Hawaii Five-O (1968-80) -- Season 1 Episode Reviews

INCLUDING ODDITIES, GOOFS AND TRIVIA

Copyright ©1994-2018 by Mike Quigley. No reproduction of any kind without permission.


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Because 2018 and 2019 is the 50th anniversary of the original Five-O's first season, I am revisiting my reviews of episodes from this season because many of them have not been updated for years. My new "anal-ysis" is often many times larger than what appeared previously. In order to jump around on the page, there are links back to the Quick Index near the top of the page which will take you to specific episodes. Some of the reviews are "under construction."


SEASON ONE - QUICK INDEX

S01E00 - Pilot Episode ("Cocoon") (Leslie Nielsen, Andrew Duggan, James Gregory, Khigh Dhiegh, Lew Ayres)
S01E01 - Full Fathom Five (Kevin McCarthy, Patricia Smith, Philip Pine)
S01E02 - Strangers In Our Own Land (Simon Oakland, Milton Selzer, Hilo Hattie)
S01E03 - Tiger By The Tail (Sal Mineo, Harold J. Stone, Sam Melville)
S01E04 - Samurai (Ricardo Montalban)
S01E05 - ....And They Painted Daisies On His Coffin (Gavin MacLeod, Charlotte Considine)
S01E06 - Twenty-Four Karat Kill (Kaz Garas, Marj Dusay)
S01E07 - The Ways of Love (James Patterson, Don Knight)
S01E08 - No Blue Skies (Tommy Sands)
S01E09 - By The Numbers (Johnny Crawford, Ann Helm)
S01E10 - Yesterday Died And Tomorrow Won't Be Born (John Larch, Vivi Janiss)
S01E11 - Deathwatch (Nehemiah Persoff, James Shigeta)
S01E12 - Pray Love Remember, Pray Love Remember (Ron Feinberg, Denny Miller)
S01E13 - King Of The Hill (Yaphet Kotto, Jeff Corey)
S01E14 - Up Tight (Ed Flanders)
S01E15 - Face Of The Dragon (David Opatoshu, Nancy Kovak, Jackie Coogan, Soon-Tek Oh)
S01E16 - The Box (Gavin MacLeod, Gerald S. O'Loughlin)
S01E17 - One For The Money (Farley Granger)
S01E18 - Along Came Joey (Mark Richman, Jesse White, Frank de Kova)
S01E19 & S01E20 - Once Upon A Time, Parts I & II (Joanne Linville)
S01E21 - Not That Much Different (Dennis Cooney, Stewart Moss)
S01E22 - Six Kilos (Antoinette Bower, Gerald S. O'Loughlin)
S01E23 - The Big Kahuna (John Marley, Sally Kellerman)
S01E24 & S01E25 - Cocoon (Pilot episode in two parts)

Previous (Pilot Episode) • Next Season (Two)

The numbering system follows that in Karen Rhodes' "Booking Hawaii Five-O." It also uses Season/Episode numbers, i.e., S01E01 = Season One, Episode One.


1. (S01E01) Full Fathom Five

Original air date: 9/26/68 -- Opening Credits -- End Credits
Director: Richard Benedict; Producer: Joseph Gantman; Writer: Ken Kolb; Music: Morton Stevens
Timings: Teaser: 4:31; Main Titles: 0:57; Act One: 8:06; Act Two: 12:23; Act Three: 11:33; Act Four: 12:45; End Credits: 0:54; Total Time: 51:09.

QUICK PLOT:

During a missing person investigation, Hawaii's state police force Five-O uncovers almost a dozen women who have disappeared. A common factor in all of these disapperances is Victor Reese. Five-O enlists the services of Joyce Webber from the Honolulu Police Department (HPD) to act as bait and bring Reese to justice.

Click here to read Full Plot.

REVIEW:

Victor Reese, also known as Rawlins (Kevin McCarthy), and Nora his wife (Louise Troy), posing as his sister, have a "successful, proven operation" bilking well-off single women and widows out of large amounts of money, then killing them with aconite (a real poison) and dumping them in the ocean. A serial killer as well as a con artist, Reese is charming but deadly.

As the show and series begins, Reese toasts his next victim Anne Hayes (Jane Thorpe) with champagne on his yacht. Nora shows some cleavage, and the music by Morton Stevens is dissonant. Hayes is knocked off using Reese's M.O. and he tells Nora, "It took her long enough [to die]."

The scene switches to the Iolani Palace, Five-O headquarters, where Steve McGarrett (Jack Lord) grabs his secretary May (Maggi Parker) on the way into his office. He addresses her as "love," and gets her to bring him coffee. She does not complain about any of this.

The appearance shortly after of lawyer Tyler Skaggs (Philip Pine) is a good excuse to introduce the members of the Five-O team: Danny ("Danno") Williams (James MacArthur, replacing Tim O'Kelly from the pilot), Chin Ho Kelly (Kam Fong) and Kono Kalakaua (Zulu). Skaggs is trying to locate his client Martha Finch (Arlene McQuade), who has seemingly disappeared, and he is annoyed about Five-O's lack of progress in tracking her down. McGarrett tells him bluntly, "When somebody vanishes as completely as this for this length of time, either Martha Finch wanted to disappear or she's dead."

Later, McGarrett wants to talk to the Governor (Richard Denning). He runs into the Governor's receptionist Milly on the Iolani Palace steps (Peggy Ryan, who later becomes McGarrett's receptionist Jenny). Milly says the Governor is at "the place he goes when he usually doesn't wanna be disturbed." He is nearby sitting under a banyan tree eating his lunch, including some papaya -- obviously there are no security issues. McGarrett tells the Governor in searching for Martha Finch, they uncovered at least 10 other women who "disappeared." The Governor, concerned about the safety of the "two million guests" who pass through Hawaii a year, says this has "got to be stopped." There are some interesting camera angles during their conversation.

Five-O's search for Martha Finch is a red herring, however, since she went to live with a bunch of hippies on a Honolulu beach. McGarrett checks out this "subculture" with Skaggs, finding the lawyer's reaction to it amusing. Martha tells her lawyer, "This hippie scene may not be the answer, but it's taught me one thing: I can do what I want. And I dearly wanna be rid of you." So she fires him. As he leaves Skaggs, McGarrett tells him "Peace, brother."

Five-O determines that Reese, using the name Rawlins, is connected to the other missing women because he was "the one common link" in every case, having been on all the cruise ships which brought the women to Hawaii. McGarrett wants to use policewoman Joyce Weber (Patricia Smith) as bait for Reese's scheme which results in tension between him and Danno, who objects to this plan. Danno says "I don't like it," but McGarrett tells him "Nobody asked you." He asks Danno to manufacture some bogus I.D. and a complete cover history for Joyce. Danno sarcastically replies, "Forgery was my best subject." As Danno leaves the room, McGarrett gives him a dirty look.

Joyce and Danno fly to San Francisco where they take a cruise ship back to Hawaii. On board, Reese meets Joyce, and she pretends to fall into his trap. Unknown to Reese, Danno is acting as her protector and also snoops in Reese's stateroom to dig up evidence against him. Back on Oahu, Reese romances Joyce, convincing her to lend him some money to complete a land purchase where they can build a "honeymoon house."

Joyce has a letter of credit and gets $30,000 transferred to a Honolulu bank. All of the women that Reese killed were able to obtain similar large amounts. In every case, there was a large money transfer from a mainland bank just before the woman disappeared. Ann Hayes, for example, used a letter of credit from her bank in Cincinnati. But why would someone who was just coming to Hawaii, presumably just for a vacation, have a letter of credit like this?

The scene before the finale on Reese's yacht is kind of surprising. Joyce drops her glass of poisoned champagne, pretending to be nervous, and Reese tells her, "We're getting ready to kill you … I was hoping you'd have the grace to die with a smile on your lips like the others have. But unfortunately, your clumsiness has ruined all that." (All of this is captured on a tape recorder nearby via a transmitter bug planted on Joyce.) It's almost as if the writers realized they had to wrap up the episode quickly.

There are some continuity issues when McGarrett is taking Joyce to the airport for her assignment earlier, and when Reese is shot and killed at the end of the show. As well, the "Aloha Baby" sign which covers up the real name of Reese's yacht, Grand Marlin, is seen floating in the water at the end near the place where Kono pronounces Reese dead. Considering it was just seen on Reese's yacht, it is not logical that it could detach itself and float some distance away in a few seconds.

Despite these goofs, this is a good show, with the plot integrated well into the Hawaiian setting. McCarthy, who will appear again in season nine's "The Last of the Great Paperhangers," is very oily as Reese, and Patricia Smith has the right amount of apprehension playing the decoy.

WHAT DOES THE TITLE MEAN?

Described by Nora to Victor as "our poem," it is taken from the first line of Arial's song from Shakespeare's The Tempest with the sex changed to "her" from "him." This is Shakespeare's original:

Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Ding-dong.
Hark! now I hear them -- Ding-dong, bell.

This is Victor's variation:

Full fathom five the widow lies,
And of her bones are coral made;
Those are pearls that were her eyes.
Nothing of her now doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring her knell:
Hark! now I hear them -- Ding-dong, bell.

McGARRETT WANTS:

MORE TRIVIA:

MUSIC:

Score by Morton Stevens.

Click on the green dots to hear music from this episode. The two bracketed times are when the cue appears in the show and the length of the cue.

(#1, 0:00, 0:15) First appearance of Reese and his yacht.
(#2, 1:17, 3:15 plus main titles) Ann is poisoned; her body is put in a barrel and dumped overboard; Reese recites from Shakespeare.
(#3, 5:29, 0:25) Introduction to the Five-O team in McGarrett's office; Tyler Skaggs.
(#4, 10:51, 0:42) McGarrett meets with the Governor.
(#5, 13:25, 0:08) "Wave" at end of Act One.
(#6, 14:05, 3:53) Guitar music played by Pepito at the hippie compound.
(#7, 23:07, 0:25) Joyce leaves for the airport in a cab after McGarrett has been prepping her.
(#8, 25:20, 0:36) Reese has his eyes on Joyce; "Wave" at end of Act Two.
(#9, 25:58, 4:28) Reese snoops in Joyce's room; Danno cautions Joyce; Reese becomes chummy with Joyce; Danno snoops in Reese's room.
(#10, 31:31, 2:47) A brass band plays as he cruise ship arrives in Honolulu; Joyce and Reese disembark; Danno meets McGarrett.
(#11, 37:08, 0:19) McGarrett leaves after meeting Joyce in her room; "Wave" at end of Act Three.
(#12, 41:20, 0:57) Reese makes plans with Joyce for a "honeymoon house."
(#13, 44:23, 1:12) An intense police search for Reese's yacht begins.
(#14, 46:33, 0:26) Danno and McGarrett ride in a helicopter during the search for the boat.
(#15, 48:14, 2:17) Reese and Nora try to kill Joyce; Reese is killed in a gun battle on the dock.

FURTHER MUSICAL ANAL-YSIS: (I don't intend to do this too often...)

The score to Full Fathom Five (FFF) is quite clever:

#1 - This brief cue is the first appearance of what we could call the FFF theme, or maybe Reese's theme.
#2 - There are brief references to the FFF theme (a 3-note melody going up) at 0:24, 0:36, 1:38 and 1:47. It returns in full as Reese recites the poem from Shakespeare.
#3 - The FFF theme appears again as Skaggs enters the Iolani Palace.
#4 - The H50 theme is heard.
#7 - The H50 theme is heard again, McGarrett looks like he is having regrets at using Joyce to catch Reese after she leaves.
#8 - As Reese walks by Joyce, we hear the FFF theme again; it is recognizable but dissonant, almost "bitter," suggesting what trouble Reese is going to make for her.
#9 - After an opening theme representing the ship, we hear the FFF theme at 0:09 played by woodwinds over pizzicato strings as Reese goes to Joyce's room. We see Danno is watching Reese from nearby (H50 theme at 0:38). Later, after some background cocktail-like music, we hear the H50 theme again played with woodwind interjections starting at 2:47 as Danno enters Reese's room.
#11 - FFF theme as McGarrett leaves Joyce's hotel room prior to the Wave, where there is a slight reference to the FFF theme.
#12 - The FFF theme is played by low piano (sounds very creepy and ominous!) as Reese talks about celebrating on a "sunset cruise" with Joyce.
#13 - FFF theme on flutes at 0:32 and muted horn at 0:54.
#15 - There are Jaws-like sounds in the basses at the beginning! Reese talks about killing Joyce (FFF theme at 0:16; it also appears during the shooting around 1:00 and continues in the cellos from around 1:21. The cue ends with great Stevens writing for lower brass in octaves!

GALLERY:

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2. (S01E02) Strangers In Our Own Land

Original air date: 10/3/68 -- Opening Credits -- End Credits
Director: Herschel Daugherty; Producer: Robert Stambler; Writers: John Kneubuhl & Herman Groves (teleplay), John Kneubuhl (story); Music: Morton Stevens
Timings: Teaser: 1:40; Main Titles: 0:57; Act One: 12:18; Act Two: 15:48; Act Three: 10:22; Act Four: 9:09; End Credits: 0:57; Total Time: 51:11.

QUICK PLOT:

After Land Commissioner Nathan Manu is killed with a bomb at the Honolulu Airport, McGarrett is disturbed to hear Manu's childhood friend Benny Kalua say that his death was well-deserved. Five-O's investigation uncovers a scheme which reveals Kalua as the one behind the murder.

Click here to read Full Plot.

REVIEW:

This episode is topical, dealing with the way native Hawaiians have been exploited in the name of progress.

The show begins with one of my favorite special effects of the whole series -- the spectacular bomb blast in the taxi at the airport which wipes out Land Commissioner Nathan Manu (Lord Kaulili). Manu's death brings forth a lot of questions, as well as a peculiar comment from his long-time friend Benny Kalua (Simon Oakland) that whoever killed Manu was doing Hawaii a favor, because Manu had betrayed his people by being in league with developers.

The prime suspect in Manu's killing, Tommy Kapali, is tracked down quickly, thanks to a woman named Grace Willis (Jeanne Bates) who was filming with a home movie camera at the Honolulu airport. There is a touching scene where McGarrett interrogates Tommy's mother, played by iconic Hawaiian Hilo Hattie. She tells McGarrett that she hasn't seen her son for about a year, that Tommy is "sick in the head long time now."

Complications arise with Lester Willighby (Milton Selzer), a "little man" trying to capitalize on the publicity surrounding the bombing. I found this red herring to be a distraction, unlike the red herring in the previous episode, "Full Fathom Five." There the investigation ending with the discovery of the rich woman at the hippie compound led to the Five-O team uncovering almost a dozen women who had been murdered.

Despite Selzer's acting as Willighby, which is very good, the nearly 7 minutes for this tangent could have been put to better use improving the episode's script which goes downhill towards the end of the show with the suggestion of a conspiracy involving Kalua which is never fully explained.

Benny may have been a manipulative person (despite Simon Oakland's relatively laid-back performance compared to his others on Five-O), but there are too many questions about his big scheme to knock off Manu.

For example, did Benny have something against Tommy Kapali, who we find out was his daughter's boyfriend? Tommy's mother said that her son had mental problems, but exactly what these problems were is never specified. Tommy also had experience with explosives in Vietnam which just happens to fit into Benny's plan to blow up Manu (or maybe became the basis for his plan). Tommy was at the airport, and the color of his shirt matches the guy who slipped Manu the attaché case with the bomb, though we do not see this person's face. At the end of the show, we are told that the employee of Benny who tries to knock off Grace Willis, revealed to be Benny's co-conspirator, "admitted planting the bomb at the airport."

The business where Grace was filming in the airport makes no sense at all. This took place at 4:15 as per McGarrett's perceptive glance at the clock on the wall in the film during its second viewing in the Five-O office. Grace "just happened to be" making this film which incriminated Tommy, but it is never established whether this was the same morning that Manu returned at 7:30 a.m., i.e., 4:15 a.m. that day. I highly doubt this. It was likely at 4:15 p.m. some afternoon prior to this, and Grace was just pretending that Tommy, who was the last thing filmed with the camera on that day, had only been photographed a few minutes before the explosion.

How did they arrange this so that Tommy would be at the airport and "just happened to be" in the film that Grace was making? They obviously didn't tell Tommy "We want you to be at the airport today so we can film you being a patsy in our elaborate set-up"!

There are also questions about a phone call made to Manu which revealed he was coming home early. It is suggested by Grace at the end of the show that it was Tommy phoning Manu, but this doesn't make sense. She is babbling away, almost having been strangled, and there is this continual suspense as to "who is she talking about"? Manu wouldn't know Tommy, and wouldn't Manu think there was something peculiar about a phone call from some guy he didn't know?

On the other hand, why would Benny phone Manu? This suggests that they were indeed pretty close friends, though why would Benny be phoning Manu at all? If Manu came home on the expected flight on the expected day at the expected time, would an attempt still have been made on his life? There is a record, aside from the four calls between Manu and his wife, that one call was made to Manu on the mainland from a "public telephone." There is no investigation by Five-O to determine that this phone was located somewhere where either Tommy or Benny had close access to it.

There are also questions about a message the Governor received from Manu, who was "a close, personal friend" of his: "Arriving Flight 623, Saturday morning. Important I meet with you on urgent matter." This message was hand-delivered to the Governor's desk so that not even his secretary had seen it: "It was left on my desk, unopened." Did Benny somehow sneak into the Governor's office and leave it there?

Grace suggests she was very close to Benny, quite likely his mistress ("He told me he loved me"), but what was she going to get out of his scheme? I am sure that the guy who tries to knock her off was the same employee of Benny's who was at the club when McGarrett visited the place earlier and who gave McGarrett a peculiar look like "What the heck is he doing here?" As far as I am concerned, Grace knew far too much about everything. I'm surprised she stayed alive as long as she did!

