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These are the user uploaded subtitles that are being translated: Eߣ�B��B��B�B�B��matroskaB��B��S�g�cM�t�M��S��I�fS��M��S��T�kS���M��S��S�kS���LM��S��T�gS��� �O�I�f�*ױ�B@M��libebml v1.4.4 + libmatroska v1.7.1WA�mkvmerge v75.0.0 ('Goliath') 64-bitD��AF�XDa� �ғvs���mi8ܮ��K�e�1`T�k���ׁsňǧ���K�̓�������S_TEXT/UTF8"���en�D)C�u�� u�����SO YOU CAN SEE THAT STUDIES�� A����� bON INDIVIDUAL FLUCTUATIONS IN THIS AREA,�� �C�u��4ʠ����TOGETHER WITH EGO CHANGE, COULD ALSO BE PERTINENT.��5�����WWE CAN FURTHER POINT OUT THAT THE CAPACITY�� �C�u@��O栤���AND THE SERVICE OF THE EGO���������WILL VARY WITH THE AMOUNT OF STRESS�� ������wUNDER WHICH AN EGO IS LABORING.���C�u@��j;�����FOR EXAMPLE, UNDER RELAXED CIRCUMSTANCES,���������A PERSON MAY BE ABLE TO USE HUMOR,���������WHICH MAY BE QUITE IMPOSSIBLE��WC�u@��X�����WHEN HE IS FEELING TENSE AND ANXIOUS, OBVIOUSLY.���������HOWEVER, THAT SITUATION IS MORE COMPLEX�� �����BECAUSE THERE ARE ALSO PEOPLE���C�u�炘^�����WHO CAN ONLY JOKE UNDER A CERTAIN DEGREE OF ANXIETY�� 蠣��� OR THREAT AND DEPRESSION.��bC�u�炫렿���ANYWAY, I SEE OUR TIME IS UP. I'LL SEE YOU TOMORROW.�� 蠩��� CLASS IS DISMISSED. THANK YOU.�� xC�u���}�����WHAT ABOUT TONIGHT?���������I TOLD YOU, RICHARD. I'M BUSY.��n�����mI THINK YOU'RE PREJUDICED.���C�u@���蠱���ONLY AGAINST BOORISH, ARROGANT PEOPLE.�� ������ �THEY'RE STUBBORN, THESE CHINESE,��ݠ�����BUT HARDLY BOORISH AND ARROGANT.���C�u@�� ^�����COME ON. HOW ABOUT A SWIM IN THE POOL?�� ������ �NOBODY THERE ABOUT NOW.��������xPLEASE TAKE NO FOR AN ANSWER.�� C�u��E������I'M SORRY, BUT I COULDN'T HELP OVERHEARING.���������YOU PUT HIM DOWN RATHER HARD, DIDN'T YOU?��3C�u��i������I CAN'T STAND HIM.��n������I DON'T KNOW WHY I EVER WENT OUT WITH HIM.���C�u���'�����HMM.���������ARE YOU SURE YOU'RE NOT UNDER ANY KIND OF STRAIN?���C�u���������TOO MUCH SCHOOLWORK OR SOMETHING?�� m������UH...��C�u���������I'M IN LOVE WITH YOU.�� �C�u���������[ GUNSHOT ]��X�����z[ GUNSHOTS ]�� lC�u��0L�����[ "HAWAII FIVE-O" THEME PLAYS ]�� C�u@��`Š����WHAT CALIBER, DOC?��W�����yIT APPEARS TO BE A SMALL BORE.��������KCAN'T BE ANY MORE SPECIFIC THAN THAT RIGHT NOW.�� �C�u��{�����HE WAS THE ONLY LINK. THEY MUST HAVE FOUND OUT�� ������ �WE HAD EVIDENCE TO TIE HIM IN WITH THEM,�� �C�u���������DECIDED THEY COULDN'T TRUST HIS LOYALTY.��ݠ�����LOOKS THAT WAY, BUT SOMETHING JUST DOESN'T GEL.�� C�u���٠����CHECK THE HIGH BOARD, DANNO. SEE IF IT'S WET.��w������WHAT ABOUT THE DISTANCE, DOC?���C�u@���N�����CAN'T TELL, BUT IT WASN'T SHORT.��y������NO BURNS.����ǡ�� mFROM THE ANGLE OF ENTRY, IT WOULD APPEAR IT CAME FROM ABOVE.�� AC�u��������UNLESS HE WAS DIVING, HAD HIS HEAD DOWN.���C�u@���֠����YOU FOUND THE BODY?��y������YES, SIR. I CAME IN TO GO SWIMMING.��Ҡá�� �AROUND THIS TIME OF DAY, YOU'RE PRETTY MUCH BY YOURSELF.�� �C�u�� x�����AND YOU HEARD NOTHING, SAW NO ONE?���������NO, SIR. JUST HIM.���C�u��&������STEVE...���������IT'S WET.