kill you again.
All right.
(pounding on bed)
(Charlie whimpering)
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?
( dramatic theme playing)
( upbeat surf theme playing)
(doorbell rings)
Hi. You're a little early.
Fix yourself a drink.
I'll be ready in five minutes.
( ominous theme playing)
What happened?
(yelps)
(chirps)
(door closes)
McGARRETT: Hm. 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?
Love, 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, Filipino?
Yeah.
Yeah, where?
Thanks, lieutenant.
Will you meet me there?
She was killed?
Yeah.
They just found her body in an
apartment, Leahi and Monsarrat.
Chin, two envelopes
and a picture on my desk.
Get 'em over to the
lab as soon as possible.
See what they can come up
with beside May's prints and mine.
Let's go.
( tense theme playing)
( upbeat surf theme playing)
( mysterious theme playing)
Lieutenant.
McGarrett.
What have we got?
How did you fellas
know about this one?
Killer advertised himself
with a picture and a poem.
Poem?
Yeah.
Read: 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 on the islands.
No line on boyfriends
or acquaintances yet.
Might even make
it A hundred or so
Hm. 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.
Give me a glass
for a minute, Charlie.
Thank you.
What do you think?
The picture we got in the
mail is a blowup of this one.
I'll bet on it.
Danno, check out
the photographer.
See if he can
identify the group.
Then see what her
employer can add.
Right.
Charlie.
( peaceful theme playing)
( ominous theme playing)
(screams)
(rustle)
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.
Well, we'll make some luck.
Ask the lab to check on sample
typefaces of every manufacturer.
Tell 'em to call us
as soon as they know.
Steve? Yeah.
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.
( mysterious theme playing)
( mysterious theme playing)
Locked. No answer.
This is the address I got
from Hawaiian Amalgamated.
Morning paper. Maybe
she never got home.
No parked car in front.
Not in the driveway.
Let's check the garage.
( mysterious theme playing)
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, so 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 wanna
talk to you about...
I'm, uh, sorry, I didn't
know you were busy.
Arnold, this is Mr. McGarrett
of Hawaii Five-0.
This is Arnold Martin, our
executive vice president.
Mr. Martin.
You're here about Miss Cross?
Yes. And Mrs. Warden.
Mrs. Warden?
CHARLIE: Also murdered.
Seems that somebody doesn't
like the people who 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?
(scoffs)
It's preposterous.
This whole affair can't
possibly have any connection
with Hawaiian Amalgamated.
Well, 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 wanna see them.
Now, how about
my other requests?
Arnold.
Yes, Aunt Martha.
You'll 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.
( mysterious theme playing)
I'll see you tonight, Charlie.
At 9, at my home.
Yes, Aunt Martha.
There's 72 names on that list.
Leaves us 70 to protect.
How we gonna put a
bodyguard on every one of them?
We've got to.
What's the first name
and address, Danno?
Abasu, 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.
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?
( suspenseful theme playing)
I don't believe it.
Well, 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.
You see, I've become impatient.
And tired.
I'm tired of you.
I... 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'd 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 paid me.
But I can on half of
what you're gonna leave.
And I'll be free of you.
(gasps)
( suspenseful theme playing)
(grunts)
( line ringing)
Answer it.
Answer it.
WOMAN (over phone): Operator.
Operator? Yes, sir.
Police.
I've been s-stabbed.
Seven... Apartment
7, Huntington Towers.
I'll get an ambulance
right away.
(siren wailing)
(door breaks open)
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, let's go. How
bad is it, doctor?
He lost a lot of blood.
Can't tell till 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, then he passed out.
Danno, stay here.
Tell Che Fong I want
a fine-tooth 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.
But 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.
(bell dings)
(phone ringing)
( ominous theme playing)
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 gonna be
much help, Mr. McGarrett.
Let me decide that.
Well, uh, I went to bed early,
I wasn't feeling very well.
I, uh, guess I was upset by
what had been happening.
Then the doorbell rang.
What time was that?
Oh, I don't know,
I, uh, got up to answer
it, I was groggy with sleep.
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 shone in my eyes,
blinded me, and a...