What makes me laugh is that Benny was a hypocrite because he totally hated Manu for betraying the people of Hawaii by siding with developers in destroying the land, yet Benny was running some nightclub which was aimed at the tourist trade, i.e., also corrupting the "purity" of Hawaii by encouraging people (who are like "foreigners in our land") to come there, with hotels to be built to accommodate them and so forth.

The one saving grace (no pun intended) about this show is its photography, with outstanding color throughout. The sequence on the DVDs where Danno drives to Grace's house is amazing for its sharpness and clarity and a process shot is not being used -- in other words, the camera is mounted either on the front of the car or in the back seat.

The score by Morton Stevens is also good. There is a simple theme featuring a recorder near the beginning of the show as Kalua tells McGarrett about when he and Manu were kids which might be described as a "childhood memories" theme. This theme appears briefly at the end of the show as well.

WHAT DOES THE TITLE MEAN?

When he first meets with McGarrett, Benny Kalua says, "There's an old Hawaiian saying, McGarrett: 'And one day, we shall be strangers in our own land'." At the end of the show, Kono repeats this expression: "One day, we'll be strangers in our own land." A Google search of this phrase turns up various instances of it relating to Hawaii (and other jurisdictions), but there is no clear indication of when and where the phrase originated.

McGARRETT WANTS:

MORE TRIVIA:

GALLERY:

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3. (S01E03) Tiger By The Tail

Original air date: 10/10/68 -- Opening Credits -- End Credits
Director: Richard Benedict; Producer: Joseph Gantman; Writer: Sy Salkowitz; Music: Morton Stevens
Timings: Teaser: 2:18; Main Titles: 0:57; Act One: 6:47; Act Two: 15:17; Act Three: 11:01; Act Four: 13:57; End Credits: 0:56; Total Time: 51:09.

QUICK PLOT:

Aspiring singer Bobby George has himself kidnapped as a publicity stunt. His two kidnappers, however, change the plan when they get greedy after Bobby's father, D.J. Georgiade, owner of a hotel chain, goes on local TV and says, "I will pay you anything you ask. Anything." Georgiade, who wants to deal with the situation his own way, butts heads with McGarrett, but eventually co-operates with Five-O when the kidnappers set a deadline for Bobby being killed.

Click here to read Full Plot.

REVIEW:

This is a good show, with excellent performances by Sal Mineo as Bobby George, a young singer who arranges to be kidnapped as a publicity stunt, Harold J. Stone as D.J. Georgiade, Bobby's estranged father and the two kidnappers, Jerry Parks (Sam Melville) and Allen Brent (Ion Berger).

Melville's character is an interesting mixture of edginess and sadism. He hoped to be Bobby's manager after the kidnapping stunt blew over and they figured offers would pour in. However, this was before Parks thought seriously about the ransom money.

The show also has some great scenes of the no-nonsense McGarrett in a "don't tell me how to do my job" frame of mind telling Bobby's moneybags father that his approach to solving the kidnapping is all wrong. Even Peter Taylor (Richard Gossett), the head of Georgiades' own security forces, tells his boss after McGarrett's prompting: "They usually kill the victim when they get the money."

There is speculation that the plot of this show was inspired by the kidnapping of Frank Sinatra Junior. A New York Times review of the first season Five-O DVD box set in 2010 said the show is "plainly riffing on [that] 1963 kidnapping." This comment, incredulously, became a reference in the Wikipedia entry for the son of "Ol' Blue Eyes," and specifically refers to this Five-O episode!

Somewhat more believably, the FBI's own web page on this case tells us that at the trial for the kidnappers, "the defense tried to argue that Sinatra Junior had engineered the kidnapping as a publicity stunt, [though] the FBI had strong evidence to the contrary." Other web pages tell us that Sinatra Senior offered his son's kidnappers a million dollars, whereas they only were after $240,000. (In this Five-O show, the amount is $500,000.)

Five-O's problem-solving again employs "geeky" methods like the use of home movies in the previous episode. In this show we are dealing with reel-to-reel tapes which were very popular among hi-fi enthusiasts for years prior to 1971, when quality audio cassettes were introduced. When McGarrett and Danno are in Bobby's apartment near the beginning of the show, McGarrett picks up some boxes of these tapes to examine them. This kind of tape is used to communicate between the kidnappers and Five-O.

The way the reel-to-reel tapes are identified in the show is far-fetched. The first tape is tracked down by its "serial number." I own many such tapes dating back to the 1950s which do have numbers like serial numbers on their boxes, but I don't think there is a unique number for each tape; it's just a product identification number.

Considerable time is spent analyzing these tapes received by Five-O at TV station KGMB. Someone at IMDb reported a goof: "Instead of playing the actual voice signal from the recorded tape, they simply displayed a rounded off square wave across an oscilloscope so that even though the voice is changing, the display never moves. The audio engineer claims to see a high frequency signal when none is clearly there. Even so, it would have been better to use a spectrum analyzer instead of an oscilloscope."

McGarrett is clever, a bit too much, when he and Danno have a brainstorm after being confronted with the evidence that the same machine was used to record tapes found at Bobby's place and the first kidnap tape, thanks to certain frequencies detected on the tapes at KGMB. Danno suggests that Bobby never went back to his place after he was grabbed, and that the first message was recorded before the kidnapping. In an "AHA!" moment, McGarrett says this means the whole kidnapping is "one big fat hoax" as the camera closes in on his face with each word. But I don't think so. After all, the tape recorder is obviously at the kidnappers' hideout later, why couldn't it have been there from the beginning?

The tapes also are used to track down the kidnappers' hideout because they contain the faint sounds of Hawaiian music on a radio and the noise of a plane flying overhead in the background behind the spoken kidnap threats. The sources of these sounds are used in conjunction with triangulation on McGarrett's transparent map board. The ease with which this is accomplished, though the area for the hideout is still very large, is indicative of another trope of the show, that Honolulu and Oahu was really not such a "big" place in the late 1960s. This can also be sensed when McGarrett talks to the two women "swingers" on the beach who just happen to know both Parks and Brent.

The photography throughout, with lots of closeups and some hand-held work and shots in mirrors (director of photography is Frank Phillips), is very good as is the script, despite a large quota of overly-quoteable lines.

WHAT DOES THE TITLE MEAN?

According to The Free Dictionary: "Tiger by the tail: to have become associated with something powerful and potentially dangerous; to have a very difficult problem to solve."

McGARRETT WANTS:

MORE TRIVIA:

GALLERY:

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4. (S01E04) Samurai

Original air date: 10/17/68 -- Opening Credits -- End Credits
Director: Alvin Ganzer; Producer: Robert Stambler; Writers: Jerome Coopersmith and Mel Goldberg (teleplay), Jerome Coopersmith (story); Music: Morton Stevens
Timings: Teaser: 3:24; Main Titles: 0:57; Act One: 16:51; Act Two: 7:01; Act Three: 9:36; Act Four: 12:25; End Credits: 0:56; Total Time: 51:12.

QUICK PLOT:

After local crime boss Leonard Tokura is nearly assassinated by mysterious "bushido" from Japan, McGarrett is called upon to protect him, but Tokura's pursuers seemingly knock him off anyway. Five-O's investigation uncovers depths of deception which reveal that the supposedly American-born Tokura is not who he says he is and his killing was a scam.

Click here to read Full Plot.

REVIEW:

This was the first Five-O show produced, but not the first one shown. This no doubt accounts for the word "Hawaii" superimposed during the beginning of the teaser where the Aloha Tower is seen.

In this episode, Ricardo Montalban, who played a Japanese kabuki actor named Nakamura in the 1957 film Sayonara, gives a bizarre performance as Leonard Tokura, a crime kingpin who typically claims that he is just a legitimate businessman. The character's repartee with McGarrett is entertaining, but the actor's "yellowface" makeup and peculiar accent both work against this. The makeup is silly and his mannerisms become annoying, including the way he smokes a cigarette like Arte Johnson's Laugh-In character. (According to Montalban's autobiography, he actually went to Japan in advance of acting in Sayonara and did some research as to how someone like his character in that film would comport themselves.)

Tokura's mannerisms should actually give McGarrett a big clue that something is not right. Tokura has this sort-of-Japanese accent, which some people say instead reveals Montalban's Mexican origins. This accent is likely due to the fact that Tokura really is Japanese. He is "S. Yamashito" who abandoned the midget submarine he was piloting around the Hawaiian Islands during World War II and hid in a cave on Molokai. Tokura assumed the identity of the real Tokura, a Japanese Hawaiian who was also hiding in the caves to escape those who wanted to intern him after the Pearl Harbor attack. Presumably Montalban Tokura killed the real Tokura, though, as McGarrett says to Deedee, "What happened to him [the real Tokura] is anybody's guess." McGarrett then tells her "After the war, your father came back to Honolulu." It seems very likely if he mingled in the same circles as the real Tokura, someone might have realized that he was not the same person -- but, of course, no one did. According to Montalban Tokura's back story, he was born in San Francisco ("on Fillmore Street") and came to the islands in 1939. Even if he had Japanese parents, one would suspect that he did not affect Japanese mannerisms and have a Japanese accent.

What is even more annoying than Montalban as a Japanese, though, is the continued misuse of the word "bushido," which the dictionary defines as "a feudal-military Japanese code of chivalry valuing honor above life." McGarrett refers correctly to the "code of bushido" once, but then shows Tokura a knife, commenting "it makes it easier for a bushido to gut himself when he fails on a mission." McGarrett and others keep using the word "bushido" referring to a person or persons. Other misapplied remarks include "Another Bushido comes, and another and another, till the mission's accomplished," "I'm about to order a medal for the next bushido who comes to chop you down," "I have never known a Bushido" (said by Tokura), "Why does the bushido want you dead?", "the Bushido picked it [the story of the discovered submarine] up," "The bushido put him on their death list – why?," and "What about them?" During a crucial plot twist in the show, when Tokura's enemies grab him at his house prior to blowing off "his" face with a shotgun, he screams "Bushido!" to McGarrett, who is close by, trying unsuccessfully to protect him, meaning "that's who these men are!"

McGarrett quickly figures out that it was not Tokura who got his face blown off, because as the body is being removed, a ring slips off Tokura's finger that could not even have been twisted off before. This whole business with a double for Tokura getting shot in the face is far too contrived. McGarrett is there as a witness, which was likely part of the whole scheme to make Tokura "disappear" as he suggests later, but how could the "bushido" assassins (obviously Tokura's own men) know that McGarrett would just happen to be far enough away from the scene where the double-in-everything-except-the-face got shot in the face and McGarrett couldn't see the real (well, sort of) Tokura being spirited away?

After the unsuccessful separate attempts to kill Tokura earlier by the two assassins seen earlier on in the show with a gun and a grenade, you have to wonder why they suddenly decided to show up and knock him off. Maybe the two assassins are connected with the yakuza (the Japanese organized crime syndicate), who we often see as default villains on the "new" Hawaii Five-0, though I don't know if the term "yakuza" was that well known in 1968. There is no suggestion that Tokura's crime activities in Hawaii were any threat to the yakuza or any other criminals in Japan.

A more plausible explanation is the assassins are connected with the Japanese military, thus the "samurai" connection, which is not developed properly in favor of "bushido," and were ordered to carry out their mission because of the "dishonour" committed when Yamashito abandoned his post during the war. When McGarrett talks to a friend of his from the navy, they remember that the submarine that Tokura/Yamashito was piloting during the war was "played up big" by wire services and magazines when it was discovered off Molokai a couple of years before. I am skeptical that modern-day (21st century) samurai or military right-wing types in Japan would get so worked up over a "dishonorable" situation like this, but we should remember that 1968 was only 23 years after the war ended.

There is a tense scene between McGarrett and Danno at the beginning of the show, when Danno is taken to task in a major way by McGarrett for failing to prevent Tokura from knocking off Mary Travers, a witness at a hearing regarding Tokura's criminal activities. Travers, who drops dead during the hearing, was a bookkeeper for Tokura's "legitimate" company who knew lots of dirt on him. She is killed by some poison which was slipped into her lipstick.

But McGarrett is kind of dumb himself later. Why doesn't he do a more thorough investigation on the fingerprints from the supposedly dead Tokura which he sends to Japan? There are actually three sets of fingerprints involved here: the ones from Tokura which they have on file from his local criminal record, since Tokura says that he has been charged several times for "everything from double-parking to fixed cockfights" (these prints are presumably the ones that were sent to Japan, since they reveal Tokura's real identity); the ones from the dead "Tokura" with the face blown off (possibly one of the mobster's loyal henchmen who would sacrifice his own life for his boss -- which could have been used to compare to the ones from Tokura on file before sending anything to Japan); and the ones from the real Tokura (the internment escapee, who may have been fingerprinted before or after Pearl Harbor).

As part of the trap to catch Tokura after he disappears, McGarrett convinces his daughter Deedee (Carolyn Barrett) to give a million dollars to the local university, a generous gesture her father would not approve of. She later meets with her father in a Japanese movie theatre on Mauna Kea which has a poster for Revenge of the Pearl Divers outside. The movie shown in the theatre is unbelievably simplistic, with no dialogue at all and banal music. The screen dimensions, in fact, suggest a 16mm film. When Tokura is talking to Deedee in the theatre, you would expect that people would keep shushing them, because they are speaking very loudly, but no one says anything. And how did Tokura contact his daughter to meet him at this place? Wouldn't he have been suspicious that her phone was tapped, for example?

On the positive side, the episode has an excellent score by Morton Stevens, including the first instance of the "bonging bell" sound to be heard in many more episodes. The color photography is also a plus, as is the set decoration, especially at Tokura's palatial mansion, which was the estate of Henry J. Kaiser, the shipbuilding and aluminum magnate, a fact that gets a mention in the end credits.

One of my favorite parts of this show is at the beginning, where the second assassin from Japan, the guy with the moustache, looks at the scene where his pal screwed up his attempt on Tokura, and he bares his teeth just as Morton Stevens does this little "zing" in the music -- too cool! Bob Sevey's interview with Tokura during this scene seems pretty awkward, on the other hand, which is weird, because he was a real newsman in Honolulu for many years.

Incidentally (though this is pretty obvious or well-known to most fans of the show), this is the first episode where a non-Asian plays an Asian part (others are listed on a page that I have on my site).

Many years ago, James MacArthur, the original Danno, visited Vancouver where he was making a movie. Me and this other guy met him for lunch, and I brought up the whole business about whiteys playing Asian guys. MacArthur's response was not what I expected, he said "Oh, no, not that fucking political correctness again!" (Yes, Danno actually used the word "fucking.")

MacArthur's feelings arose from his opinion that these people were just actors who were acting, and that they should be able to play any role they wanted. I did not want to make an issue about political correctness, though. I was more of the opinion that white guys usually just played Asian actors badly, not that they had played them at all. In other words, if you were a white guy playing an Asian (like Mark Lenard in to Hell With Babe Ruth, Will Kuluva in By the Numbers, David Opatoshu in A Matter of Mutual Concern and other examples mentioned in the link above), then you would look like an idiot, just like if you covered your face with burnt cork and tried to play someone in blackface like Al Jolson.

Alas, I never expressed what I thought to MacArthur because I was kind of rattled by his response. I don't think he was that mad, though, because he paid for my lunch.

WHAT DOES THE TITLE MEAN?

From Wikipedia: The samurai were Japanese warriors. They were members of the important military class before Japanese society changed in 1868. From m-w.com: a military retainer of a Japanese daimyo [one of the great lords who were vassals of the shogun ] practicing the code of conduct of Bushido; the warrior aristocracy of Japan.

The word "samurai" is heard in the film only four times. During his first visit to Tokura's place and after Tokura's men kill two local hoods, McGarrett shows him the knife which the first assassin had. McGarrett says "Those two gambling goons your boys knocked off, they didn't write the contract on you outside the hearing room. This was responsible [shows him the knife]. Samurai, ancient order of Japanese knighthood, fanatic principles of honor. The code of Bushido." (Yes, it is a code!) Later, Tokura later tells McGarrett "[I]f you have paid more than $2.95 for that poor imitation samurai knife, you were shamelessly cheated." "Samurai" is used twice more, once when Chin Ho says he doesn't understand "this samurai jazz" and at the end, when McG gives Tokura a wrapped-up parting gift which he says "might even be a samurai knife."

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5. (S01E05) ....And They Painted Daisies On His Coffin

Original air date: 11/7/68 -- Opening Credits -- End Credits
Director: John Peyser; Producer: Joseph Gantman; Writer: John D.F. Black; Music: Morton Stevens
Timings: Teaser: 2:36; Main Titles: 0:58; Act One: 7:07; Act Two: 13:37; Act Three: 10:10; Act Four: 15:47; End Credits: 0:55; Total Time: 51:10.

QUICK PLOT:

Danno mistakenly kills a young thief who shot back as Danno was pursuing him. Because the boy's gun disappears, the Attorney General wants to charge Danno with first degree murder.

Click here to read Full Plot.

REVIEW:

With this episode, the show finally gets its groove on despite a couple of minor complaints, something we will occasionally experience with other episodes as the series goes on which, if we are in a bend-over-backwards mood, can be blamed on "growing pains."

While off-duty, Danno chases down a young runaway named Thad Vaughn (James Lloyd Land) who was trying to break into a car. Danno is shocked when he accidentally kills the boy. Danno is indicted for first-degree murder when investigators can't locate a gun the kid used while escaping, because Ann (Charlotte Considine), his junkie girl friend, sneaked it out of their apartment while the stunned Danno was not looking.