���C�u��?c�����THEY COME UP WITH ANYTHING?�� ����� ANOT YET.���C�u��v������WHAT IS IT, STEVE?�� ������ �SOME KIND OF POWDER.��頸����COULD BE FACE POWDER. SMELLS LIKE A COSMETIC.���C�u���֠����WOULD A WOMAN HAVE BROUGHT A PURSE�� b����� �IF SHE PLANNED TO GO SWIMMING?�� +C�u���<�����THERE'S SOMETHING IN THE WATER DOWN THERE.���������CAN YOU GET IT FOR ME, PLEASE?�� �C�u��rw�����TAKE A LOOK.���C�u���������KAREN ADAMSON, 20 YEARS OLD,�� ܠ���� �CAUCASIAN, PSYCHOLOGY MAJOR WITH EXCELLENT GRADES,�� �C�u@���������CHEERLEADER, SORORITY QUEEN.�� @����� bCAME TO THE ISLANDS THREE YEARS AGO��6������WITH HER PARENTS MR. AND MRS. HAROLD ADAMSON�� WC�u��ȿ�����OF DETROIT, MICHIGAN.��X�����zPARENTS DIED.�� Ơ����bBOATING ACCIDENT, THREE YEARS AGO.�� �C�u���ܠ����LIVES ALONE IN AN APARTMENT ON KOHEO IN WAIKIKI.���������PERFECT PROFESSIONAL ASSASSIN���C�u@��� ����FOR A SPY RING.���������COULD BE THE BEST KIND. WE HAVE A SAYING --�� �����"THEY THAT SHOWS NO EVIL WILL BE SUSPECTED OF NONE."�� �C�u��������NOT SO FAR AS FIVE-O IS CONCERNED.�� Ơ���� �HA HA HA.�� �C�u��1������YOU KNOW, I FIND IT HARD TO BELIEVE THAT A PRO,��W�����xEVEN A LADY PRO,��XC�u@��E{�����WOULD DROP HER BAG AT THE SCENE���������AND LEAVE US SUCH CONVENIENT CLUES.�� ������BUT WHY ELSE WOULD SHE KILL HAN?���C�u@��\l�����MAYBE SHE FOUND OUT WHAT HE WAS�� �����+AND DIDN'T LIKE IT.��,����� xOR MAYBE SHE WAS IN LOVE WITH HIM��Ҡ����lAND HE DIDN'T LIKE HER.�� �C�u@��yࠦ���SURE. TYPICAL AMERICAN GIRL.���������SHE FALLS IN LOVE��ݠ���� �WITH A BRILLIANT, YOUNG, CHINESE MAOIST RADICAL,�� cC�u��������WHO'S INVOLVED IN A COMMIE SPY RING,��Ҡ�����THEN SHE SHOOTS HIM OUT OF UNREQUITED LOVE.�� �C�u@���à����THAT'S REACHING PRETTY FAR.��+�����LI AGREE.��-����� �YOU GOT TO GIVE ME SOMETHING BETTER.��������lWITHOUT HAN,���C�u@��������WE GOT NO CONNECTION TO THE ORGANIZATION.��Ҡ�����THAT'S OVER A MONTH'S WORK DOWN THE DRAIN.���������-I DON'T WANT TO BLOW THAT. -WANT ME TO PICK KAREN UP?�� yC�u@���J�����NO, NO, NOT YET.���������FIND OUT WHAT CLASSES THEY HAD TOGETHER.�� ������TALK TO HER TEACHERS, FELLOW STUDENTS, FRIENDS.�� xC�u@���ᠫ���PUT TOGETHER A COMPLETE DOSSIER.��+�����LGET ME SOMETHING MORE CONCRETE�������� �TO HOLD HER ON.���������IF SHE'S A PRO, WE DON'T WANT TO BLOW IT.�� �C�u�� l�����IF SHE'S NOT, IT WON'T HURT TO HOLD OFF.�� 砲��� I'VE NEVER HAD A MORE BRILLIANT STUDENT�� �C�u�� $\�����THAN RICHARD HAN.��Ӡ�����IT WAS A TRAGIC WASTE.��頰��� �DO YOU THINK HIS POLITICAL ACTIVITIES��6C�u�� 8������MIGHT HAVE HAD SOMETHING TO DO WITH HIS DEATH?��Ơ�����I FIND IT HARD TO BELIEVE���C�u@�� O������THAT ANYONE WOULD WANT TO KILL HIM���������FOR SELLING CHAIRMAN MAO'S LITTLE RED BOOKS�� �����OR CARRYING SIGNS PROTESTING THE WAR.��6C�u@�� k�����PEOPLE HAVE BEEN KILLED FOR A LOT LESS.���������I SUPPOSE SO.�������� �THERE ARE OTHER STUDENTS��M������FAR MORE RADICAL THAN RICHARD.���C�u�� �Р����HE WAS A MAOIST,��M�����nBUT HE WAS A DOVE AMONG HAWKS.