And 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-I pushed him
out and I shut the door.
And, uh, then I grabbed
my side and I felt the blood.
And then what?
Then I phoned for
help and I passed out.
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, far as I could tell.
(knock on door)
CHARLIE: Arnie. Hello, Charlie.
Mr. McGarrett.
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."
What's it say? Simply "Play it."
( Aunt Martha
clears throat on tape)
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 forebearers.
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.
( Aunt Martha laughs)
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.
( dramatic theme playing)
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.
You a little more, Charlie.
( suspenseful theme playing)
Okay, what have we got?
Pictures, envelopes, typing.
But nothing to
hold them together
and nothing that
fingers a killer.
Chin?
The lab came through
on the typewriter.
Year and make. Go.
Manufactured 1948,
a Star-Gaymont.
I wonder how many of
those were sold in the islands.
If it was bought here.
Could have 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 jobber and retailer,
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 bloodstains 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.
( dramatic theme playing)
AUNT MARTHA
(echoing): I... love you.
Arnold, you're the sensible one.
I... love you.
(tires screeching)
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.
All right, come on in. I
guess maybe we ought to talk.
It's, uh, kind of hard
to get used to, isn't it?
No.
Oh, Aunt Martha? Yes.
Look, if we're gonna
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.
Well, 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!
( tense theme playing)
Tsk, tsk, tsk.
Too bad, Arnold.
You shouldn't have
killed Aunt Martha
and tried to kill me.
(engine starts)
Shall we go over
what we've 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.
( suspenseful theme playing)
(engine idling)
McGARRETT: Sounds
like a car engine.
Oh, it's that one.
Won't budge. Automatic door.
How's it open?
Electronic signal, I guess.
Swell. Wait a minute.
(engine starts)
McGarrett, Five-0,
calling Dispatch.
McGarrett, Five-0,
calling Dispatch.
MAN: This is Dispatch, go ahead.
Can you give me a
high-frequency signal
that might open a
garage door about,
oh, 6 or 8 feet from where I am?
We'll try it, McGarrett.
Try it fast, please.
(high-pitched tone over radio)
Nothing happening so far.
We'll try a higher frequency.
When you don't hear
it, you have maximum.
(high-pitched tone over radio)
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
the typing matches.
It will. So, 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. (snaps fingers)
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.
Turned on the lights?
No, he said he went
to the door in the dark.
Said he was blinded
by a flashlight,
and he heard
somebody say, "Charlie."
That's when he
was stabbed, right?
Yeah.
Then 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.
Bloodstains 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?
The minute he felt the
pain, he 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?
Dead.
Hey, that's, uh, great
news, old Arnie's alive.
I, uh, guess we're
too tough to kill, huh?
Uh, I mean, like,
the, uh, killer must feel
like a loser now, right?
First he misses killing me,
and then he misses Arnie.
You, uh, got any, uh,
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.
Strain must have
been terrible, huh?
It's been unbearable.
I'll bet.
Well, we'll see you, Charlie.
( dramatic theme playing)
E-excuse me. Yes?
Uh, may I visit with him?
Well, he's unconscious.
Who are you?
His cousin.
Oh, it's after visiting hours.
I tried to get here
sooner, but, uh...
Please, uh, he's the
only family I have.
If I could just see
him for a few minutes.
All right, a few minutes.
Thank you. Thank you very much.
Excuse me, where
are the police? In there?
No police, don't worry.
We're looking after him.
But h-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 gonna have
to put up with being killed again.
I'll tell you one thing,
it wasn't my fault.
Way I had it planned,
you should have
died in the garage.
McGarrett, he worries me.
Sometimes I think
he knows something.
(switch clicking)
(switch clicking)
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.
( ominous theme playing)
Aunt Martha!
What are you doing here?
No, I killed you.
I know I killed you. Now,
please, please, go away.
Aunt Martha, you
said you loved me.
Why'd you come back?
Answer me, Aunt Martha!
Aunt Martha?
If you don't go away right
now, I'm gonna kill you again.
All right.
(pounding on bed)
(Charlie whimpering)
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?
( dramatic theme playing)
( upbeat surf theme playing)