Ann asks for help from her pusher Big Chicken, who was selling items that Thad stole, in exchange for which Chicken would keep her supplied with drugs. McGarrett has to convince Ann to co-operate to clear Danno and also to end the career of the two-time loser Chicken.

In the previous four episodes for this season, there have been villains ranging from very good (Victor Reese in "Full Fathom Five" and Sam Meville in "Tiger By The Tail") to laid-back (Simon Oakland in "Strangers In Our Own Land") to one with some good points but verging on ridiculous (Ricardo Montalban in "Samurai").

The highlight of this show is Gavin MacLeod's sweaty dope dealer Big Chicken, a bad guy destined for the Five-O Villain Hall of Fame who we will meet again soon in the prison drama "The Box." Chicken is totally oily as he tells McGarrett "I believe in the law" and "the law is cool." Another highlight is plenty of iconic scenes involving the Five-O team and particularly McGarrett.

Jack Lord shines as the "cop who cares," not only for criminals' victims like the heroin-addicted Ann, who McGarrett just happens to need information from, but for his own men like Danno, tormented by his first "kill" as a cop. Kono and Chin Ho exceed themselves in helping to track down information.

McGarrett manages to calm down Nat Schneider (Jeff Kennedy) who, as someone seemingly from HPD Internal Affairs, is trying to make sure all the loose ends are tied up with regard to the investigation of Danno's shooting Thad. On the other hand, McGarrett has a screaming match with the by-the-book and common-sense Attorney General, who manages to calm McGarrett down.

What is so cool about this show is that we know that McGarrett will triumph in the end. There are two particularly memorable scenes.

The first is where the low-level criminal Tommy Tommy (Alan Naluai) gets the kick-ass treatment when McGarrett and Kono exercise some martial arts-like moves on him and his gang. Some of the dialogue from McGarrett to Tommy Tommy like "I'm gonna tell you something, punk, and I'm just gonna say it once" makes you wonder if Five-O had an influence on Clint Eastwood's character Dirty Harry.

The second is in the hippie pad where McGarrett is searching for Ann, the only witness to Thad's shooting who can clear Danno. Sitar music is playing in the background and the owner of the place, Maggie, has a peace sign on her chest. The way McGarrett deals with two dopers, one of whom has this devillish look like Charles Manson and makes a crazy rant, then retreats into the background, and the other who threatens McGarrett with a chain, is hilarious. McGarrett tells this second guy, "Unless you wanna swallow that chain, you'd better sit down. Dig?" The guy complies, saying, "Fuzz really bug me."

McGarrett will let no stone be unturned in bringing the slimy Chicken, who he totally hates, to justice. At the end Chicken lets loose with a scream like some wounded animal when he tries to escape after McGarrett tells him that "It's enough to close that iron door on you forever when you've been down three times before."

I especially like the final scene where McGarrett and Danno "come into the light" as Morton Stevens' music swells in the background.

There are a couple of minor complaints about the show, though.

After Danno fires his gun through the lock which fatally wounds Thad at the beginning of the show, and Thad is lying on the floor after this, we can see the wound on Thad's lower left back and the bullet seems to have gone through him and emerged in his stomach area (or vice versa). But a big question is: where was Thad standing when the bullet hit him? Was he crouching behind the door listening for Danno outside?

There is also confusion about the chain of evidence with the gun. Ann sold it to Tommy Tommy for $3, who then "gave" it to a guy named Al Drucker. When the gun is being test-fired, McGarrett asks Chin if he "picked it up on" Drucker. Chin says Drucker "thought he'd try one armed robbery, a liquor store." But then Chin says "Nat [meaning Schneider] got the gun from a big Hawaiian kid named Tommy Tommy."

But aside from these quibbles, everything about this episode -- not just the script and the acting, but the direction, the photography, the music, the minor characters and the "filmed entirely on location in Hawaii" ambience -- is great.

Interestingly, critic Cleveland Amory, in the December 7, 1968 TV Guide wrote that the show so far had failed to meet expectations because of the plots: "The first episode, for example, gave us two people who earned their livelihood by picking out rich widows on cruise ships, floating a loan from them and then drowning them. McGarrett and his boys handled this one by enlisting, as an ersatz widow, a policewoman. And it was all very exciting too -- right up to the very end, when it all became so ridiculous you couldn't believe you'd ever believed it. [Obviously I do not agree with this.] Another show was one in which a man blew up a land commissioner. This one went down the drain when he protested that all he wanted to do was to hold the commissioner in his arms and say, "Nate, Nate, my friend." [Note he does not mention Samurai.] More recently there was an episode in which Danny himself got arrested and in which there were not only fine performances by Danny and McGarrett but also a truly extraordinary one by a dope peddler (Gavin MacLeod). This kind of episode gives you hope for the rest of the season...."

WHAT DOES THE TITLE MEAN?

Long-time Five-O fan Inglewolf e-mails the following: "I swear once upon a time I read somewhere on the Internet that the title of this episode came from an unused line in the original script. From what I recall Thad Vaughn's father had been contacted on the mainland. His reply to the news of his son's death was "You can paint daisies on his coffin and drop it in the ocean for all I care." Unfortunately when I recorded that in my own Hawaii Five-0 notes I neglected to put down that exact source. I know the source wasn't somebody's entry on the Yahoo Hawaii Five-0 group (like the one which claimed that King of the Hill originally was shown with a scene showing Yaphet Kotto's character getting struck by the bat the little leaguer lost his grip on). Anyway that's my memory of the source of the title.

Jeanine says, "I agree that it speaks of the hippie scene that is part of the show. Daisies are a symbol of innocence and purity. While Thad certainly was not innocent since he had been stealing car parts, he was pure in the sense that he was clean of all drugs and not polluting his body. And even though it is Thad who is dead (thus needing a coffin), this episode deals with Danno losing a big piece of his 'innocence' as he (a young cop) deals with his first kill."

Ringfire suggests "I always just assumed this title had something to do with flower power and the hippies in the show."

Other ideas? Please post in the Discussion Forum (no login/password required).

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6. (S01E06) Twenty-Four Karat Kill  BOOK 'EM, DANNO 

Original air date: 11/14/68 -- Opening Credits -- End Credits
Director: Alvin Ganzer; Producer: Robert Stambler; Writer: David P. Harmon; Music: Morton Stevens
Timings: Teaser: 2:35; Main Titles: 0:57; Act One: 8:47; Act Two: 9:43; Act Three: 13:16; Act Four: 14:51; End Credits: 0:56; Total Time: 51:05.

QUICK PLOT:

The death of an innocent woman leads Five-O to investigate a gold-smuggling racket by the entreprenurial Johnny Fargo, who is working with a lawyer named Dennison and local crime boss named Wong Tou. In order to entrap Fargo, they enlist the help of an undercover woman operative designed to appeal to Fargo's hormones as well as his business acumen.

Click here to read Full Plot.

REVIEW:

This show has a major continuity error: Richard Denning, who played the Governor in three of the first five episodes of this season, appears as U.S. Treasury agent Philip Grey!

There is no logical explanation for this. I assume that some other actor was supposed to play this part and was unavailable at the very last minute. During Grey's opening scenes, McGarrett keeps repeating his name -- as if he is trying to convince us that it really isn't the Governor. As well, Denning is wearing sunglasses when we first see him, as if the producers don't want us to recognize him easily. Or (this is my idea) maybe the show's producers thought that Five-O wasn't going to be successful, and they didn't care who played this part? After all, there are numerous other examples of actors and not just local stock characters playing multiple parts in seasons of Five-O, sometimes even in one show after another where they appeared.

Aside from this major blunder, it's an OK show.

When Lorna Ho (Mei-Ling Wan) buys the fish, a kind of tuna called bonito, at the beginning of the show, and considering she is very picky, why doesn't she realize how heavy the fish is, considering it contains a gold bar which mistakenly ended up in the fish at the market? I like the parallels when she gets knocked off -- her knife, the killer's knife; her screaming, her baby screaming.

After some investigating, McGarrett goes to the docks to see Johnny Fargo (Kaz Garas), who had employed Kim-Tung Chang, determined to be the man who killed Lorna. Fargo is described by Chin Ho: "Ex-GI, dishonorable discharge, crooked gambling. Spent three years in Tokyo, black-market operations. Big man with the ladies." Fargo is behind smuggling the gold bars which are picked up from locations offshore and then placed inside of fish. These bars are later extracted from the fish at a cannery co-owned by slimy lawyer Paul Dennison (Paul Richards), who "defends pushers, prostitutes, [a] bagman for the number boys," and his principal client, local crime boss Wing Tou (Richard Loo). You have to wonder why the bars are put in the fish at all. It doesn't seem like there is any threat to Fargo being stopped by authorities on his way back to port and his cargo being examined.

When McGarrett first comes to the dock, the pavement behind him is all wet, like it has been raining. But McGarrett talks to Fargo, and a few seconds later, the dock is totally dry. After he leaves, Dennison shows up. The dock is still dry, but later, when the lawyer leaves, there are signs of moisture all over the place.

Dennison tells Fargo "My people are worried about you," because Fargo arranged for Chang to track down and kill Lorna, and Fargo's gambling habits could cause problems with the cops. Fargo tells Dennison, "You go back to your people, remind them of their small mistake and who had to bail them out when they sent that knucklehead Chang to get their bar of gold back. If it wasn't for me, McGarrett or the Feds would have them out of their plush houses and into small cells. Now, you tell them that." Dennison replies, "That temper of yours. That could get you into trouble, Johnny."

Grey has a plan to get Fargo by using undercover agent Andre Claire Dupré (Marj Dusay), whose last name is spelled "Dupraix" in the subtitles. Grey says she is "made-to-order for a lover boy like Fargo."

McGarrett says "no dames, please" when Grey suggests using Dupré in the sting, however, perhaps because he remembers what almost happened with policewoman Joyce Weber in the season's opener "Full Fathom Five." Grey says if the million dollars they are going to use in this operation gets lost, they'll take it out of McGarrett's salary. McGarrett replies: "What's a couple of hundred years of peanut butter sandwiches?"

The way that Fargo hooks up with Dupré is very contrived. Some character Fargo is gambling with gives him her business card. This would require a complicated setup with someone from Treasury. And why would this person give Fargo the card in the first place? It's not like Fargo would tell this guy "I have some hot gold to get rid of, can you recommend someone?" (And Dupré just happens to have arrived in town the morning that Fargo meets her.) Fargo tries to get fresh with the sexy Dupré, saying "Perfect, baby, perfect." She replies, "Act your age."

At the end of the show during the tailing of Dupré's and Dennison's cars, the same scene with the cops in HPD police car nine is used twice, and the same scene with their car twelve is used four times! Car twelve has a really obvious antenna on top of it, which might tip off the bad guys that it is a cop car. (As well, there is a switch on the handle of Dupré's case with the money for the tracking device which might arouse Fargo's suspicions as well.) When Fargo and Dupré go into a parking garage, which looks like it is under construction, how do Dennison and Wong Tou know that is where they have gone? It's not like these two bad guys are within sighting distance of Fargo and Dupré's car in front of them at that point. They are about 20 seconds behind them and have to turn a corner to see the entrance to the garage which the other two have already gone into.

At the end, Fargo, who locks Duprée in the hold of his boat as he attempts to escape, ends up shot and in the drink, similar to Kevin McCarthy's character in "Full Fathom Five."

There is a classic scene when McGarrett comes to Dennison's office after he finds out that Chin Ho was beaten within an inch of his life when he was caught tailing Dennison after the lawyer left the docks following his conversation with Fargo. McGarrett busts into Dennison's office, telling his secretary, "Stay out of this, honey." McGarrett then lays it on the line: "One of my men is on the critical list and you put him there. If he doesn't come out of this a whole man ... a whole man, you understand? Nothing will save you. He was on your tail and somebody beat him over the back of the head and fractured his skull." McGarrett grabs a pen from Dennison's desk and scrawls Chin's full name on the desk blotter, and turns it around so Dennison can see it, saying, "You'd better know that name."

Doug Mossman plays Lieutenant Howard Kealoha, who deals with McGarrett in a blunt, no-nonsense way, a role he will repeat in two more episodes, though in the next one he has a slightly different name, Leoloha.

This is the first show in which McGarrett utters the familiar expression "Book him, Danno," when he and Williams overtake Dennison and Wong Tou inside the parking garage.

WHAT DOES THE TITLE MEAN?

This refers to murder of the woman at the beginning of the show over the gold bar. When Fargo meets with Dupré, he says his gold is "24-karat, mint pure."

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7. (S01E07) The Ways of Love

Original air date: 11/21/68 -- Opening Credits -- End Credits
Director: Charles Dubin; Producer: Robert Joseph Gantman; Writer: Laurence Heath; Music: Morton Stevens
Timings: Teaser: 3:38; Main Titles: 0:56; Act One: 6:54; Act Two: 16:11; Act Three: 11:51; Act Four: 10:32; End Credits: 0:59; Total Time: 51:01.

QUICK PLOT:

After a woman suspected of being connected to a jewel robbery dies during a car chase, the trail of clues leads to a California jail where one of her co-conspirators is being held. McGarrett goes undercover and aids in an escape at the prison to get the man to return to Hawaii and help track down another who was in on the heist.

Click here to read Full Plot.

REVIEW:

This show features my favorite "underground" performance by McGarrett, who travels to California to become a cellmate with Celeste Caro's former partner in crime Dave Barca. Jack Lord is convincing as the chatty convict Steve Crowley, wearing cool sunglasses and spouting phrases like "What a burn!", "Baroom," and "Groovy!" (Some of his expressions are not in the subtitles.)

The elaborate setup McGarrett has contrived in conjunction with the prison authorities to get Barca out of jail and back to Hawaii is somewhat complicated, if not downright geeky.

First, he manages to get a news item about Celeste broadcast on the transistor radio in his and Barca's cell, which would require overriding the frequencies for a particular station. You can see the "broadcast" being played on a reel-to-reel tape recorder in the warden's office. And what is the chance that such a transmission would feature a "crime file" about something that happened in Hawaii?

After they get out of jail by dodging bullets from guards which intentionally miss them, Crowley and Barca go to Crowley's girl friend's place and then break into a printing company where Crowley manufactures "leave orders" which will get them free passage back to Hawaii. This would involve McGarrett retyping the entire page (or more) of text similar to the orders he had when the cops busted him, using a stencil. Having printed with a Gestetner duplicating machine which used stencils back in the 60s at my high school and also my university residence, I know that this is not a particularly easy task, especially for someone who probably has no experience using a duplicating machine.

There is more geekiness concerning the "high-end portable X-ray machine" which is found in the trunk of Larsen's abandoned car. This equipment is capable of seeing what is inside a safe, like the one the jewels were stolen from. A test is performed so that Danno can see the tumblers inside a safe, but how does he know the order of these numbers when you turn the dial on the safe? Even with three numbers, there are 120 possibilities.

Still, the show is worth watching for McGarrett's somewhat overenthusiastic performance as Crowley, even if you suspect that Barca would probably see through this, that Crowley is a plant.

WHAT DOES THE TITLE MEAN?

The phrase was used in the letter that Celeste Caro wrote to Dave Barca shortly before she was killed. When Barca heard the phrase at Caro's place later, he instantly knew where the jewels were hidden. It was at the temple that Celeste and Dave had taken vows. As he lay dying, Barca said, "The vows of love ... she did love me." (Thanks to Virginia)

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8. (S01E08) No Blue Skies

Original air date: 12/5/68 -- Opening Credits -- End Credits
Director: Herschel Daughtery; Producer: Robert Stambler; Writer: Herman Groves; Music: Morton Stevens
Timings: Teaser: 3:41; Main Titles: 0:56; Act One: 13:42; Act Two: 7:07; Act Three: 6:36; Act Four: 18:02; End Credits: 0:52; Total Time: 50:56.

QUICK PLOT:

When singer Joey Rand finds that his career doesn't pay well enough to settle a huge gambling debt, he turns to cat burglary. He is helped by his girl friend who works for a travel agency. She tips Joey off as to which of her clients staying in hotels will be good marks for his criminal enterprise.

Click here to read Full Plot.

REVIEW:

In this show, Tommy Sands -- like Sal Mineo, another teen idol who was also singing in a club in an episode earlier this season -- plays Joey Rand, a lounge singer and compulsive gambler with a shady past. He owes over $200,000 to a gambling syndicate on the mainland. Rand is hoping to get a lucrative record contract, but to try and pay off his debt, he resorts to cat burglary, dropping down from the top of hotels and entering guests' rooms via their balconies. He gets tips about who to rob from his girl friend, travel agent Valerie Michaels (Sandra Smith).

The opening sequence by Morton Stevens with a plucked bass is very reminiscent of "Fallout" by Henry Mancini which began many episodes of Peter Gunn.

We don't really figure out what is Rand's problem until well into the episode. When Valerie's roommate Sarah (Linda Citron) is given some of Rand's stolen jewellery to deliver to a local "distributor" who will ship it to the mainland, Sarah figures out what's in the package and meets a nasty end at the hand of sinister thug Nimo Linkoa (Clayton Naluai) in a stairwell at the Honolulu airport.

An old Chinese man named Mr. Lu (Saigun Wong) who witnessed Sarah's murder is hesitant to identify Linkoa in a police lineup, even with Chin Ho's encouragement. McGarrett tells Chin to let the old man go, saying "Maybe he'll develop a public conscience." Valerie is also not helpful in identifying Linkoa in a lineup.

McGarrett puts the heat on Valerie to co-operate, but she keeps avoiding getting involved until the end of the show when Rand's dresser Paul Oliwa (Bob Random), commiting a burglary to give an alibi to Rand, who is onstage performing his act, is fatally shot by a hotel guest and manages to make his way to Valerie's place where he expires.