�������� @IF ANYONE WANTED TO KILL HIM���C�u@�� �⠴���BECAUSE HE WAS RESENTFUL OF HIS POLITICS,���������IT MUST HAVE BEEN A VERY ARBITRARY CHOICE. REALLY.��ݠ�����CAN YOU THINK OF ANY OTHER REASON���C�u@�� �������HE MIGHT HAVE BEEN KILLED?��Ƞ�����I'VE TRIED.���������HAVEN'T BEEN VERY SUCCESSFUL.��,������YOU KNOW, DICK WAS LIKED BY ALMOST EVERYONE.�� �C�u@�� ������WHAT ABOUT WOMEN?���������WHAT ABOUT THEM?�������� �DID HE DATE MUCH?��N�����HOW WOULD I KNOW ABOUT THAT?�� �C�u@�� 摠����I TEACH PSYCHOLOGY, NOT SEX EDUCATION.�� W����� xDO YOU HAPPEN TO KNOW��������IF HE EVER TOOK OUT A GIRL NAMED KAREN ADAMSON?�� �C�u@�� 䠢���I'VE SEEN THEM TOGETHER.�� �����,YOU DON'T THINK KAREN WOULD BE INVOLVED IN THIS?�� @������WE DON'T KNOW.��C�u@�� ������I CAN'T REALLY BELIEVE SHE COULD BE A SUSPECT.�� ������ �WHY?��Ӡ�����WHAT CONCEIVABLE MOTIVE COULD SHE HAVE?�� C�u@�� 5������DOCTOR, WE HAVE GOOD REASON TO BELIEVE���������THAT KAREN ENTERED THE POOL AREA���������SHORTLY BEFORE HE WAS SHOT.��yC�u�� Mˠ����MAYBE SHE WENT SWIMMING.���������WEARING SHOES AND CARRYING A PURSE?�� �C�u@�� z�����TWO KIDS SAW HER NEAR THE POOL THAT MORNING.�� ����� *ONE SAW HER COME OUT IN A BIG HURRY��������@JUST ABOUT THE ESTIMATED TIME OF DEATH.���C�u@�� �������[ DOOR OPENS ]��+�����MHERE'S THE LAB REPORT ON THE POWDER DANNY GOT.�� ������IT'S THE SAME STUFF WE FOUND NEAR THE POOL.�� WC�u�� �}�����LET'S GO, DANNO.�� �C�u�� ⠝���[ TELEPHONE RINGS ]�� �C�u�� k������[ EERIE MUSIC PLAYING ]�� C�u�� 8堖���[ KNOCKING ]���C�u�� a������[ KNOCK ON DOOR ]�� �C�u�� �P�����[ KNOCKING ]�� �C�u�� ������NO!���C�u��G������[ TIRES SCREECH ]�� �C�u���U�����-[ HORN HONKING ] -[ Gasps ] MOM.�� Ơ���� �[ TIRES SCREECH ]��LC�u���-�����[ WHISTLE BLOWS ]�� �C�u��������[ SIREN WAILS ]���C�u��P������HOW BAD, DOC?��ޠ�����HAVE TO WAIT UNTIL WE GET TO THE HOSPITAL�� �������BEFORE WE CAN TELL.���C�u��e������MOM...MOM...��5�����VOH, NO.��+C�u��{5�����NO. OH, WHY'D YOU HAVE TO DIE?���C�u���;�����KAREN?��a������OH, NO.�� �C�u���x�����PLEASE DON'T.�� !����� BDON'T LET HIM HIT ME, PAUL.���C�u��ɫ�����I HATE HIM.�� 6����� WI HATE HIM.��M������KAREN, CAN YOU HEAR ME?���C�u��돠����OH, NO, PLEASE, STOP HIM, PAUL. STOP.���C�u��������[ Gasping ] DON'T LET HIM HIT ME.�� l����� �PAUL, HE'S...�� C�u��N�����HE'S NOT...MY DADDY.��x������HE'S NOT...���C�u��2������HE -- HE'S NOT...�������)PAUL?�� �C�u��N������DR. FARRAR?��,������[ Crying ] OH, GOD, WHERE ARE YOU?���C�u��qI�����MAMA!�� *����� KMAMA...���C�u���r�����MAMA...���C�u���~�����SHE JUST DIED, DIDN'T SHE, DOC?��x������YES.��!C�u���𠨡��OKAY, ONCE MORE FROM THE TOP.�� l����� �WITH FEELING?��6C�u���ՠ����BIRTH DATE?��M�����nJANUARY 7, 1944.�� n������YOUR FATHER WAS A FOREMAN WITH WHAT COMPANY?�� C�u@��������WHITEMAN PAPER COMPANY OF ILLINOIS.�������6HE WASN'T A FOREMAN. HE WAS A SALESMAN.��������ISN'T 26 A LITTLE OLD FOR AN UNDERGRADUATE?�� +C�u��3\�����I'M 25.�� ����� AWHY DID YOU LEAVE THE UNIVERSITY OF CHICAGO?