AWOL sailor John Mala (Nephi Hanneman) seemingly shoots an MP, but McGarrett -- who helped Mala in the past -- refuses to accept this as an "open and shut case." Christopher Walken gives an exceptional performance as Walt Kramer, the shot MP's buddy. McGarrett has to quell tensions between the navy and the local community -- when sailors bust heads while searching for the escaped Mala, McGarrett tells their commander, "Your boys almost started a riot ... a race riot," and suggests the navy better watch it when "pushing 'my people' around." Kramer tells McGarrett, "You appointed yourself Big White Daddy to John Mala," and later says "You're trying to get your Kanaka boy off the hook." There's a comic scene when Kono and Chin Ho are trying to figure out the trajectory of the fatal bullet. Kono points his gun at Chin who freaks, asking if the gun is loaded. Kono replies, "Sure it's loaded!" Effective camera work and music ("stock") during a knock-down fight between McGarrett and Mala. McGarrett spends the last part of the show looking very bruised. A closeup shows that Jack Lord had very hairy hands! Overall, an excellent episode.


Although still a bit hammy, Walken exudes terrific energy in the climax scene with Jack Lord's character confronting him with the real truth behind his best friend's murder. Will Kramer, with his body-hugging Navy whites, neatly combed, short blond locks, and a tanned, smooth skin, bursts into precious tears about the gnawing guilt that's been eating away at his conscience. It's quite a lame catch to a plot superficially bent on catching the "renegade" Hawaiian, only to reveal the real villain as the white blond boy-wonder --- the one who is in love with his best friend's fiancée, the Hollywood resident villainy today, Walken.

In terms of performance, Will Kramer is very similar to the petulant, pending-on-explosion- type of energy in Chris of Naked City (especially in confrontation with father while in bed), The Kid (his response to Anderson's confession to murder during the heist, in ECU), and James Reese (arguably the whole performance with a more detached and arrogant air, save for his taunting scenes of nurse Florence.)
A remarkable thing about Will Kramer is the sincerity of his tears and self-chastising in the climax, compared to Reese' when that private confronted his doctor. The difference has to do with the theatrical origin of Mind Snatchers, which makes Reese more verbose and stagey, less filmic and spontaneous. To be fair to James Reese, Walken grasped greater control of his outbursts in that role than here as Will Kramer, who is effective but less distinctive or precise in synthesizing the swagger and strength of his blocking (physical movements) with his lines and dramatic delivery. The assurance in Reese's movements suggests a man more in tune with his body, mind, and consequently where the plot is driving both (as in the case for Will Kramer): Distinction!

 

 
 

Quotes:
"When I come alo...along the top of the stand...They were wrestling...So help me, God I meant to hit the Hawaiian! Trevor was my best friend, whatever I felt about Sue I, I couldn't have wanted to kill Fred...could I?*...Could I?"

* Especially touching was the way Kramer's mouth is left lazy, gaping open just slightly, after his first "Could I?" The hesitance in this gesture is mind-blowing: Is he going to explain further to redeem his mistake and terrible guilt, or is this tough blond going to cry and break down? How far (or deeply and intimately) will he go to turn his alibi around, now that he can no longer deny the responsibility? It's quite a nuanced performance for a guest/bit role that could've easily been played very unimaginatively or grotesquely hammy!