There is almost a gay subtext with the way that Rand's dresser Oliwa takes care of him and sacrifices his own life, but maybe I reading too much into this.

Rand sings five songs in the show. The first is in the teaser, the second in the first act, and the other three in the fourth act:

These songs represent about 13% (12.7% exactly) of the show's total time.

Generally speaking, the show is OK. Despite all the vocalizing by Tommy Sands, there is still a reasonable amount of story. I totally like the way McGarrett and Kono tackle Linkoa and some other punks in a bar.

Sands does a good job playing the superficial character of Joey, who is a jerk the way he brushes off the murder of Valerie's roommate and is always looking out for himself and trying to find another angle to advance his career and pay off his huge gambling debt.

It does seem kind of a crap shoot (no pun intended) the way that Joey steals stuff from specific people staying in a hotel with his cat burglar routine. Although Valerie tipped Joey off to certain customers of hers, how would she know that these people had a lot of expensive items in their rooms like jewelry, and that they did not put this stuff in the hotel safe?

Long-time Five-O fan Inglewolf sent me an e-mail with some additional thoughts on the show:

Inglewolf continues:

"I guess the thing about this episode that gets me the most is the ending.

"First off, McGarrett allows Joey to reach down and open his car door from the inside whereas he should've told Joey to reach over the outside to open the door. Of course Joey has his gun and fires and misses McGarrett who naturally does not miss with his shot.

"Rand's last words are about dying in the basement of a hotel being the story of his life. The music at the end I think doesn't fit the Rand character: Rand was an egomaniac who used everybody close to him, not some kind of tragic hero like the music implies.

"Too bad McGarrett didn't have a line like he did at the end of season five's 'Engaged to be Buried' to give proper testimony to the character that was Rand -- like 'No Blue Skies, Joey; instead, you're gonna fade to black'."

WHAT DOES THE TITLE MEAN?

Joey uses the expressions "blue skies" and "blue sky" in his dying words. Earlier on, when Valerie is freaking out because of the all the pressure McGarrett is putting on her and Joey is giving her a line about how his luck is changing, she tells him, "Don't blue-sky me, Joey ... No more blue skies, Joey. No more snow jobs." The expression "blue skies" has a lot of musical connections, including being the name of a song composed in 1926 by Irving Berlin which was recorded in 1946 by Frank Sinatra, as well as many other singers over the years. Tommy Sands was married to Sinatra's daughter Nancy from 1960 to 1966, incidentally.

McGARRETT WANTS:

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9. (S01E09) By The Numbers

Original air date: 12/12/68 -- Opening Credits -- End Credits
Director: Seymour Robbie; Producer: Robert Stambler; Writer: Mark Rodgers; Music: Morton Stevens
Timings: Teaser: 4:33; Main Titles: 0:57; Act One: 15:18; Act Two: 10:29; Act Three: 9:20; Act Four: 9:30; End Credits: 0:55; Total Time: 51:02.

QUICK PLOT:

Army buddies Sergeant Joe Crewes and Corporal Jerry Franklin are on R&R in Honolulu. When Crewes is murdered over money owed for a bet, Franklin befriends a hooker who sets him up to be the patsy for the murder of a crime boss whose brother was the one who killed Crewes. A power struggle ensues between the brother and another gangster. Five-O has to move quickly before Franklin is also murdered because of what he knows.

Click here to read Full Plot.

REVIEW:

Corporal Jerry Franklin (Johnny Crawford) is on R&R (rest and recreation) in Honolulu from the Vietnam conflict with his buddy Sgt. Joe Crewes (John Goddard). When Crewes says he has a winning numbers ticket, he tries to convince Franklin to celebrate with him, but Franklin has been waiting for his wife to show up from Wisconsin and doesn't want to leave the bus drop-off area.

Crewes proceeds to find John Lo (Randall Kim), who sold him the winning ticket. Lo tells him to get lost, suggesting that he bought it from someone else: "I hear a lot of G.I.s talking ... they say one gook [pronounced to rhyme with "look," not "duke"] looks like another. Must be the same with you, huh? I look like 'some other gook'."

A fight ensues, with Lo fatally stabbing Crewes. When the Governor finds about this turn of events, he tells McGarrett he must "do something about Hotel Street," to which McGarrett replies: "The merchants retailing drugs, sex and gambling might march on the palace."

When questioned, Franklin recalls that Crewes' numbers ticket was green, the color that runners local racketeer Philip Lo's (Will Kuluva) organization uses, McGarrett talks to Philip, who is the brother of John, who killed Crewes. Philip tells McGarrett that he runs a legitimate business which McGarrett takes with a grain of salt. Philip leaves Five-O, but when he gets back to the bar that he operates, he berates John, accusing him of skimming money to finance his drug habit.

Coincidentally, at the same time, Franklin is drowning his sorrows at Philip's bar and Irene Park (Ann Helm) is listening to his story. She tells him the fact that he is wearing a wedding ring doesn't bother her. Irene works for Philip, but is also pals with the company bookkeeper George Barker (Jonathan Lippe), who wants a bigger share of the local action. Irene calls Barker, telling him she found "a setup."

Later, while he is barely able to walk, Irene takes Franklin to her place, a beachfront property which Philip bought for her. Barker arranges for a torpedo named Tato (James Gosa) to go there and knock off Philip when he returns home that evening. We don't actually see what happens, but there is the sound of a gunshot and a woman screaming.

The next day, though we don't know who discovered Philip's body, the cops and Five-O are on the case. A man's ID bracelet like a MedicAlert with Franklin's name on it was found at the scene, as if it was torn off during a struggle. Where this bracelet came from is a good question, because it wasn't on Franklin's wrist either at the beginning of the show or before he and Irene went in to the house the night before. McGarrett isn't buying the idea that Franklin is a murderer.

Ditching his uniform, Franklin takes a room in some dumpy hotel in the low-rent part of town. Irene meets with Barker, who tells her that McGarrett has been snooping around Philip's place and someone, likely Franklin, has been phoning the bar asking to speak to her. The fact that Franklin is suspected of killing Philip is in all the local papers.

Tato, who is tracking down Franklin, is picked up by Five-O, who quickly determine that a bullet from Tato's gun was the one that killed Philip. Tato clams up.

At Philip's funeral, Barker talks to John, saying that if he wants to make a good impression among the local organizations, to be seen as "the man who fills his brother's shoes," rather than "an errand boy for his brother, and a junkie on top of it," he should go after Franklin and knock him off. John goes to Franklin's hotel at 1153 Maunakea Street, but Danno is there (no reason is given for this, other than McGarrett having basically figured out everything that is going on in a prior scene) and is busted.

Franklin finally gets through to Irene at the bar, and she says she will meet him that evening at the Shell in Kapiolani Park. Shortly after this, Irene is picked up by Danno for suspicion in the death of Philip. At the Five-O offices, McGarrett wants to know where Franklin is. He tells Irene, "You're an attractive woman, Irene. Do you know what you'll look like when you get out of prison in 20 to 30 years?"

Obviously Irene talks, because when Franklin goes to the Shell, Barker is there, but so is McGarrett, who arrests Barker for murder. The next day, Franklin's wife finally shows up, and McGarrett and Danno are there to see that he is at the drop-off point to greet her.

This episode is very good, especially for the performance of Crawford, who is more associated with "wholesome" roles -- like  Mark McCain, the son on The Rifleman (1958-1963) and his stint as an original Disney Mousketeer in the mid-1950's. He is hardly "unwholesome" in this show, but there are some cracks in his veneer. At the beginning of the show, waiting for his wife, he tells Crewes "We've got enough problems with our marriage." When he and Crewes were in Saigon and were celebrating, they "didn't get back for two days." And, though totally plastered, he is not discouraged from going home with Irene.

Unfortunately, Crawford's performance is counterbalanced in a bad way by that of the white Will Kuluva playing "big brother" Philip Lo in this episode. His makeup is hideous, and looks like the Asian equivalent of "blackface." Randall Kim was born in 1943, so he was around 25 in 1968. Kuluva was born in 1917! Kuluva will also appear – as a Japanese – in the second season turkey "To Hell With Babe Ruth."

Jonathan Lippe (later Jonathan Goldsmith, the Dos Equis "most interesting man in the world") is nasty as Barker, and Ann Helm, who does a very good job playing the bar girl and Barker's girlfriend, is a hot looker in a bikini, though her scenes as such are brief.

WHAT DOES THE TITLE MEAN?

This is a good question! Please post in the Discussion Forum (no login/password required) if you have any ideas.

McGARRETT WANTS:

TO COME

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10. (S01E10) Yesterday Died And Tomorrow Won't Be Born

Original air date: 12/19/68 -- Plot -- Opening Credits -- End Credits
Director: Herschel Daugherty; Producer: Robert Stambler; Writer: John D.F. Black; Music: Morton Stevens
Timings: Teaser: 3:58; Main Titles: 0:58; Act One: 8:20; Act Two: 7:30 ; Act Three: 12:06; Act Four: 17:15; End Credits: 0:54; Total Time: 51:01.

QUICK PLOT:

Joseph Trinian, who was sentenced to a military prison 15 years before when he was serving in Korea and has finished his term, returns to Hawaii to kill the men responsible for putting him in jail: Steve McGarrett, a carpenter named Rudkers and Walter Stewart, now Hawaii's Attorney-General.

Click here to read Full Plot.

REVIEW:

This is a near-perfect show and the best one of the first season.

This opinion is pretty funny, however, considering McGarrett, the show's main character and leading man is hardly in the episode, because he gets near-fatally shot in the first few minutes and spends much of his time in a comatose state until the very end.

Danny Williams is no longer the rookie we saw in ....And They Painted Daisies On His Coffin. In this show, he totally takes charge within moments of arriving at the scene where McGarrett is being taken to the hospital after the main credits. No longer is Danno someone who is freaking out over killing someone with his gun. At the end of this show he drills the villain without blinking an eye.

The opening of the show is fascinating, with the point-of-view camera shots of Joseph Trinian, a man who considers himself jerked around by McGarrett and others during his service in the Navy and, having been released from jail after 15 years, is back for revenge. The way the camera moves around, even inside Trinian's car as he leaves the scene, makes you wonder "how did they do that?"

We don't see Trinian's face until 20:33 into the show, and then it is a chilling moment. This is a man on a mission with no soul, no feeling and no purpose in life other than murdering the people who were responsible for his incarceration. There is a creepy touch when Trinian goes to visit his wife. He takes his gun with him, as if he would kill her too if things don't turn out the way he expects.

There is a sub-plot here to do with the narcotics smuggler Charlie Mangan, but that ties in with a case that McGarrett was working on which Danno assumes. It gives Danno a chance to flex his muscles. The case is resolved with the help of Chin Ho, who hassles some young hoodlums. Their leader M.K. calls Chin "a veritable pain in the ancestor." Chin's attempts to rough up M.K. are laughable.

The finale of the show is cleverly structured, a race-against-time with Danno and Trinian's wife Emma figuring out her husband's intended last victim and then the two of them rushing downtown intercut with scenes of her husband, dressed in a purchased Navy uniform, on his way to the Iolani Palace where this victim, Attorney General Walter Stewart, is viewing the Kamehameha Day parade with the Governor.

The show has exceptional acting by James MacArthur, who is no longer the "yes, boss/no boss" subordinate, but someone who can give and take with the best of them, like in the scenes where he probes Trinian's wife's memory, trying to get her to recall who is the final person her husband is going to assassinate.

It should be pointed out that another show in the fourth season, "Rest In Peace, Somebody," is similarly structured with another aggrieved individual (in that case, a cop rejected for HPD) seeking to make McGarrett and Five-O look incompetent by assassinating the Governor. The climax of this show also takes place during a Kamehameha Day parade. Both shows were written by John D.F. Black.

WHAT DOES THE TITLE MEAN?

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DANNO WANTS:

{McGarrett is out of commission for almost the entire show.)

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11. (S01E11) Deathwatch

Original air date: 12/25/68 -- Opening Credits -- End Credits
Director: Herschel Daugherty; Producer: Robert Stambler; Writer: Shirl Hendryx; Music: Morton Stevens
Timings: Teaser: 1:36; Main Titles: 0:57; Act One: 13:25; Act Two: 7:15; Act Three: 17:06; Act Four: 9:47; End Credits: 0:56; Total Time: 51:09.

QUICK PLOT:

After a prosecutor is murdered and a critical piece of evidence against a gangster soon to be tried in court is stolen, McGarrett plays him against his number one man and bookkeeper, who eventually decides to spill the beans against his boss. Five-O has their hands full trying to give the number one man "witness protection."

Click here to read Full Plot.

REVIEW:

Powerhouse acting is the order of the day in this episode.

Jack Lord as McGarrett has to not only worry about the fate of the pregnant wife of a prosecutor who gets knocked off at the beginning of the show, but also with manipulating two gangster types who end up at each other's throats, Joe Matsukino and Harry Cardonus. They are played by James Shigeta and Nehemiah Persoff respectively.

As Matsukino, Shigeta is very oily, and Persoff, who will appear in another four roles on the show connected to organized crime, is full of "mainland" bluster, like when he tells Danno "Spill the charges, fuzz, or knock off" at the beginning of the show.

The show is pretty logical, except when you think hard about Matsukino being some kind of super-criminal with a vast network of contacts who can figure out things like where Cardonus is being placed under protective custody. How Oscar the local boxman has knowledge of Murphy, the man from the mainland and how Matsukino's men can find Murphy so quickly to knock him off are also head-scratchers, making you wonder if Honolulu was really not that big of a big crime town back in the late 60s.

Most of the score sounds like it is recycled from other episodes but it fits in well with the action on screen.

WHAT DOES THE TITLE MEAN?

Five-O assumes responsibility to "watch" protected witness Harry Cardonus, who tells McGarrett that he is a "dead man."

McGARRETT WANTS:

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GALLERY:

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12. (S01E12) Pray Love Remember, Pray Love Remember

Original air date: 11/1/69 -- Plot -- Opening Credits -- End Credits
Director: Herschel Daugherty; Producer: Sidney Marshall; Writers: John D.F. Black (teleplay) & Leonard Freeman (story); Music: Morton Stevens
Timings: Teaser: 4:34; Main Titles: 0:58; Act One: 17:05; Act Two: 7:29; Act Three: 6:27; Act Four: 13:33; End Credits: 0:57; Total Time: 51:03.

QUICK PLOT:

When an Indonesian woman at an Oahu cultural institute is found dead, the number one suspect is her boy friend, who protests his innocence. It takes McGarrett and Five-O a while to realize there is something "fishy" going on.

Click here to read Full Plot.

REVIEW:

The acting in this fan-favorite episode -- particularly by the two guest stars -- is very good. It does seem slow and talky, though, and there are other issues.

After a young woman student is found dead at the beginning of the show at the Pacific Cultural Institute, McGarrett comes down hard on John Hayes (Denny Miller), her boyfriend and number one suspect, probably because the Governor is annoyed about the bad publicity the place is going to get as a result of the killing since the Institute's creation was a pet project of his.

Under other circumstances, you might expect McGarrett to be a bit more skeptical about what had happened, sort of like he was when Danno swore that Thad Vaughn was using a gun (despite its disappearance) in "....And They Painted Daisies On His Coffin," even if you consider that we were dealing with cops in that episode, who will often leave no stone unturned in order to exonerate themselves. It isn't until McGarrett gets intrigued by the story of some fish missing from a pond near where the murdered girl's body was found that there is finally a crack in his thinking.

I find McGarrett's way of dealing with Miyoshi (Marla Kyo), the girl he meets who knows about the missing fish (called koi) and drew pictures of them, peculiar. I don't think there were a lot of young kids appearing on hard-boiled cop shows back then. McGarrett calls the girl "little one" and "honey" and strokes her hair in way which these days seems creepy. This girl looks to be about 12 years old. Considering the other "young people" in the show seen at the Institute are of university or post-graduate age, I have to wonder what is this young kid doing there in the first place?

This could lead to an interesting discussion of whether there were young kids on cop shows of the era and how they were portrayed and/or treated. I recall that on Streets of San Francisco in those few shows which included kids who were not criminals, Karl Malden's character would talk to them like they were adults.

The whole business with the "developmentally challenged" Benny Apa (Ron Feinberg), who is the one really responsible for the student's murder, is fairly well handled, though everyone seems to be walking on eggshells when he is being interrogated. The way Benny is treated really anticipates today's "political correctness."

I remember during a discussion at the 1996 Five-O convention in Burbank, someone asked Feinberg in a very loud voice a question like "Didn't you play the RETARDED guy?" Even 20 plus years ago, there was this huge intake of breath by the people in the room and an overall feeling of embarrassment at the fact that such an un-PC term was being used.

Overall, McGarrett and the boys from Five-O, who are seen following their boss around in this show like a mother duck's babies, are much more tolerant of Benny's explanation of what happened than John's.

At the convention, Ron Feinberg had quite a bit to say about his portrayal of Benny. He spoke at length of his audition for this show. He said he read for the part and then he and the casting director just stared at each other. Then he was asked to see Leonard Freeman personally, who said he "didn't want Lenny from Mice and Men." Later, after auditioning for Freeman, Feinberg was hired immediately. He told Freeman, "It's not that you didn't want Lenny ... you didn't want Lon Chaney Junior." Feinberg was on his way out of the building after the audition when suddenly Freeman came running after him and said, "Don't let anyone fool with this performance. You do what you want to do."

Feinberg regarded his performance as Benny Apa as a major stepping stone in his career (see the report of Mahalo Con). Later he received letters of thanks from people with children who had developmental problems and others would come up to him on the street and say, "You're the man with the chicken!"