��KC�u@��M �����HAWAII SOUNDED LIKE FUN,��c������AND I DECIDED I MIGHT AS WELL ENJOY MYSELF�� ������5WHILE COMPLETING MY REQUIREMENTS FOR A B.A.���C�u��e���WHY PSYCHOLOGY?��n������I HATE BUSINESS.�� A����� �WHY DIDN'T YOU MARRY YOUR FIANCé?���C�u��}�����HIS MAJOR WAS BUSINESS ADMINISTRATION.�� �����*WHAT IS IT, STEVE?��yC�u@���Ġ����YOU WORRIED ABOUT ME?�� Ơ���� �LOOK, I'M A POLICEWOMAN.�� B�����JI KNOW, I KNOW, BUT I JUST SAW A GIRL DIE.�� �C�u���������YEAH, I'M WORRIED. I ADMIT IT.�� 5����� WWON'T FIND ANYONE BETTER EQUIPPED FOR THE JOB.�� bC�u@��ʍ�����I MAJORED IN PSYCH.��Y�����zI KNOW. I'M NOT WORRIED ABOUT YOU, HONEY.��6����� �I'M WORRIED ABOUT WHAT I'M SENDING YOU INTO.�� �C�u��������IT SEEMS RELATIVELY SIMPLE.�� L����� nFARRAR WAS IMPLICATED BY KAREN���C�u@���������JUST BEFORE SHE DIED.���������ALL I'VE GOT TO FIND OUT IS IF HE WAS INVOLVED,�� L�����AND IF SO, HOW.�� �����JWHAT'S SO COMPLICATED ABOUT THAT?�� bC�u@��]�����WHAT DO YOU THINK, DANNO?���������AS FAR AS I CAN SEE,��蠷��� �KAREN SHOT HAN OUT OF JEALOUSY OR REJECTION.�� C�u@��.d�����HIS INVOLVEMENT WITH THE SPY RING��,�����MWAS PROBABLY JUST COINCIDENCE.��y����� �SHE DIDN'T KNOW ANYTHING ABOUT IT.���C�u@��C?�����DANNY COULD BE RIGHT.���������THAT DEPENDS ON HOW COMPLICATED FARRAR IS.�� ������lHE WAS A PROFESSOR OF ORIENTAL PSYCHOLOGY IN EUROPE�� �C�u@��_f�����BEFORE HE JOINED THE U.N. FORCES IN THE KOREAN ACTION.�� ����� 5CAPTURED BY NORTH KOREA, SPENT THREE YEARS --�� �C�u��vV�����THREE YEARS AS A P.O.W.��M�����nWHAT DOES THAT MEAN?�������� AWELL...�� �C�u��������YOU DON'T LIKE IT, STEVE, BUT I DO.�� b����� �I'M FASCINATED BY THE IDEA OF GOING BACK TO SCHOOL.���C�u���頪���OKAY, OKAY, ON ONE CONDITION --�� 砯��� THAT YOU TAKE ABSOLUTELY NO CHANCES.�� �C�u���������ONLY ONE THING BOTHERS ME.�� 󠖡�� WHAT'S THAT?��6�����lI DON'T HAVE A THING TO WEAR.�� �C�u@���������MOOD IS PROBABLY ONE OF THE VAGUEST TERMS�� b����� �USED IN PSYCHOLOGY.���������NOW, CAN ANYONE GIVE US AN ADEQUATE DESCRIPTION?���C�u@��������IT'S A TEMPORARY STATE OF MIND.���������THAT'S JUST AS VAGUE.�� ������xMOOD IS A COMPLEX STATE OF FEELING.�� �C�u��4堖���ANYONE ELSE?���������MOOD IS AN ENDURING, BUT NOT PERMANENT,��5C�u@��K �����EMOTIONAL ATTITUDE.��y������THAT IS VERY GOOD. EXCUSE ME, WHAT IS YOUR NAME?�� �������BENNETT. JOYCE BENNETT.���C�u��e栥���YOU KNOW, I MUST APOLOGIZE.��n������THAT'S ABOUT THE SECOND TIME I'VE FORGOTTEN THAT.�� 6������THIRD.���C�u��~������WELL, WE'LL BE WORKING ON MEMORY NEXT WEEK.��ܠ�����[ LAUGHTER ]�� �C�u���������ANYWAY, I SEE THE TIME IS ABOUT UP.���������CLASS IS DISMISSED. THANK YOU.���C�u��LV�����THEY SAY, DR. FARRAR, THE SEA IS MOTHER TO US ALL.�������@IF THIS IS TRUE,��C�u��c̠����THEN TODAY SHE DESERVES A SPECIAL COMMENDATION.��@�����bWHAT ARE YOU SAYING?���C�u��yԠ����CONGRATULATIONS.��󠙡��IT WASN'T EASY.���������NOTHING WORTHWHILE EVER IS.���C�u���������STILL, I HAVE THE UNCOMFORTABLE FEELING�� ������ �THIS THING ISN'T OVER YET.��������VYOU'RE QUITE RIGHT.