WHAT DOES THE TITLE MEAN?

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McGARRETT WANTS:

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13. (S01E13) King of the Hill

Original air date: 1/8/69 -- Opening Credits -- End Credits
Director: Jack Shea; Producer: Robert Stambler; Writers: John D.F. Black (teleplay), Leonard Freeman (story); Music: Harry Geller
Timings: Teaser: 3:48; Main Titles: 0:59; Act One: 9:05; Act Two: 11:19; Act Three: 10:03; Act Four: 14:52; End Credits: 0:55; Total Time: 51:01.

QUICK PLOT:

After Marine Corporal John Auston suffers a head injury, he is taken to hospital where he suffers a psychotic breakdown. He thinks he is reliving his time in Vietnam where he held off a Viet Cong assault for 11 hours. Danno, who is accompanying Auston, is accidentally shot by him. Efforts to rescue both men cause huge frustration for McGarrett.

Click here to read Full Plot.

REVIEW:

This is another current-events-related episode like "By The Numbers" with a major link (no pun intended) to the Vietnam War.

Medal-winning U.S. Marine Corps Lance Corporal John T. Auston (Yaphet Kotto) is hit on the head by a bat that slipped out the hands of a kid during a practice by the Five-O-sponsored baseball team. We see an ambulance rushing Auston to Castle Memorial Hospital with a police escort, but the roads they are travelling on aren't in downtown Honolulu. Instead they seem to be in some mountainous area. It seems odd that Auston would just have happened to be at this practice if it is out in the sticks, so to speak. Fred Helfing comments: "[The road] looks to be the Pali Highway. The highway divider in the scene is exactly the same as you can see today as well as the periodic three indentations at the base of the dividers."

When Auston arrives at the hospital, he is examined by the hospital's acting chief of staff Dr. William Hanson (Jeff Corey) who gets him moved to "Emergency Treatment" on the third floor. I don't understand why would this room be so far away from the hospital's main entrance, when time is of the essence for dealing with seriously ill or injured patients. As well, this room is in the middle of an intensive care area! The only reason I can see that Auston ends up on the third floor is so the show can have the big staged finale where McGarrett drops down to the window of this room from a helicopter. Let's face it, if Auston was just on the main floor, that would be pretty boring!

In this third floor room, Auston becomes conscious, thinking he is back in Vietnam and that Peter Miller (Seth Riggs), an HPD cop accompanying him, is a Vietnamese talking to Danno who is his "Sarge." Danno is talking to Miller, and Auston grabs Miller's gun, just like one the Vietnamese has in the hallucination. Danno attempts to get the gun, knocking Miller out of the way, but Auston fires twice, hitting Danno in the abdomen (once I think), wounding him badly. When Miller gets up and also tries to get the gun, Auston shoots him as well, in the leg. In the next scene we see Danno and Auston together on the floor. Dr. Cutter (Lawrence Templar) later says he dragged Miller out of the room.

McGarrett soon shows up at the hospital and starts yelling at Lieutenant George Kealoha from HPD (Doug Mossman), asking why he hasn't gone down the hall to get Danno. Kealoha calmly tells him that "would just be a suicide." McGarrett then tries to go down the hall himself with a metal shield. When Auston shoots at him, he withdraws, and as Kealoha pulls him back, McGarrett pushes him away, angrily yelling, "Leave me alone!"

The way McGarrett is carrying on is really irrational. No doubt this is to continue the trope that McGarrett cares for the people who work for him, just like Danno in "....And They Painted Daisies On His Coffin," but in that show McGarrett attempted for the most part to work out things logically, not by screaming. After talking to several people -- Cutter, Chin Ho, who tells McGarrett "It won't help Danny any blowing your cool," Dr. Shirmer (Richard Bull), head of the hospital's psychiatric service, and Hanson, who warns McGarrett shooting in the intensive care ward may kill patients because of shock -- McGarrett calms down ... a bit. But he suddenly wants to use tear gas to deal with the situation, which Hanson dismisses as a very bad idea.

In the room, barricaded behind a hospital gurney, Auston resists all attempts by Danno to talk him out of thinking that he is back in Vietnam with his Sarge, fighting off the Viet Cong. At one point, Danno pulls out a gun from his back pants pocket and points it at Auston to convince him to give up, but Danno struggles to avoid passing out. This is a small silver gun. I don't know if it is Danno's "personal gun." It is certainly not the same as the one he used in "....And He Painted Daisies On His Coffin" to shoot through the door. This silver gun looks like a "girly gun."

During the commotion when Danno was shot, Auston took Miller's gun belt in addition to his gun, all of which Auston says contain "40 rounds." Miller himself tells McGarrett his gun belt contained "thirty-eight to forty" rounds. I am very skeptical about this. Auston takes Danno's silver gun, saying "Fifty rounds. With this 50 rounds I could defend the city of Saigon against half of the Viet Cong army." But surely Danno's tiny gun does not hold 50 rounds which would be added to the 40 which Auston supposedly already has. I think he means that it contains 10 rounds, so now he has 50 in total. But would it contain 10 rounds?

Things take a turn for the worse when Mary Karabinos (Gina Villines), a woman visiting in one of the nearby rooms, comes out into the hallway and starts screaming that her father is dying. This results in more gunfire from Auston. McGarrett rushes over and pulls Mary back into the room as Danno luckily manages to distract Auston for a few seconds. McGarrett's extremely angry outburst to Mary is not only irrational, but unprofessional. Grabbing on to her and shaking, he looks like he is going to slap her, and yells at her to get help by calling the hospital's desk, pushing her towards the phone in the room. He channels some of his anger by starting chest massage on her father, whose condition is deteriorating.

A crane like those used by electrical and telephone companies is quickly obtained and used to evacuate some of the more seriously ill patients along the hallway via the windows in their rooms. One of these people is placed in a stretcher and removed on top of one of the crane's buckets, which looks very perilous.

Colonel Lew Cardell (L.Q. Jones) shows up and helps Five-O cut through some Marine bureaucracy, while emphasizing that Auston can't be killed, because he was on his way to Washington to receive a medal, described by Chin Ho as a "big one," likely along the lines of the Congressional Medal of Honor.

McGarrett envisions going down the hallway surrounded by six HPD cops, who are not even dressed in SWAT team outfits, but will just be behind shields. Fortunately before they do this, a call is received from Rosen, another man from Auston's outfit who was with him in Hawaii, who fills McGarrett in on some details about what happened to Auston in Vietnam: "Big John's squad was all wiped out ... John was the only one who made it. He was stuck up on that hill for 11 hours with his platoon sergeant. Sarge died on the way to the field hospital."

When McGarrett finds out that Auston and the Sarge were rescued by a helicopter, he has a brainstorm and orders a helicopter from HPD and a corpsman's uniform for himself. Both these things are produced very quickly. McGarrett boards the helicopter with a hypodermic needle full of medicine which will knock Auston out. As the copter flies above the hospital, McGarrett drops via a ladder into the room where Danno is fading fast. When Auston resists the shot, McGarrett tells him Danno is dead.

At this point, there are some racial overtones which are not developed very well. Before he passes out from the shot McGarrett gives him, Auston is upset when McGarrett, the "corpsman," tells him that the Sarge has died, saying, "He didn't even give me the chance to hear him say 'John' or call me 'nigger'."

This ties in with what Auston told Danno, his "Sarge," earlier in the hospital room, possibly relating back to when the two of them were stuck on the hill in Vietnam and Auston was struggling with feelings of inferiority because of what the Sarge had told him prior to this: "You're still bucking on the long shot, aren't you, sarge? You're hoping to crawl out of here and go back to the old man and tell him that I ran out on my assignment and had the VCs walk right in. Is that your bag, is it? ... I'm gonna see that you live. And how are you gonna live with that? How are you gonna live with the fact that your life was saved by a Corporal John T. Auston? It's gonna drive you straight up the wall. And I hope it turns you around. One way or another, I'll settle for either one."

This is a very focused episode, the point of which is to subdue Auston and rescue Danno. There are a lot of things that don't make sense in Auston's hallucinations, like why does Auston throw a chair through the hospital window (so at some level, he knows that he is in a room) and why does he tell Cutter, thinking the doctor is with his outfit, to "get a chopper" before he drags Miller out of the room (in other words, there were other people with Auston and the Sarge during the skirmish). But Auston is delirious, so basically anything goes in the script. It's like Shirmer, the hospital's shrink, says: "There's no logic. It's like a short circuit in a computer."

WHAT DOES THE TITLE MEAN?

Auston is determined to keep control of the hill where he is imagining himself to be with his Sarge at any cost, especially to prove that he is a better man than the Sarge. Thus, he is "king of the hill."

McGARRETT WANTS:

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14. (S01E14) Up Tight

Original air date: 1/15/69 -- Opening Credits -- End Credits
Director: Seymour Robbie; Producer: Joseph Gantman; Writers: Mel Goldberg (teleplay), David Harmon (story); Music: Morton Stevens
Timings: Teaser: 3:44; Main Titles: 0:57; Act One: 11:13; Act Two: 14:53; Act Three: 10:41; Act Four: 8:39; End Credits: 0:55; Total Time: 51:02.

QUICK PLOT

After a young woman leaps to her death from a cliff under the influence of drugs, Five-O's mission is to find who is behind an upsurge of speed use in Hawaii and put them out of business.

Click here to read Full Plot.

REVIEW

This drug-saturated episode had me cringing before I started watching it, probably because "it would remind me of the late '60s," but it was actually pretty good, with the usual one glaring exception.

It starts with an 18-year-old girl named Eadie Hastings (Susan O'Connell) high on top of a cliff above the ocean, having a heavy duty trip. No idea how she got there! Did she walk from somewhere, did someone drop her off, did she hitchhike or take the bus, or what? There is a cop nearby, he was called by a tourist who noticed her. (There are actually two cops.) Suddenly Danno shows up. I can't understand why he is there, either. Maybe he was just driving by? Someone attempting suicide would be a job for cops or firemen to deal with, I think. One of the cops tells Danno "Police Rescue's sending one [a net] right out."

Danno tries to talk Eadie out of jumping. At this point, I started yelling at the TV, "But Danno is soooo square!!" If she is a flower child whacked out of her mind on something, surely she would be just as freaked out by the clean-cut Danno as she would be with the cop(s). Eadie tells him, "You don't understand. You've gotta love everybody." She hears dopey music and sees dopey visions of stars. Danno looks perplexed, but, trying to be a nice guy, has kind of a dopey smile himself. Eadie walks off the cliff to her death.

The scene switches to the Five-O office where Danno is sad about what happened. Chin Ho wonders why Five-O is getting involved in this, and McGarrett says this is not the first instance of someone young in Hawaii doing something stupid under the influence of drugs: "Three high school kids on Molokai beat a harmless derelict to death because they thought he was the devil. Another kid on Maui killed a cop because he thought he was looking at him funny. All on speed. These islands are beginning to bust at the seams with this stuff. And for every tripper turned in, there's a dozen still roaming the streets or driving cars or motorcycles." This still doesn't answer Chin's question, which suggested that the HPD Narcotics squad should deal with the problem.

McGarrett goes to visit Eadie's parents. Her father is super pissed, telling McGarrett he is not doing his job. The father Ralph (John McLiam) and mother Sarah (Doreen Lang) are both kind of tragic figures, because they look old. The actors playing them were around 51 and 54 respectively, suggesting that Eadie, who appears to be an only child, was also a "late child."

From Eadie's notebook among her pitiful possessions, they find the name of her best friend, Donna Wales (Brenda Scott). McGarrett goes to visit her. She lives in a very nice beachfront house where her parents are nowhere to be seen, not just now, but for the entire show. She tells McGarrett, who says that she is not so badly off, "This is where my family lives. It's their scene, not mine." Donna has major attitude problems, calling McGarrett "a rock in this rotten establishment" and referring to police brutality and harassment. She is a harsh bitch, but also a harsh babe. When she comes out of her swimming pool, her bikini top almost slips off. As he leaves, McGarrett tells her she is full of it: "Your best friend is dead and you can help us find out why and how, but you couldn't care less. That's pretty cool, baby, pretty cool."

Donna jumps on her motorcycle, tailed by Chin Ho, and goes to see David Stone (Ed Flanders), a Timothy Leary-like disgraced university professor from the mainland who lives in the backwoods of Oahu. Five-O's investigation soon after this reveals that Stone was allowed to resign from his job for "conduct unbecoming a teacher" after he was caught "handing out experimental drugs like they were bubble gum."

McGarrett goes to see Stone (get it -- "stone"?), but this is largely a waste of time, because Stone meets everything McGarrett throws at him with a lot of mumbo-jumbo, talking about "turning on and tuning out" and being very careful not to get entrapped by McGarrett's accusations. Stone tries to weasel out of his involvement in Eadie's death by saying "The stinking, rotten society ... your establishment killed her." He tells McGarrett to get lost and "next time, bring a warrant."

To infiltrate the drug scene, Danno goes undercover as a beach bum. I guess it would have been possible for someone like James MacArthur in his early 30's to be living in a beat-up truck, surfing and cooking meals on the beach, the same beach where Donna hangs out and he meets her, but when Danno uses hip lingo to Donna like "Sure, baby. Let's let it happen," I just have to laugh. Danno is relatively restrained when Donna tells him that she is into "the sacred weed, marvellous mushroom," and he just says, "Everybody's entitled to their own choice."

While this may be hard to take, however, it is not as ridiculous as Danno's undercover efforts in the fourth season episode "To Kill or Be Killed" (S03E17). MacArthur was 33 when he pretended to be a draft dodger in that show, which has the same director -- Paul Stanley -- as an October, 1974 Streets of San Francisco episode also about draft-dodging (S03E05, I Ain't Marchin' Anymore). In that episode, Michael Douglas was 29; whether Douglas looked too old for the part is debatable. Danno's other big Five-O undercover stint is in S02E01, "A Thousand Pardons -- You're Dead!" where he plays a G.I., perhaps the most successful of his three clandestine roles.

Danno and Donna become pals, but his undercover persona doesn't hold up long, because at Donna's house, Donna's pal Zero (Gray Gleason) who has invited her to "a ball tonight at the prof's pad" immediately recognizes Danno as one of the cops who was going around grilling Eadie's friends after her death, a big DUH!

Using Danno in this manner, considering Five-O is kind of a high-profile "in the news" organization, was kind of a dumb move, sort of like McGarrett assuming another persona in "Six Kilos" (S01E22) later this season. Most of his time as "Steve Crowley" in "The Ways of Love" (S01E07) was spent in California, though there is a good possibility that someone might have recognized him when he and Dave Barca returned to Hawaii ... sort of like how McGarrett's cover is blown by a hotel security guy in "Six Kilos," and could have gotten him killed.

Danno and Donna go to see Stone, but he is not home. When Donna returns to her place, Stone is there and he slaps her in the face because she brought "the fuzz" to his house. (Zero tipped him off about Danno.) For this, she must be punished. Stone forces her to take some pills and contrary to his normal procedure, makes her experience her trip all alone.

Donna has a very bad experience, riding her motorbike through busy streets. She ends up on a beach where the bike gets stuck in the sand and she is thrown to the ground. From there she is taken to the bug ward of a local hospital where she uneasily tries to act cool, but is eventually brought to her senses by McGarrett and Danno. She is not happy to see the traitorous Danno, who tells her "Speed usually ends you up something like this. And it's my job to try to stop this from happening." The other women in the hospital ward -- "acid heads [and] speed trippers" -- illustrate to her the danger of drugs, but none more so than Rachel, who Donna knows and has turned into a vegetable.

Donna is released from the hospital. When Stone phones her, she tells him that she has learned her lesson. She makes an appointment to see him that evening and tips off Five-O. But before McGarrett and Danno can take care of this, Eadie's father beats them to the professor's pad. Hastings has a gun and, accusing Stone of turning his daughter into an "animal," forces him to read a chapter from his Eadie's diary where it sounds like the two of them had sex: "Another glorious trip with my beloved David Stone. Time stops while I learn the meaning of love and we become one."

The father tells Stone to get some of the drugs that Eadie used. Thinking that the old man wants to "learn to love rather than kill one another," Stone is only to glad to oblige, but Hastings forces Stone at gunpoint to gobble several of the pills. Stone knocks Hastings down and runs away, taking the gun, but the drugs start to work on his mind very quickly, and Stone has a very bad trip of his own.

Stone ends up at Donna's, still seeing visions, and the two of them run away to the cliff that Eadie jumped from. Once again Danno shows up, but he arrives with McGarrett, who does the honors in dealing with the jumper. With Danno's help, McGarrett is successful in grabbing on to Stone, despite the fact that Stone still has Eadie's father's gun. Stone is busted, and McGarrett looks very iconic on top of the cliff.

WHAT DOES THE TITLE MEAN?

At the beginning of the show, Danno is upset because he failed to save Eadie Hastings from jumping off the cliff. McGarrett tells him, "You're up pretty tight, Danno." Eadie's father is also "up tight" when he meets with McGarrett because of what happened to his daughter.

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15. (S01E15) Face Of The Dragon

Original air date: 1/22/69 -- Opening Credits -- End Credits
Director: Richard Benedict; Producer: Robert Stambler; Writer: Robert C. Dennis; Music: Richard Shores
Timings: Teaser: 2:28; Main Titles: 0:58; Act One: 13:55; Act Two: 11:47; Act Three: 11:56; Act Four: 9:06; End Credits: 1:00; Total Time: 51:10.

QUICK PLOT

A Red Chinese agent takes over the identity of a man fleeing from China in order to come to Hawaii and steal a top-secret device developed for use by the U.S. Army in Vietnam.

Click here to read Full Plot.

REVIEW:

The execution of the basic premise of this show -- that someone assumes the identity of another person that he killed in order to perform something illegal -- is dumb, because you have to preface just about every plot thread with "it just so happens that..." Although Communist Chinese people in Five-O are assumed to be evil, conniving and so forth, there is a limit as to how complicated the scenario that starts the whole series of events in the show can be, as well as what happens later. Let's review some of the back story first.

Soon-Teck Oh plays a Red Chinese agent, whose real name we do not know, but who later takes the name of "Lewis Shen." He boards a junk in China which is carrying Amy Soo (Hai Luen Corragio), who was bound for Hawaii together with her fiancé Shen Lu. Soo's family had paid $25,000 to the American entrepreneur and people-smuggler Horace Sibley (Jackie Coogan) for passage for herself and Shen Lu on the junk as well as a subsequent freighter, the Cap Soledado. Their destination was the house in Honolulu of Shen Yu-Lan, Shen Lu's uncle (David Opatoshu).

Shen Lu and Amy were kept isolated from each other on the freighter and as the ship approached Hawaii, Shen Lu was murdered, or so it is speculated. When he arrives in Hawaii, Lewis Shen approaches the uncle, who has not seen Shen Lu (note the reversal of the names) for many years, and would not realize that Lewis Shen is actually not his nephew.

While he was on the junk, Lewis Shen contracted bubonic plague, as did Amy and Shen Lu. While one of the people living at the uncle's house is a doctor also related to the uncle who managed to supply Lewis Shen with medicine to cure him, other people Lewis Shen has come in contact with in Hawaii have contracted the disease, including Harvey Fong, a photographer, and a Mr. Chew, who works as a janitor at the Hawaii Institute of Technology. Following the death of Chew, Five-O is alerted to his connection with "Canebrake," a night-sight detector under development by the military for use in Vietnam, a major breakthrough in infrared sensory perception, which was presumably created at the university where Chew worked. Lewis Shen has come to Hawaii to steal this device.

Did Lewis Shen, perhaps acting on orders from higher up, board the junk in China with the knowledge that there would be someone else on the boat who he could take advantage of in order to infiltrate his way into Hawaii? How did he know the people on the boat would end up in Hawaii in the first place? Presumably Shen contracted the plague on this boat which he then passed along to Amy Soo and her fiancé, or maybe they just all contracted it on their own, because the junk was described as "rat infested."

Horace Shipley was the one who was being paid $25,000 from Soo's "Hui," which is defined in the dictionary as "a partnership or syndicate" (in the show it is defined as "family organization"). This money was to smuggle her and Shen Lu into the States. Did Shipley have secret dealings with the Chinese Communist government? McGarrett suggests that some of the knickknacks that the entrepreneurial Shipley imported may have been manufactured illegally in China with "with phony Hong Kong labels." Maybe the Commies had something on Shipley, so they persuaded him to co-operate in this complicated scheme?

It is just too convenient that when Amy and her husband-to-be get on the Cap Soledado they are put into individual "cargo cases" so the fiancé can be separated from her without her knowing anything about his departure later (McGarrett suggests he was "murdered at sea").

You also have to wonder about what is the involvement of the other two people Lewis Shen was dealing with in Hawaii that we meet in the show -- Harvey Fong, the photographer, and Mr. Chew, the janitor. Fong's connection to Shen's espionage is never really defined. Both of them seem like kind of small fry.

At the beginning of the show, why is Fong at Hanauma Bay? He seems very ill, so much so that he probably couldn't even have driven there. Did he ask to meet Lewis Shen there or vice versa? It seems strange that Lewis Shen takes Fong's wallet, presumably to make it more difficult for the authorities to figure out who he is, because Fong's car, which the cops easily trace through its registration, is located very close by, duh! I guess Lewis Shen didn't study hard at the espionage school in Peking on how to cover up things.

Chew's involvement is even more peculiar. A piece of paper for Lewis Shen is hidden in a gate post at the university, which Five-O only finds out about by accident. Where did this paper, which reveals the word "Canebrake," the name of the top secret night-sight gizmo under development, come from? When McGarrett meets Colonel Tyler (Ed Sheehan) to discuss this device, there are a couple of "perfesser" types with him, so maybe this scene takes place at the technology institute. Still, you wonder how someone Chew worked with arranged for him to get this paper, which is a schematic of some sort from the brief glimpse we get of it. It is not said how McGarrett determines the paper with the information about Canebrake had some kind of military significance.

There are other questions like why does Lewis Shen have a room at Arthur Hee's house? Isn't the palatial house of his "uncle" sufficient, because, according to Dr. Kuh (Victor Sen Yung), the "family doctor" who provided Shen with drugs, it accommodates 14 people! (There is no suggestion that Lewis Shen ever actually stayed at Hee's house, though.) And what's with the excuse that Kuh gives to McGarrett and Danno about how he prescribed the anti-plague drugs to a cook in the house because of "carbuncles," whereas these drugs were really destined to end up in the hands of Lewis (I guess)? Was Kuh really complicit in what was happening? This is suggested near the end of the show, when McGarrett tells him "Unless you help us [after Shen Yu-Lan, the old man of the family, is killed by Lewis] you'll know a far greater grief. The imposter Lewis Shen murdered your uncle. He brought a plague to these islands that you concealed. As a doctor, the responsibility for that lies on your doorstep. Now it's up to you."

The ending where the helicopter ferrying Canebrake to a test site crashes is ridiculous. In order to cause this crash, assuming he is not using a missile or something, which would be difficult, because how would he know the exact flight pattern of the copter, Lewis Shen would have to sneak into the military base or airfield where the helicopter is kept and somehow tinker with it or plant something in it like a bomb before it leaves. And then he would have to follow the helicopter to the site where it crashes (and how would he know exactly where that is) and then steal the Canebrake device out of it ... which assumes that it would not be damaged during the crash!

The only thing keeping my interest in this show was a few good laughs during the inoculation scene with the three guys from Five-O and the score by Richard Shores, his first of the series, which uses some weird-sounding instrument like a synthesizer.

David Opatoshu's yellowface portrayal of the Asian patriarch, which brings to mind some of the performances of Alec Guinness, is passable -- definitely not as bad as his performance in #83, "A Matter of Mutual Concern."

WHAT DOES THE TITLE MEAN?

"Dragon" has Chinese connotations; also can mean "a violent, combative, or very strict person." "Face" presumably refers to Lewis Shen as a spokesman.

Other ideas? Please post in the Discussion Forum (no login/password required) if you have any ideas.

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16. (S01E16) The Box

Original air date: 1/29/69 -- Opening Credits -- End Credits
Director: Charles Dubin; Producer: Robert Joseph Gantman; Writer: Laurence Heath; Music: Morton Stevens
Timings: Teaser: 5:04; Main Titles: 0:58; Act One: 8:49; Act Two: 10:08; Act Three: 13:01; Act Four: 12:07; End Credits: 0:55; Total Time: 51:02.

QUICK PLOT:

McGarrett offers himself in exchange for hostages during a prison uprising, but after he enters the building, the convict making demands refuses to release the captured prison guards. McGarrett has to use his wits to convince the man to listen to reason and avoid being killed by others who he has helped put there.

Click here to read Full Plot.

REVIEW:

This prison standoff episode contains yet another one of those major first season goofs that we are supposed to ignore because of "cutting the series some slack," like Richard Denning playing treasury agent Philip Grey in Twenty-Four Karat Kill (S01E06).

"Six Kilos," now the 22nd show, was originally 18th in production order, before this one, which was 21st, now 16th, and before "Six Kilos." One of the four major characters in "Six Kilos" is Carl Swanson, an "expert electrician," part of a safecracking team played by Gerald O'Loughlin. At the end of "Six Kilos," Swanson is shot by that episode's villain Margi (Antoinette Bower). The episode wraps up and we are not told of his fate, but in "The Box" we find him, having survived, again a major character, now in Oahu State Prison under the name of Charlie Swanson.

The show begins with touristy stock footage of Hawaii presumably to contrast with overhead shots of the prison which follow. (The brief sequence with a catamaran and a rainbow is taken from the 1961 Elvis Presley film Blue Hawaii.)

One of the first things we see in the prison is Big Chicken (Gavin MacLeod), who we met in S01E05 ("....And They Painted Daisies On His Coffin"). Serving a lengthy sentence as a three-time loser, he is showering and singing the ubiquitous "Ain't No Big Thing." Three of the other inmates -- Frank (David Leegant), Tommy (Bob Doyle) and Toshi (Al Harrington, later Ben, a member of the the Five-O team) -- have picked up two pistols and a zip gun out of a barrel in the prison yard with the intention of using them to teach Swanson a lesson.

Why Charlie deserves this is hard to discern without paying close attention. According to the repugnantly naked (as far as 1969 TV will allow) Big Chicken, now a big shot in the inmate hierarchy, Charlie has "bucked the system." He tells Swanson, "You gotta wait on our table. You serve us the best steaks out of that lousy kitchen. You need to respect, boy. You got to be taught that."

Swanson grabs Frank's gun and shoots him, then takes the guns from Tommy and Toshi. A guard comes to investigate, but Swanson refuses to surrender, saying, "I gotta bust out of here. I've been waiting for this a long time." I don't know about the expression "long time" if we are only talking about four episodes in production order!

More guards are rounded up as hostages in addition to the one already in the shower room, and the stern warden Captain Wade, well played by tough-looking character actor R.G. Armstrong, prepares for the worst. McGarrett shows up, and using a bullhorn, tries to convince Swanson to give up, but Swanson threatens to start executing the hostages in 15 minutes.

McGarrett makes Swanson an offer to trade himself for the hostages, but ends up in the showers with a room full of men who are not his biggest fans, especially Big Chicken, who says "I hate his livin' insides." But the guards are not allowed out, nor is the prison doctor who is another hostage, attending to the wounded Frank.

A talky operatic drama commences, with Swanson getting more desperate to get out of jail (but you have to wonder where to -- he is on an island, after all) and the scenery-chewing Chicken getting more and more agitated, ranting about killing McGarrett.

McGarrett reasons with Swanson, who doesn't totally ignore what he has to say. This is weird, because in "Six Kilos" (an episode originally ahead of this one, remember), Swanson and McGarrett had a cats-and-dogs relationship. The sweaty Chicken is foaming at the mouth, telling McGarrett that they will get out of the jail, even "if we gotta walk on corpses all the way to that gate." McGarrett calls him a "slimy dope pusher," an "animal," and "a vulture."

Swanson tells Chicken to shut McGarrett up. Chicken punches McGarrett several times, but then Swanson changes his mind because McGarrett is no good to them dead. McGarrett then tells Swanson, who has been winged by a sharpshooter outside the room and is fading fast, that he should try and "change the system" by making a list of demands that Danno, who is co-ordinating things with the warden, can pass along to the Governor, who has been apprised of the situation. When Chicken asks Charlie, "What do you get if they build a new prison?", Charlie tells him "It's a chance to see you in a new box. One you don't own. You and Frank and all his boys."

McGarrett writes down Charlie's demands:

These requests are passed along to journalists who have flocked to the prison, and within a very short space of time, a special edition of the Honolulu Star-Advertiser is delivered to the prison, where Danno gets it to McGarrett, who shows it to Charlie. It has a large headline: "NEW PRISON A MUST! PRISONERS LIST DEMANDS."

When Chicken thinks that all this negotiating will come to naught, because as soon as Frank is put back together, they will come after Swanson, McGarrett tells him, "You're a loser, Chicken. Charlie's gonna walk out of this box someday. You never will."

The standoff is finally over, the prisoners surrender and Swanson and McGarrett walk out together.

WHAT DOES THE TITLE MEAN?

There are numerous instances of the expression "the box" referring to the prison throughout the show:

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17. (S01E17) One For The Money

Original air date: 2/5/69 -- Opening Credits -- End Credits
Director: Paul Stanley; Producer: Robert Stambler; Writers: Palmer Thompson (teleplay), Robert Stambler (story); Music: Morton Stevens (Supervision)
Timings: Teaser:2:45; Main Titles: 0:58; Act One: 4:36; Act Two: 10:21; Act Three: 11:11; Act Four: 20:17; End Credits: 0:55; Total Time: 51:03.

QUICK PLOT:

When one of two cousins in charge of a company feels he has been neglected by his aunt who owns the place, he murders two women and stabs himself before killing the aunt, to make it look like a serial killer is on the loose.

Click here to read Full Plot.

REVIEW:

This episode is the story of two cousins: a "good cousin," Arnold Martin, played by Farley Granger, and a "bad cousin," Charlie Gordlow, played by Paul Collins. They co-manage Hawaiian Amalgamated Industries. Arnold is the executive vice-president, Charlie is in charge of personnel. The company is owned by Martha Gordlow, their aunt, an old biddy type, played by Jeanette Nolan. They have to answer to her when making any decisions.

Charlie is not happy with his lot in life. He has always been upset because on Arnold's 21st birthday, Aunt Martha gave Arnold a typewriter, whereas on Charlie's 21st and similar birthdays, she gave him "practical" gifts like "pajamas, socks, underwear and handkerchiefs." He has other complaints as well.

Figuring that he will get at the very least half of his rich aunt's will, Charlie sets up an elaborate scheme where he stabs to death two women from the company. Then he kills his aunt in a similar fashion, after giving her a big rant: "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'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."

Charlie then stabs himself after studying an anatomy textbook which shows the part of his torso where he can stick the knife in and not get seriously injured. In keeping with the "killer's" practice of leaving numbers on his victims, Charlie is number 3, whereas Aunt Martha is number 4, presumably with the intention of further confusing the cops.

However, Charlie gets a surprise when he is recovering from his self-inflicted wound in hospital. Arnold shows up with a tape recorder that contains Aunt Martha's "living will," in a manner of speaking. Describing Arnold as "the sensible one, the levelheaded one," she leaves him the controlling stock and management of the company. Admitting that Charlie "always did devil me," Martha, saying she loves him too much to let him squander his birthright, leaves him "an income from a trust … enough to live very well, but not too wildly." So Charlie is no further ahead!

Charlie then decides to murder Arnold, whose portable typewriter he borrowed and used to send letters to Five-O. He knocks Arnold out using some liquid like chloroform, and then puts him in the garage of his house in his Lincoln Continental with the engine running, as if Arnold was the one who murdered the three women and wanted to commit suicide because he felt guilty. Charlie claimed the voice of whoever stabbed him was "familiar," though this hardly seems a way to describe someone who he has been working with for years.

Five-O gets involved in this case when Charlie sends them a typed letter at the beginning of the show containing a variation on the poem "One for the money" (see below) which throws in a twist suggesting the letter's author is a serial killer who might murder up to one hundred people. This provokes some unusually stupid dialogue from Danno, who looks at the accompanying photo of the first murdered woman, Aimee Cross (Minda Gold), who has a big red "X" on her face, saying "Hey, nice-looking gal." When McGarrett phones HPD's Lieutenant Pelak (Bob Basso) on a hunch, wondering if someone answering Cross's description has been killed recently, he describes her as "Female, late 20s, probably mestizo, Filipino," mispronouncing the word mestizo "mestishio."

Charlie is pretty dumb, because the three women he killed all worked for his company: Cross, who was a 33-year-old single secretary, Ruth Warden, an employee for 20 years, and Aunt Martha. This would tend to focus Five-O's investigation on the company, and McGarrett wants to examine the their personnel records and question all the employees as well as check out all all the typewriters, though the latter were replaced six months before, aside from one which was given to Arnold that Charlie borrowed. Surely this would lead to suspicion falling on Charlie, because Aimee and Aunt Martha were both killed by someone they knew because there is no indication that Charlie made it look like the killer broke into either of the places where these women were murdered.

Charlie puts Arnold's body in the garage after 6:00 in the morning with the car running. According to one Internet WWW page, it could take as little as 45 minutes for someone to die from the exhaust fumes in this kind of situation, depending on the concentration of carbon monoxide and other factors. McGarrett, Danno and Kono are all seemingly working at this time of the morning when McGarrett decides to visit Arnold, who he suspects being behind the murders and Charlie's stabbing. When he and Danno arrive at Arnold's (Kono is just left sitting in the office), they find the garage door closed with the car running inside. Instead of just breaking into the house and then into the garage, assuming there was such an entrance, or just using the normal garage door that Charlie left through earlier, McGarrett arranges for police dispatch to generate a high-frequency signal which matches that of the automatic garage door opener, which I find very far-fetched. More geekiness!

The way McGarrett solves the case is peculiar. Even though it looks open and shut thanks to, as Danno points out, the discovery of "the typewriter, rubber gloves [and] a knife in the glove box" at Arnold's house after Arnold is revived, McGarrett is skeptical, saying it "doesn't wash" that Arnold was the killer. Instead, the murders of the three women "were vicious and brutal. The murderer had to be someone without conscience or feeling of guilt." But the attempted murders of Charlie and Arnold were not particularly nice either!

This leads McGarrett and Danno back to Charlie's apartment where they determine that there is something fishy because there are bloodstains on the carpet, but none near the door where Charlie was supposedly stabbed. We don't actually see their final "steps in deduction," but they go to Hawaiian Amalgamated where Charlie is practising golf strokes outside the building, despite the seriousness of his recent injury. They plant a bug in his ear that Arnold survived the gassing and they are waiting for him to talk.