���C�u@��ƺ�����THERE'S NO WAY FOR THE POLICE���������TO CONNECT US TO WHAT HAPPENED.��ݠ���� �AS A PSYCHOLOGIST, I'M SURPRISED THAT���C�u��䓠����YOU DON'T LOOK BEYOND THE CIRCUMSTANTIAL.�������)WE ARE FACING AN ENEMY���C�u���������WHOSE RELENTLESSNESS IS A CONSTANT THREAT.�� Ơ���� �THE CASE IS CLOSED.���C�u��t�����OH, IS IT?�� �����,I DON'T SHARE�������� BYOUR OPTIMISM, DOCTOR.��+������I THINK THAT'S EXACTLY���C�u��'ՠ����WHAT STEVE McGARRETT WANTS US TO THINK.�� w����� �WHAT ARE YOU SAYING?��m�����(MANY THINGS...���C�u��?񠺡��ONE OF WHICH IS THAT MY INFORMANTS HAVE LEARNED��ܠ�����THAT A YOUNG POLICEWOMAN��6C�u��TF�����IS NOW A MEMBER OF ONE OF YOUR CLASSES.���������A MISS JOAN -- JOYCE BENNETT.��C�u��wV�����JOYCE BENNETT A POLICEWOMAN?�� ����� @McGARRETT'S INSTRUMENT, WITH WHICH TO PROBE.���C�u@���������AND IN THIS CASE, PERHAPS, A DOUBLE-EDGED SWORD.���������ELIMINATING MISS BENNETT WILL NOT SOLVE OUR PROBLEM,���C�u���k�����ONLY POSTPONE IT.��o������YOU SEE, GIVEN ENOUGH TIME, McGARRETT WILL DESTROY US��KC�u���g�����UNLESS WE DESTROY HIM FIRST.��Ǡ�����KILL McGARRETT?��Ǡ���� �WE CAN LET THE YOUNG LADY DO IT FOR US.��C�u���x�����BUT AS YOU SAID, JOYCE BENNETT IS...��4�����VNOT JUST A GIRL LIKE KAREN.�� �C�u@�������SHE'S A POLICEWOMAN.���������THE VERY FACT THAT SHE IS THERE��󠬡���INDICATES THEY ARE SUSPECTING ME.���C�u��7�����I HAVE TOTAL CONFIDENCE IN YOUR ABILITY.��l������YOU CAN CHARM THIS JOYCE BENNETT, CAN'T YOU?��KC�u��=0�����WIN HER TRUST?��N�����oI THINK I CAN, BUT THAT'S NOT THE PROBLEM.��5������OH?���C�u��Y7�����THE PROBLEM, MR. WO FAT,��Ơ�����IS THAT HYPNOSIS IS NOT AN EXACT SCIENCE.�� �C�u��|�����WHEN YOU WERE A PRISONER OF WAR,�� 񠡡��YOU WERE TRAINED BY ME.��cC�u���������I TAUGHT THAT HYPNOSIS IS AN INSTRUMENT.��������AN INSTRUMENT IS ONLY AS EXACT���C�u���������AS THE APPLICATION OF THE APPLIER.�� L����� mYOU ARE MY MOST BRILLIANT STUDENT,��wC�u���������A DISCIPLE.��蠮��� IF ANYONE CAN DO IT, YOU CAN DO IT.�� *C�u���󠢡��CONSIDER IT A CHALLENGE,�� ������ �FOR WHICH OUR SUPERIORS���C�u@���i�����WILL OWE YOU THEIR UNDYING RESPECT.�� b����� �UNDERSTAND?��������KYOU'RE GOING TO BE IN PEKING WHILE I AM --���C�u�� ������WHILE YOU, DR. FARRAR,�� �����,TRANSFORM MISS BENNETT�� �����aINTO A BULLET FOR McGARRETT.��C�u@���a�����HI, PROFESSOR.��,�����M-HI. HOW ARE YOU? -JUST FINE, THANKS.�������� *-HOW ARE YOU? -COULDN'T BE BETTER.�������K-SAY HELLO TO YOUR MOTHER. -SURE WILL.�� @C�u��K ����HI.���������MAY I JOIN YOU?��7����� -PLEASE DO. -THANK YOU.�� C�u��a�����I'VE BEEN FEELING VERY LONELY.���������I WAS HESITANT COMING OVER BEFORE.�� 򠎡���WHY?��CC�u@��wJ�����I THINK IN ANY KIND OF RELATIONSHIP,���������RESPECT FOR ONE ANOTHER'S PRIVACY���������IS A PRIME CONSIDERATION.��C�u���0�����DO YOU FEEL WE HAVE A RELATIONSHIP?�� 󠜡�� YES, I SOMEHOW DO.�������JTHE MINUTE YOU CAME INTO CLASS,���C�u���n�����I...FELT THAT THERE WAS SOMETHING.�� 󠯡�� SURE. YOU COULDN'T REMEMBER MY NAME.�� 6C�u���٠����[ LAUGHS ]��m������NAMES AREN'T VERY IMPORTANT, MY DEAR.