Soon enough, Charlie arrives at the hospital where Arnold is recovering. There aren't even any cops guarding the room, as a sexy nurse (Elithe Aguiar) tells him. But it isn't Arnold in the hospital bed but Danno, in a technique similar to one used in the season nine show "Blood Money Is Hard To Wash." Charlie freaks out, thinking Aunt Martha is lying in the bed. When McGarrett rushes into the room and yells at Charlie to give up the knife he is holding, Charlie still thinks he is talking to his aunt, asking "her" if he is crazy. The answer is "Yes."

There are several continuity issues in this show with McGarrett's suits. In the opening scene during the teaser in his office, McGarrett is wearing a dark blue, almost black suit, but when he comes out of the building with Danno to go to the crime scene, the color has changed to light blue. At the beginning of act one, the color is back to dark blue, though not as dark as before. Towards the end, before McGarrett and Danno head to Charlie's apartment to examine blood stains on the carpet, McGarrett is wearing a light blue suit. When they arrive at the apartment, his suit is grey! And at the end, during the final confrontation in the hospital, the suit is back to light blue.

There is a goof with the picture of Aimee Cross received by Five-O at the beginning of the show. This is later suggested to be cropped out of a photo taken of a luau for the home-office staff at Hawaiian Amalgamated Industries, but if you look carefully at the original picture seen at Aimee's place using a DVD freeze frame (an option not available to people back in 1969), you will not see her in the picture at all.

WHAT DOES THE TITLE MEAN?

A letter is sent to the Five-O office with a poem typed on the flap of an small envelope contained within a larger one:

One for the money
Two for the show
Three to make ready
And four to go
Might even make it a hundred or so

The first four lines are based on what various web pages suggest was a children's nursery rhyme in 19th century England. These were later used as lyrics in the rock song "Blue Suede Shoes" which was written and sung by Carl Lee Perkins in 1955 and later recorded by Elvis Presley in 1956.

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18. (S01E18) Along Came Joey  BOOK ʻEM   BOOK ʻEM, DANNO 

Original air date: 2/12/69 -- Opening Credits -- End Credits
Director: Richard Benedict; Producer: Sidney Marshall; Writers: Jerry Ludwig & Mel Goldberg (teleplay), Jerry Ludwig (story); Music: Morton Stevens
Timings: Teaser: 4:31; Main Titles: 0:57; Act One: 8:06; Act Two: 12:23; Act Three: 11:33; Act Four: 12:45; End Credits: 0:54; Total Time: 51:09.

Thanks to Bobbie Baker for the Plot and help with other sections...

QUICK PLOT:

After a boxer with a promising career is murdered, his father, a cop from Maui, becomes a man with a mission to find his son's killers, interfering with the investigation by McGarrett and Five-O.

Click here to read Full Plot.

REVIEW:

A good show, with McGarrett trying to find out who killed Joey, the boxer son of Phil Kalama, a cop from Maui. Phil, although he is out of his jurisdiction, also wants to find out who killed his son, setting up conflict between him and McGarrett.

There are a couple of things that bother me about the episode, though.

Near the end, Phil calls in a bogus riot call from "Car 65" to HPD via a radio in the car that he is driving. He does this to get Kono, who is nearby surveilling Nick Morgan, a gangster that Phil suspects of being behind the death of his son, to leave the scene to answer the call because Phil wants to knock off Morgan. But why would Kalama's car have a radio in it? He is a visiting cop from Maui and he is not taking care of any police business while in Oahu which would require him to borrow a car from HPD which had such a radio. In fact, McGarrett makes a big deal about how Phil is just another civilian, not a cop, while on Oahu and he should leave the investigation into his son's death up to HPD and Five-O.

After Kono leaves the scene in a big hurry, McGarrett and Chin Ho pull up to the area near Morgan's yacht about a minute and a half later, McGarrett telling Chin that it took "half a minute to determine [the riot call] was a phony." There has been no indication that they were on their way to this location previously, and highly unlikely that they got there so quickly from the Five-O offices downtown. Kono does not put in a call to them that might have helped them determine that the call was a hoax.

The second bothersome thing has to do with Lois, Joey's girl friend, being the former girl friend of Nat Keller, played by Jesse White. After Keller is suspected of being involved in Joey's death, he hides out at Lois's apartment with her knowledge and approval. (Her apartment is in the Ambassador Hotel.) Jesse White is probably best known for his appearance in commercials as the Maytag repairman who perpetually had nothing to do because this company's products never required any service. He is not exactly some super stud like you would expect to date Lois, who is a hot babe working for a modelling agency.

I also find it peculiar that Phil shows up at Morgan's place just as McGarrett and Danno are there grilling the guy, trying to find out if there is some connection between Morgan and Joey's murder.

Despite these flaws, the show is worth watching for Frank deKova's intense performance as Kalama and the interesting twists that the script takes towards the end where it reveals that Joey, despite his pampered upbringing which made him strive for the best, lost his life because of his connection to the shady underworld of boxing.

WHAT DOES THE TITLE MEAN?

A quote from Lois in Act Four: "Then along came Joey, and I could see my jackpot."

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19. & 20. (S01E19 & S01E20) Once Upon A Time, Parts I and II

PART ONE:
Original air date: 2/19/69 -- Opening Credits -- End Credits
Director: Michael Caffey; Producer: Leonard Freeman; Writer: Leonard Freeman; Music: Harry Geller
Timings: Teaser: 9.26; Main Titles: 0:57; Act One: 10:34; Act Two: 10:08; Act Three: 10:36; Act Four: 8:28; End Credits: 0:55; Total Time: 51:04.

PART TWO:
Original air date: 2/26/69 -- Opening Credits -- End Credits
Directors: Michael Caffey & Abner Biberman; Producer: Leonard Freeman; Writer: Leonard Freeman; Music: Harry Geller
Timings: Teaser: 3:37; Main Titles: 0:58; Act One: 13:20; Act Two: 13:14; Act Three: 9:34; Act Four: 9:24; End Credits: 0:56; Total Time: 51:03.

Thanks to Bobbie Baker for the Plot and help with other sections...

QUICK PLOT:

McGarrett journeys to Los Angeles where he takes on Dr. C.L. Fremont, a "blood-sucking" quack "naturologist" who is treating his cancer-stricken nephew Tommy. When Tommy dies, McGarrett not only wants Fremont charged with dispensing bogus medical advice, but also first degree murder.

Click here to read Full Plot or here for just Part Two.

REVIEW:

Written by Leonard Freeman, this two-parter, the first one since "Cocoon," is a very good "contemporary issues" show which also shows the human side of McGarrett. Interestingly, not much of it takes place in Hawaii -- the "Filmed entirely in location in Hawaii" is missing from the end credits. There are several courtroom scenes. The exterior of the court is in Van Nuys, California; whether the interior scenes were also filmed in California is not known. Overall, with one possible exception, this is an excellent show.

At the beginning of the episode, McGarrett gets an urgent request to fly to Los Angeles where his sister Mary Ann Whalen (Nancy Malone) lives. He drops everything, leaving the team to take care of business. After he arrives in L.A., he finds out that his 12-month-old nephew Tommy, who is suffering from incurable cancer, is going to live because he is being treated by Dr. C.L. Fremont (Joanne Linville). For almost 20 years, Fremont has "cured" a lot of people with cancer similar diseases, and has a cult-like following. To do this, she uses an "instrument" with electrodes and flashing lights which "reads and duplicates [a unique] wavelength [and] sends the strength, the natural healing strength God put into all of us coursing back into the body."

Mary Ann's husband Tom (John Carter), who we later find out was the one who requested McGarrett's presence, takes him aside and says that he considers Fremont to be a quack. He says Mary Ann takes Tommy to Fremont every day for "magic treatments" which are not only expensive, but "bloodsucking." The only reason Tom tolerates this is because it keeps Mary Ann from having a nervous breakdown.

McGarrett purchases a gizmo with a lot of flashing lights which is used as part of Fremont's treatment, sort of the home version of the machine she uses at her clinic. He takes it to the local office of the Food and Drug Administration where he meets District Director Albert Woodson (Bartlett Robinson) and the resident lawyer, Frank Zipser (David Sheiner). McGarrett tells them he wants Fremont, who is described as "infamous in this area" to be put out of business with her equipment seized and her put in jail.

McGarrett is told that the FDA cannot lay charges against someone peddling "phony electronic devices" unless they are "involved in some form of inter-state commerce." McGarrett tells them that he purchased the machine with seven hundred dollars in cash, to be delivered by him to his address at 404 Piikoi in Honolulu. He says, "That, gentlemen, is interstate commerce." But is it? I would have thought this only applied if McGarrett ordered the device and had it delivered by Fremont to Hawaii.

When he returns back to his sister's place, McGarrett tries to persuade her to abandon Tommy's treatment. Mary Ann describes Fremont as "a saint," but McGarrett says "She's a quack; she couldn't cure a ham." Even after he describes Fremont's "instrument" as "a worthless conglomeration of bent tubing, colored lights, switches, wires and meaningless electronic gadgets," likely from a description by the FDA, Mary Ann is unrelenting. McGarrett tells his sister that "Seizure papers and [a] warrant for [Fremont's] arrest are being drawn up right now" which just upsets Mary Ann.

McGarrett goes to Fremont's office where she attempts to throw everything at him, first refunding the $700 paid for the machine, and then her body, telling him "I like you. You're rare. A man, irresistible ... It's also true that I found you attractive [when I sold you the machine] which is a rarity for me. Even now, I feel something for you. You feel it too. Come on, admit it." McGarrett is full of sarcasm: "I'd rather take up housekeeping with a cobra."

She offers McGarrett a drink, which he declines, and then rambles on about how she married a faith healer at 14 and when he died, took over his mission. She eventually came to the big city, "Educated myself, learned how to talk ... how to dress. It wasn't easy." She goes on, "I'm not looking for an ally, just a truce. I'm rich. I'm generous. And suddenly I need a man in my life again." McGarrett is not stupid, he sees what she is getting at: "And without my direct testimony, there's no case against you. I'll see you in court, doctor."

Fremont's parting words are disturbing: "When somebody hurts me, I hurt back. Before this case comes up in court, that child is going to be dead. With or without my treatment that child is going to die. Your sister will not forgive you for as long as she lives. I'll see to it, McGarrett. I will. I'll see to it."

We don't see the two of them in court, which follows immediately after this confrontation. We cut to Hawaii three months later, a week before the trial is to be held in Los Angeles.

Another message is received at the Five-O offices and this time the news is worse: Tommy has died after going into a coma. Mary Ann told McGarrett over the phone that Fremont promised she would heal Tommy if her brother stopped persecuting her.

McGarrett is shattered to the point of breaking down in tears. He tells Danno, "I have had it! I have had it right up to here. Who the hell made me big daddy to the world? What do I care if the great, snowed American public wanna blow a billion dollars a year on phony quacks and cures? What do I care? And what's the big deal? Why should we get so steamed about? All I can prosecute on is one lousy count. Interstate sale of mislabeled or misrepresented merchandise. One count! Maximum penalty, one thousand dollar fine or one year in jail or both. With this one it ought to be murder. Murder. On a hundred counts."

At the trial the following week, the courtroom is a zoo, thanks to Fremont's nutty followers. The stern Judge H. Adamson (well-known character actor Bill Zuckert) is hard-pressed to keep order. Part one of this two-parter ends here with Zipser not too optimistic that they will win the case.

As part two opens after a "Previously On" teaser, McGarrett is still steaming at the small sentence Fremont will get if they win. He wants the charge to be first-degree murder, but Zipser tells him this would only work if Fremont's name is on any of the death certificates of her patients who died and it has to be an "airtight and foolproof" case, complete with exhumation of the body to demonstrate that the patient died from something other than a bogus reason from Fremont.

With only 24 hours to dig up evidence, Zipser recommends McGarrett head to the nearby Bureau of Records and see if he can find such a certificate. While he is there, McGarrett has help from a blonde babe nicknamed "Chickie-Baby" (Victoria Hale) by one of the denizens of the building. He manages to find a few certificates with Fremont's name on them. The first is for a house which is all boarded up. A "for sale or trade" sign has the phone number TH8-9944. The second is for the husband of a woman named Kinney (Lynn Wood). She has been seen among the spectators in the courtroom; in other words, one of Fremont's believers.

The third certificate leads to the house of Chester Grant (Davis Roberts) who lives there with his mother. Chester's brother Walter passed away, but Chester doesn't want to talk about him, because talking will not bring his brother back. His mother (Beah Richards), on the other hand, reveals that Walter stopped taking his diabetes medication while under Fremont's treatment because he hated the insulin shots, "the whole regime," but especially "not being able to take a drink." The fact that Walter was a diabetic was documented by their own doctor, yet the death certificate signed by Fremont said that he died "of vitamin deficiency and malnutrition caused by alcoholism." Fremont said Walter "could throw away his needles, the insulin, his diets ... that she would cure him, make him well with her machines," one of which Mrs. Grant purchased. Mrs. Grant also knows that Fremont is a quack.

Despite her not wanting to help, McGarrett is able to convince the mother otherwise. Walter's body is exhumed that evening, and Jerome Pastor, the county coroner, is contacted to perform an autopsy. Unfortunately, the M.E. tells them "I cannot confirm the cause of death."

We are kept in suspense as court resumes the next day. Fremont's super-computer is on display and her oily lawyer Herbert (another well-known character actor, William Schallert, employing a Southern accent) lets loose with a lot of legal mumbo-jumbo over Fremont's credentials, the validity of her "instruments" and so forth. When Fremont wants to demonstrate how the computer works, she asks for a volunteer to donate a sample of blood. McGarrett offers, and it is accepted, over Herbert's objections. After she places the paper with the blood on it in the machine, Fremont tells McGarrett "Your health outlook is excellent. Except for an inherited predisposition toward tumor. I've sworn to tell the truth, the whole truth. Chances are you will die of cancer before the age of 50. Unless you are constantly on guard, and receive proper enlightened treatment."

Zipser then pulls a Perry Mason on Fremont, telling the court that the sample was not blood, but vegetable dye. When McGarrett showed the paper with his blood on it to the jury, he dropped the paper on the floor, and Zipser substituted another with the dye on it when he picked it up. The courtroom erupts, but the case against Fremont is assured. McGarrett reconciles with his sister outside the courtroom as the show ends.

The music for this show is by Harry Geller. In the first part, as Fremont tries to seduce McGarrett, there are creepy violins over organ music as she talks about her past with the faith healer who she married. Some of the cues in the second part of the show seem to be by Morton Stevens from previous episodes, though.

WHAT DOES THE TITLE MEAN?

This line is used predominantly as a clichéd opening to fairy tales or stories for young children.

Other ideas? Please post in the Discussion Forum (no login/password required) if you have any ideas.

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21. (S01E21) Not That Much Different

Original air date: 3/5/69 -- Opening Credits -- End Credits
Director: Abner Biberman; Producer: Sidney Marshall; Writer: Mark Rodgers; Music: Morton Stevens
Timings: Teaser: 4:11; Main Titles: 0:58; Act One: 7:37; Act Two: 9:17 ; Act Three: 9:04; Act Four: 19:01; End Credits: 0:57; Total Time: 51:05.

QUICK PLOT:

What looks like an assassination attempt on a military general is the deliberate killing of one of the people protesting the general's presence, the result of confused relationships involving one of the young workers at a radical publication.

Click here to read Full Plot.

Staff members from the radical Peace Magazine are front and center during an anti-war demonstration when an army general (Walter P. Young) lays a wreath opposite the War Memorial Natatorium in Honolulu. When the general, over McGarrett's objections, speaks to the protesters, Julian Scott (Sperry MacNaughton) attempts to hand him a copy of the magazine and is shot dead.

Trying to figure out if this was an assassination attempt on the general, McGarrett gets several people connected with the magazine to come to his office to give him some help trying to figure out who was the shooter from photo blow-ups of the scene. During this meeting, you can cut the tension with a knife. One of the magazine staff members tells McGarrett his asking them to come to his office makes them sick. Others suggest that McGarrett is no better than whoever killed Julian because he is part of a culture of guns and killing.

McGarrett explains why he does what he does, which doesn't seem to have any great effect. Carole Matthews (Jadeen Vaughn), who was standing beside Julian when he was killed, apologizes to McGarrett after the others have left, which prompts McGarrett to continue his speech-making, explaining why he is a "peace officer."

Five-O's subsequent investigation reveals that Julian was involved with a woman named Lannie Devereaux (Anne Prentiss) a few years before. Back then, the two of them were found nearly asphyxiated from gas at Lannie's place, and the cops found a .38 revolver in her kitchen, the same kind of gun that killed Julian. McGarrett also gets an anonymous phone tip regarding the shooting, saying "Things aren't always what they seem," though we can see that the tipster is Paul Brechtman (Lee Paul), who works for the magazine.

When McGarrett goes to the magazine's print shop the next day, he is not exactly welcome. He asks about Devereaux. Manning West (Dennis Cooney) remembers Lannie and says she was a "cheap little thing, certainly not one of us." This very sexist remark would not go unnoticed in a typical underground publication office of the day.

McGarrett wonders about the .38 revolver that Devereaux owned, suggesting that it was used to kill Julian, but Ned Horvath (Stuart Moss) counters that "Everyone loved Julian." McGarrett's response is "Lesson One -- nobody is loved by everybody."

Devereaux is tracked down. She is living with some gangster from the mainland, who is shot dead during a confrontation with Danno and Kono. Later, McGarrett grills Lannie. She tells him that Julian took the gun away from her, and she has seen Julian recently. He came to say goodbye, that he loved someone else. McGarrett later says to Danno his "cop instinct" tells him that Lannie didn't kill Julian.

Meanwhile, back at the print shop, West is looking through Julian's old desk. When Horvath wants to know why he is doing this, West says he was looking for evidence that might help them in the internal investigation which the magazine's staff were conducting regarding Julian's death. West accuses Horvath of not wanting to find the killer.