�� *C�u��ӳ�����EYES ARE.���������HANDS ARE IMPORTANT.���C�u��������YOU'RE LEFT-HANDED.��W�����xHOW VERY OBSERVANT OF YOU. [ CHUCKLES ]�� AC�u@�����ơ��YOU KNOW THAT ONE CAN ACTUALLY TELL QUITE A BIT FROM HANDS.�� b�ġ�� �YOU CAN READ THE PSYCHOLOGICAL IMPLICATIONS QUITE EASILY.�� �C�u@��,�����THEY SPEAK THE ELOQUENT LANGUAGE�� ������ �IN THE MORSE CODE OF THE SUBCONSCIOUS.���������CAN YOU TELL MY FORTUNE, TOO?�� �C�u@��3�����[ CHUCKLES ]��ޠ����THE FUTURE OUGHT TO REMAIN A SURPRISE.���������IT IS FROM OUR PAST THAT WE LEARN ABOUT OURSELVES.�� 6C�u��M������I'M AFRAID YOU'D FIND MINE VERY DULL.�� ������ �DON'T BE TOO SURE ABOUT THAT.��VC�u��i��ʡāYOU WILL BE SURPRISED HOW MANY PEOPLE HAVE SIMPLY FORGOTTEN IT.��JC�u���������TRY THESE. THINK IT THROUGH.��M�����nTAKE YOUR TIME, KIDDO. WE GOT TO BE SURE.���C�u���à����THIS SORT OF LOOKS LIKE HIM.�� b����� �UH, I'M NOT SURE.�� LC�u��j�����IT'S HIM.���������YOU SURE THIS IS THE MAN WHO GOT YOU TO BUY THAT GUN?���C�u��9������THAT'S HIM.��YC�u��R������CONTACT JOYCE. I WANT HER OFF THE CASE RIGHT NOW.�� �C�u��j[�����JENNY...��Ƞ�����GET ME DR. ABRAHAMS --���������STAFF PSYCHIATRIST, ISLAND HOSPITAL --�� �C�u���򠕡��RIGHT AWAY.���������[ EERIE MUSIC PLAYING ]���C�u��� ����YOU LIKE THE MUSIC?���������I'M NOT SURE.���������YOU WILL, ONCE YOU GET USED TO IT.�� C�u���������IT MAKES ME THINK OF MEN ON THE MOON.�� ������ �IT'S A WHOLE NEW WORLD OF SOUND.�� �C�u@����š��I HAVE OFTEN USED IT IN CLASS TO CREATE A PARTICULAR MOOD.��L�����mWHAT KIND OF MOOD ARE YOU TRYING TO PUT ME IN?���C�u���A�����RELAXED AND COMFORTABLE.�� !����� BWELL, YOU'VE ACCOMPLISHED YOUR OBJECTIVE, DOCTOR.��lC�u�� �����I FEEL DIVINE.�� M������MMM, THAT TASTES GOOD.�� �C�u��)������TELL ME SOMETHING --�� ������ �DID YOU EVER TAKE KAREN ADAMSON OUT?�� �C�u��BT�����KAREN ADAMSON. HMM.�� m����� �SHE WAS A CHILD.�� �C�u��[������A LOVELY WITCH CHILD, BUT A CHILD NEVERTHELESS.���������I IMAGINE SHE MUST HAVE BEEN VERY MUCH IN LOVE��WC�u��z堠���WITH THAT CHINESE BOY.��M�����oI'D RATHER TALK ABOUT YOU,�� ܠ����lABOUT WHEN YOU WERE A LITTLE GIRL.��lC�u���ߠ����I WAS VERY SENSITIVE AND SHY.��5�����VI'M MOSTLY INTERESTED IN THAT MAN,�� �C�u���T�����THAT MAN YOU SAID YOUR MOTHER ALMOST MARRIED��@�����bAFTER THE DEATH OF YOUR FATHER.���C�u��͈�����WHAT MAKES YOU SO INTERESTED IN HIM?�� W����� xI JUST DETECTED A CERTAIN TONE IN YOUR VOICE��wC�u��瘠����WHEN YOU MENTIONED HIM IN EARLIER DISCUSSIONS.�� ������ �HE MUST HAVE HAD QUITE AN EFFECT ON YOU�� mC�u���נ����TO STILL BE DISTURBED BY HIM.�������6YES, I SUPPOSE THAT'S TRUE.�� 6C�u��d�����HE WAS VERY CRUDE, DRANK A LOT.���������I COULDN'T STAND HIM.��yC�u��(������BUT MOTHER WAS LONELY, I GUESS.�� ������ ANY COMPANY WAS BETTER THAN NO COMPANY AT ALL,�� *C�u��B�����SHE USED TO SAY.��Ҡ�����OHH, I SUDDENLY FEEL SO SLEEPY.�� 研����EXCUSE ME.��cC�u��W������IT'S THE WINE AND THE MUSIC, MY DEAR.�� 5����� WYES, I GUESS SO.�� C�u��l&�����SO YOU DIDN'T LIKE HIM?�������@THE MAN.�� �C�u��� �����WAS HE KIND TO YOUR MOTHER?��!�����BKIND? HE BEAT HER UP ONCE.���C�u���=�����I'D ALMOST FORGOTTEN HOW IT --��������LET'S TALK ABOUT SOMETHING ELSE.��kC�u���頪���I CAN HARDLY KEEP MY EYES OPEN.�������(YOU CAN RELAX WITH ME, JOYCE.�� 5C�u���h�����YOU CAN FEEL CONFIDENT.�� 蠵���YOU KNOW, I THINK WE ARE MORE THAN JUST...���C�u�� �����STUDENT AND TEACHER.���������I THINK WE ARE FRIENDS.��yC�u�� h�����ANYWAY, JUST CLOSE YOUR EYES��z������AND LISTEN TO THE MUSIC.���C�u��;!�����LISTEN AND RELAX.�� �C�u��O������THE DARKNESS IS WARM AND PEACEFUL,���������AND YOU WANT TO GO TO SLEEP.���C�u��pp�����TO SLEEP.�� b����� �BUT YOU CAN STILL HEAR MY VOICE,�� LC�u���a�����CAN'T YOU, JOYCE?��������YES.��M����� �YES.��+������YOU WANT TO TELL ME ABOUT THE MAN YOU HATE,���C�u���8�����THE ONE THAT YOUR MOTHER LIKED.�� ����� +YES.��ݠ����)THEN LET'S REALLY REMEMBER HIM.�� C�u��ʢ�����LET'S GO BACK THROUGH THE YEARS,���������THROUGH TIME.�� �C�u���C�����LET'S GO BACK.��,�����MBACK...�� �C�u��Π����YOU WILL OPEN YOUR EYES WHEN I COUNT TO THREE,��JC�u��9�����BUT YOU WILL STILL BE ASLEEP AND HEARING MY VOICE.���C�u��2@�����1...�� Ǡ���� �2...��W�����a3.���C�u��Vࠦ���LOOK INTO THE MIRROR, JOYCE.��Ơ�����LOOK DEEP INTO THE MIRROR, JOYCE.�� �C�u��q������YOU WILL SEE YOURSELF��W�����yAS WE GO BACKWARD THROUGH TIME,�� ������)AND NOW WE ARE GOING BACK.�� �C�u���������YOU'RE 20 YEARS OLD.�� +����� MDO YOU SEE YOURSELF AT 20, JOYCE?���C�u���u�����AND NOW YOU ARE 13 YEARS OLD.��4�����VYOU'RE LIVING WITH YOUR MOTHER.�� �C�u���Ƞ����YOU CAN SEE YOUR MOTHER, CAN'T YOU, JOYCE?��K�����lYES, I SEE HER.�� C�u���`�����YES. THERE'S A MAN COMING TO THE HOUSE,��x������ISN'T HE, JOYCE?��M�����YES, HE'S COMING.���C�u��:�����YES.���������SOON YOU WILL BE SEEING THE MAN WHOM YOU HATE, JOYCE.��C�u��1t�����THERE HE IS.���������LOOK AT HIM...��C�u��IԠ����...THE MAN WHO HURT YOUR MOTHER.�� +����� LTHE MAN YOU HATE, JOYCE.�� mC�u��^������LOOK AT HIM.��n������LOOK AT HIS FACE.��ݠ�����LOOK AT HIS EYES, LOOK AT HIS NOSE,�� �C�u��z.�����LOOK AT HIS MOUTH.���������LOOK AT HIM.���������WE WERE WORRIED ABOUT YOU, JOYCE.��WC�u���W�����WORRIED? WHY?��W�����xWE KEPT CALLING. YOU WEREN'T HERE.��6������I JUST GOT HOME.���C�u���;�����WHERE WERE YOU?�� ݠ���� �WITH DR. FARRAR.���C�u@���������THIS LATE?��8�����YWE SPENT THE DAY ON THE BEACH.�� *������AREN'T YOU WORKING OVERTIME ON THIS CASE, JOYCE?��KC�u��������IT WASN'T WORK. IT WAS FUN.�� ����� +JOYCE, THERE ARE SOME THINGS ABOUT DR. FARRAR���C�u@�� M�����THAT YOU DON'T KNOW.��X�����yI KNOW WE WERE WRONG IN SUSPECTING HIM�� ������OF BEING IMPLICATED IN ANY CRIME.���C�u�� =�����WHAT MAKES YOU SO SURE?��頛��� STEVE, I'M TIRED.��Ǡ���� �CAN'T WE DISCUSS THIS TOMORROW?��xC�u�� -ʠ����SURE, SURE. BUT I'M TAKING YOU OFF THE CASE.��ܠ�����TAKING ME OFF? WHY?���C�u@�� D������WE THINK THAT FARRAR��M�����oMAY HAVE HYPNOTIZED KAREN ADAMSON INTO KILLING HAN.�� Ơ����WYOU CAN'T BE SERIOUS.