Horvath pulls out a letter that West wrote to Julian which he found previously while looking through the desk. West says, "This isn't evidence of much except my ... affection for him." Horvath says the letter shows that West challenged Julian's leadership. West spits out, "You hated Julian. I loved him," to which Horvath replies, "But he didn't love you," saying that West fought constantly with Julian.

Later, when Horvath is not in the office, West gets the muscular Brechtman to break into Horvath's locker with a crowbar. They find a .38 caliber revolver in the pocket of Horvath's jacket. West's explanation for why he thought the gun was there doesn't make any sense, that he previously "caught a glimpse of metal when the locker was open." But how could he get a glimpse of metal if the gun was in the jacket?

Armed with the gun, the staff go to a theater where Horvath is preparing a production. They put him "on trial" for the murder of Julian with Manning acting as prosecutor. This trial is basically a kangaroo court, and Carole finds the proceedings "shameful." She reminds West that he said if any evidence regarding Julian's killing was discovered, they would turn it over to McGarrett. The "trial" ends.

The next day, Manning comes to the magazine's office and forces Horvath at gunpoint to come away with him to some out-of-the-way location on high cliffs above the ocean. Around this time, Brechtman comes to the Five-O office and says he made the phone tip earlier. He also says that when Julian was shot, he saw Manning across the street "pointing" towards the general. McGarrett and Danno leave immediately for Manning's place, but he is not there. An APB is put out for Manning's car.

At the cliffs, Manning admits to Horvath that he was the one who killed Julian. He orders Horvath to jump to his death, so his "suicide" will look like he was the one responsible for Julian's murder. McGarrett and Danno show up, and Manning flees in an exciting -- and very dangerous-looking as far as the stunt men are concerned -- chase across some lava beds until he is wounded by McGarrett. As he lies bleeding on the rocks, Manning says that he "found Lannie's gun where Julian had hidden it. I went ... to kill the general. And suddenly I saw Julian. Everything I wanted to be. Handsome ... respected by everyone ... a shining leader ... with Carole standing beside him." However, West doesn't offer any explanation as to how the gun ended up in Horvath's locker, considering it was likely locked. After all, Brechtman had to force the door open to get inside. McGarrett tells Manning that he will end up in "an iron box."

The people in this show who publish Peace Magazine, ostensibly student types, are more palatable than most Five-O radicals, though some of them are kind of preppy. Most of the actors playing them were around 30 years old when the episode was filmed, and it shows. They do manage to project a real sense of "cringing" when McGarrett lectures them in his office and when he shows up at their print shop the next day. Linda Ansai as Jackie Ito in particular seems like she is constantly on the verge of telling McGarrett to shove it.

By the end of the show, West comes across as one confused guy, not helped by the script which gets more confusing as it goes on with an insufferable amount of yap-yap-yap, particularly during Horvath's "trial" and at the very end. After he is wounded by McGarrett, West throws out the obscure term "magnicide" (spelled "magnacide" in the subtitles) to try and justify what he has done. According to a WWW definition, magnicide is "when a government or a government entity has someone they believe to be a threat assassinated in order to eliminate the perceived threat." McGarrett defines it as "the killing of a great person."

West was also likely jealous of the fact that Julian was hanging out with the attractive Carole -- so maybe he felt betrayed sexually as well. Perhaps Julian was bisexual, but this is analyzing to an extreme extent. There is also the suggestion mentioned above that West tried to kill Julian three years before -- when Julian was involved with Lannie. During the "trial," Horvath reveals a kind of embarrassing moment, that he'd "worked six weeks to get a date with a girl, take her to a party and in an hour Julian had taken her away from me," suggesting Julian was kind of a stud.

There are hints of homosexuality between West and Julian when Horvath confronts West with the letter the latter wrote to Julian. West refers to his "affection" for Julian, adding later "I loved him," holding the letter up to his face as if he is kissing or smelling it.

I suspect that the homosexual relationship in this show was originally played up more, and the bigwigs at CBS told the production team to dial it back. In the episode "The Box" earlier this season there is a reference to "homosexuals" in prison which was probably pretty rank enough for the era when Five-O was broadcast. Perhaps this stuff was edited out at the last minute and the script revised, which is why it is such a mess.

It is also possible that this gay angle was responsible for changing the order of episodes close to the end of the season (this is my theory).

Consider the following. In production order, "The Box" and "Not That Much Different" were separated by only one show. Both had "homosexual" references.

In broadcast order, "The Box" and "Not That Much Different" were separated by four episodes. Not a lot, but perhaps the best that could be done by the time the broadcast order was determined. Moving "The Box" around in this manner actually screwed things up, because in "Six Kilos" there is a character named Swanson who is shot and wounded, and he later appears in "The Box." In production order, these two episodes were in correct sequence. But after "The Box" was moved to episode 16, Swanson, who was shot at the end of "Six Kilos" is first in prison in "The Box" where he would likely be staying for a long time.

PRODUCTION ORDER:

Six Kilos #18
The Big Kahuna #19
One for the Money #20
The Box #21
Face of the Dragon #22
Not That Much Different (last produced episode) #23

BROADCAST ORDER:

The Box #16
One For The Money #17
Along Came Joey #18
Once Upon A Time, Parts I & II #19 & #20
Not That Much Different #21
Six Kilos #22
The Big Kahuna #23

WHAT DOES THE TITLE MEAN?

This is a good question! Please post in the Discussion Forum (no login/password required) if you have any ideas.

Honu suggests "I always thought that this referenced McGarrett trying to convince the protesters that, like them, he also wanted peace more than anything, so he and they were 'not that much different'."

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22. (S01E22) Six Kilos  BOOK 'EM   BOOK HER 

Original air date: 3/12/69 -- Opening Credits -- End Credits
Director: Seymour Robbie; Producer: Robert Stambler; Writer: Meyer Dolinsky; Music: Morton Stevens
Timings: Teaser: 2:20; Main Titles: 0:58; Act One: 14:46; Act Two: 11:28; Act Three: 5:40; Act Four: 14:54; End Credits: 0:57; Total Time: 51:03.

QUICK PLOT

After a safecracker and explosives expert expected to take part in a caper is shot dead, McGarrett assumes his persona. He teams up with two men and a woman to steal six kilos of heroin on a yacht owned by a man who has diplomatic immunity.

Click here to read Full Plot.

REVIEW:

For some inexplicable reason, this show was like a "lost episode" when Five-O was shown in the 1990s. It was almost as legendary as "Bored She Hung Herself," the infamous banned episode from the second season. Information about "Six Kilos" was so hard to come by, Karen Rhodes' Booking Five-O doesn't even have a complete cast list for the show.

I recall that "Six Kilos" was not available in the major syndication package for the show. When Five-O was broadcast on KVOS-TV in Bellingham, WA (the station where I watched most of the episodes) it was skipped during the first showing of the first season that I saw. After the series finished (it did not go to the final two seasons), they started broadcasting again from the beginning. The series was about to be terminated at the end of the first season of this second go-around, and at the very end, "Six Kilos" was unexpectedly shown, and luckily I had my VCR running. I also got a dub of the show later which originated with KICU San Jose, which was shown around the same time.

The quality of the print of "Six Kilos" in the DVD box set is different than the other shows, as if it it wasn't remastered to the same extent, or maybe an original print of this show did not exist. Overall, it has a washed-out quality to it. The direction by Seymour Robbie is also kind of different compared to other episodes, even those which he did in the first season: "The Box," "Up Tight" and "By the Numbers."

Overall, this is kind of a "meh" episode, which is full of mistakes (see trivia section below). It is really never explained why Five-O should be concerned with the case at hand in the first place, though obviously it is a big deal considering the Governor and some "Fed" are involved.

McGarrett, for the second time this season, goes undercover, rehashing a smart-alecky, over-gregarious personality which we saw in "The Ways Of Love." He becomes Harry Brown (real name John Warnesh, also known as John Zecky and George Black), "expert safecracker, top nitro man, not only an expert, one of the best in the world [who] never made a hit under a half-million dollars." Brown, on his way to an assignment, was shot by Danno at the Honolulu airport when he pulled a gun on Chin Ho. (Why Danno and Chin are after Brown there is yet another unknown.) Whether McGarrett pretending to be someone else is a good idea is debatable. He is not exactly an unknown character in the islands, as we see when his cover is almost blown later in the show by some hotel security guard who recognizes him as McGarrett attempts to buy some nitrogylcerin from a sleazy guy!

McGarrett travels to the Big Island and checks in to the Maunaloa Hotel, where Brown had a room booked as per a package he found in a locker at the airport before he was shot. In character, as one who "makes a hobby of collecting women," McGarrett as Brown leers at a woman in a bikini in the hotel lobby. (Prior to this, there is a major babe who comes out of the hotel's swimming pool who he does not see.)

Only moments after getting settled in his room, Carl Swanson (Gerald S. O'Loughlin), one of the people McGarrett will be working with, shows up with a gun in hand. McGarrett quickly takes the gun away from him, which just annoys Swanson even more than the fact that Brown is a day late for the job. Swanson also doesn't like his co-worker's mouthy attitude.

After they settle down a bit, the two of them take a cab to a beachfront house where McGarrett meets the other two members of the team: Andre Maurac (Than Wyenn), "the man for the torch, X-ray and saw," and the mysterious Margi Carstairs (Antoinette Bower). Margi is "attached to the entourage of a diplomatic emissary by the name of Quan Ling" who owns a yacht where a safe containing six kilos of heroin worth $40 million, the object of the quartet's mission, is stored. Swanson is "an expert electrician, period." McGarrett starts to act like he has hot pants for Margi, but, annoyed by his tardiness, she tells him to lay off: "I'm paying for a box man, not a lover. For the next week, I own you. If you should step out of line again, you're a dead man."

There is still plenty of friction between Swanson and McGarrett, who calls his partner "genius," "stupid," "big mouth," "pretty boy," and "baby." Despite this, the caper goes off as planned, even though Swanson's synchronized watch gets damaged during a fight on the yacht, causing him to cut the power too early. Back on land, Swanson and "Frenchy" Maurac get a big surprise when they go to collect their $250,000 each (a million split four ways). The mysterious Margi is revealed to be the equally mysterious "Man" who has been giving them orders via reel-to-reel tapes. She shoots both of these guys and is about to plug McGarrett when he points out Danno, Kono and some other cop on the roofs nearby with their guns aimed in her direction. She is duly booked. Margi wanted to escape from her "nice little girl" life to the world of Cannes, Portofino and St. Tropez, which unfortunately did not work out.

Some of the music from the show (by Stevens) is rehashed from earlier episodes, but there are a couple of interesting new cues, including one with a weird jittery echo-like effect.

WHAT DOES THE TITLE MEAN?

It refers to the six kilos of heroin that the team has to steal from the safe on the yacht.

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23. (S01E23) The Big Kahuna

Original air date: 3/19/69 -- Opening Credits -- End Credits
Director: Herschel Daugherty; Producer: Sidney Marshall; Writers: Gil Ralston and Norman Hudis (teleplay), Leonard Freeman (story); Music: Morton Stevens
Timings: Teaser: 2:39; Main Titles: 0:57; Act One: 12:08; Act Two: 13:27; Act Three: 8:35; Act Four: 12:19; End Credits: 0:56; Total Time: 51:01.

QUICK PLOT:

Sam Kalakua, whose Hawaiian ancestors date back hundreds of years, is having visions of Pele, goddess of fire and volcanoes in and around his house, which are produced by a filmmaker hired by his nephew George and George's wife Eleanor. They want to drive Sam out of his mind and be appointed conservator so they can sell the property, which is worth millions.

Click here to read Full Plot.

REVIEW:

Sam Kalakua (John Marley) is a descendant of Hawaiian royalty, so high up in the genealogical hierarchy that he is known as "the anointed one." He is also a close personal friend of the Governor and a distant uncle of Kono, who Danno says is "nine-tenths Hawaiian, one-tenth cop."

Sam's nephew George (Robert Colbert) and George's very white wife Eleanor (Sally Kellerman) are trying to make it look like Sam is losing his mind so they can have him committed and sell his highly-valued 10-acre property to sleazy real estate mogul Barney Glazer (Peter Leeds). They enlist the help of doped-up movie auteur Alistair Kemp (Jerry Cox) to create images of the Hawaiian goddess of fire Pele which are projected on a screen in Sam's front yard to freak the old man out.

This "special effect" is totally unrealistic and illogical. This goes beyond the usual geekiness that the show can get away with, like McGarrett manufacturing a stencil in The Ways of Love (S01E07) or the business with the reel-to-reel tape recorders in Tiger by the Tail (S01E03).

This "effect" employs some kind of screen that uses rear-projection. But how is this image projected on this screen and how is the projector that shows the movie powered, considering that Sam's property is a "haunted house in the middle of a jungle" where Sam is seen wandering around at night with a kerosene lantern -- in other words, he doesn't even have electricity. (Well, I guess they could use a gasoline-powered generator or something.) After Sam fires with a shotgun at the image of Pele played by Eleanor on the screen there is nothing left of it. What happened to all the pieces like the one which Kono finds during the subsequent investigation? Did the effects crew have time to clean it all up?

During the second appearance of Pele, we don't see an image, but just sound. Sam throws a kerosene lamp in its direction; the lamp has been filled with explosives and blows up. According to Chin Ho later, it was loaded with "Chinese New Year's stuff" and might have seriously injured Sam if he hadn't thrown it outside when he did (when he first lights it, it starts sparkling like a firecracker). Considering Sam seems like a hermit who rarely goes out of his house, how did George and Eleanor get into the place to plant this lamp, and how did they know that Sam would throw exactly that lamp?

The third instance involving Pele results from hallucinogenic drugs slipped into something Sam is drinking to further confuse him, but in this case, Pele really is in Sam's mind.

As a result of his crazy behavior, Sam is said to be a threat to his neighbors -- but they don't live anywhere close to him.

Filmmaker Kemp, whose production company is called "Theater of Madness," is stereotypically nutty, as are the merry band of hippies helping him make some ultra-artsy movie. When Danno grills Kemp, he asks him: "What are you on, Kemp? Pills? Acid?" and talks about "psychedelic effects." Kemp just laughs at him. When Kemp is about to crack, Danno says there "might be some sweat forming inside that acid head." Later, in his production office, Kemp finds Danno snooping in his film cans and asks, "What are you, some kind of klepto?" At least Danno has a warrant.

McGarrett examines the film using the freeze-frame technique similar to that in Strangers In Our Own Land (S01E02), and Banzai Pipeline (s06E16). I don't know how McGarrett can recognize Eleanor as Pele in Kemp's film, considering she is heavily disguised and made up -- I sure couldn't!

At the end, Sam, who has become suicidal, heads to The Pali. Of course, McGarrett and Danno know exactly which high cliff Sam is going to jump off there, and so does Eleanor, who appears in her Pele getup. The ending is dumb -- Eleanor steps a few feet behind Sam, who is about to walk face-forward off the cliff edge. But when McGarrett and Danno appear, she is seemingly between Sam and the edge, and suddenly falls over in spectacular fashion, plummeting to her death below.

The show has an interesting perspective on "old" versus "new" Hawaii, not only the people, represented by Sam and his royal lineage, but also the way the place is being taken over and developed, similar to Strangers In Our Own Land (S01E02).

John Marley gives a very good performance as Sam. He later has another "Hawaiian" role in the execrable tenth season episode Tread the King's Shadow (S10E12) and plays a doctor who is an exile from the Greek junta's military rule in The Second Shot (S03E03). Sally Kellerman also does a good job, playing Sam's niece-in-law Eleanor as a major league bitch.

WHAT DOES THE TITLE MEAN?

McGarrett and Kono see Sam's kahuna (a Hawaiian wise man or shaman) leaving Sam's place when they first arrive there and identify him as such. McGarrett uses the actual expression "big kahuna" when he talks to George and Eleanor, Sam's nephew and his wife: "I can understand his calling on the big kahuna for comfort but how do you account for a visitation from the goddess Pele?" At the end of the show, Sam seeks his kahuna on The Pali; he has been tricked to go there by George. He uses the expression "Mighty kahuna" appealing for him to appear. I don't understand the use of the word "big" in the title -- surely this is not meant in the slang-like manner "big kahuna" meaning an important person, which could apply to Sam?

McGARRETT WANTS:

MORE TRIVIA:

GALLERY:

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24 & 25. (S01E24 & S01E25) Cocoon

PART ONE:
Original air date: 4/6/69 -- Opening Credits -- End Credits
Director: Paul Wendkos; Producer: Leonard Freeman; Writer: Leonard Freeman; Music: Morton Stevens
Timings: Teaser: 3:35; Main Titles: 0:57; Act One: 8:26; Act Two: 18:18; Commercial Bumper: 0:05; Act Three: 9:27; Act Four: 9:09; End Credits: 0:48; Total Time: 50:45.

PART TWO:
Original air date: 11/6/69 -- Opening Credits -- End Credits
Director: Paul Wendkos; Producer: Leonard Freeman; Writer: Leonard Freeman; Music: Morton Stevens
Timings: Teaser - "Previously On": 5:57; Main Titles: 0:57; Act One: 16:35; Act Two: 8:07; Commercial Bumper: 0:05; Act Three: 6:37; Act Four: 11:46; End Credits: 0:48; Total Time: 50:52.

This consists of the original pilot edited into two one-hour episodes which were shown several months after the end of season one. Please see separate review of Cocoon for a detailed comparison between the two versions.

The number 24 and 25 for these episodes have been arbitrarily added by me, because the next episode in season two is 25 as per the system in Karen Rhodes' Booking Five-O.


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