���C�u@�� \������I'M DEAD SERIOUS.��������HE BOUGHT THE GUN THAT KILLED HAN.�������� �THAT'S PRETTY INCRIMINATING.��M�����VHE BOUGHT THE GUN THAT KILLED HAN.��nC�u@�� u������DID YOU HEAR ME?��M�����oHE'S TAUGHT ORIENTAL PSYCHOLOGY.�������� LHE SPENT THREE YEARS WITH THE COMMUNISTS AS A P.O.W.��C�u@�� ������HE'S WRITTEN BOOKS ON HYPNOTISM AND MESMERISM.�� 6����� WIS THAT PRETTY GOOD?��A������IT DOESN'T MAKE ANY SENSE.���C�u�� �������DOESN'T IT? KAREN ADAMSON IS DEAD.���������NOW, SHE HAD NO APPARENT REASON FOR KILLING HAN.���C�u@�� ������SHE WAS HYSTERICAL, AND SHE TALKED ABOUT FARRAR.�� ����� +YOU CAN'T HYPNOTIZE SOMEONE TO COMMIT MURDER.�� �����kIT DOESN'T WORK THAT WAY.��oC�u@�� ������WE DON'T KNOW HOW IT WORKS.���������SO FAR, IT'S THE ONLY EXPLANATION.��+����� NOW UNTIL I FIND OUT FOR SURE,��������@I WANT YOU TO KEEP AWAY FROM FARRAR.��xC�u@�� �蠳���YOU CAN'T ORDER ME TO STAY AWAY FROM HIM�� a����� �ON MY OWN TIME.��������VJOYCE, I HOPE IT'S NOT NECESSARY���C�u@�! ������TO ORDER YOU TO DO ANYTHING.��������NOW, HE'S A DANGEROUS MAN.���������YOU'RE THE ONE WHO'S DANGEROUS!���C�u��!"������WHAT'S THE MATTER WITH YOU?�� ������ �LET GO OF ME! LET GO!��!C�u��!Sq�����I-I'M SO SORRY, STEVE.�� ������ �I MUST BE TIRED.��n�����?I DON'T KNOW WHAT'S GOTTEN INTO ME.��xC�u��!tJ�����YOU'RE OFF THE CASE, YOU UNDERSTAND THAT?���C�u��!�������YOU'RE NOT TO SEE FARRAR UNDER ANY CIRCUMSTANCES.�� +����� LNOW THAT'S AN ORDER.��X������A-OKAY, BOSS.���C�u��!�������DON'T WORRY, I'LL LOCK MY DOOR�� 蠣��� SO SVENGALI WON'T GET ME.�� �C�u��"%������THERE'S GOT TO BE AN ANSWER.���������ALL RIGHT, DOCTOR,��c����� 6LET'S GO OVER IT ONCE MORE, HUH?�� �C�u@��"=������COULD KAREN HAVE BEEN HYPNOTIZED TO MURDER?��@�����bI TOLD YOU, STEVE,��!������THAT'S IMPOSSIBLE TO ANSWER.���C�u��"W5�����I DIDN'T HAVE A CHANCE TO EXAMINE THE GIRL.���������IS IT POSSIBLE FOR ANYBODY TO BE HYPNOTIZED TO KILL?�� C�u@��"kG�����THAT'S ALL I WANT TO KNOW.���������IT'S UNLIKELY.��頠����WHAT ABOUT REGRESSION?��頽��� �COULD ONE PERSON BE MADE TO KILL ANOTHER THAT WAY?��C�u@��"�M�����REGRESSION IS AN APPROACH TO THE PAST�� Ǡ���� �THROUGH THE UNCONSCIOUS.���������BY REGRESSING A PATIENT THROUGH HYPNOTISM,�� 5C�u@��"�_�����A DOCTOR CAN GET TO THE SOURCE OF A PROBLEM��ܠ�����THAT STILL HANGS ON FROM CHILDHOOD.���������BUT HOW COULD A HYPNOTIST USE THAT�� @C�u��"�������TO COMPEL SOMEONE TO KILL?��蠳��� WELL, A CHILD'S SENSE OF RIGHT AND WRONG��JC�u@��"������IS QUITE DIFFERENT FROM AN ADULT'S.�� 󠣡�� A HYPNOTIST MIGHT DRAG UP�� �����?SOME CHILDHOOD TRAUMATIC SITUATION,�� �C�u@��"�-�����RE-CREATE IT FOR THE ADULT,��d������CAUSING HIM TO TRANSFER HIS HOSTILITY.�� ������YEAH? TRANSFER IT TO WHOM?�� C�u��#4�����TO SOMEONE THE HYPNOTIST TELLS HIM IS THE SAME ONE�� ������ �WHO WAS THE CAUSE OF HIS PAIN ORIGINALLY.�� �C�u��##������BUT THE HYPNOTIST WOULD HAVE TO TELL HIM, RIGHT?�� ������ �RIGHT.��+C�u��#9������ALL RIGHT, DOCTOR.��6�����XJUST ONE MORE QUESTION.��Ǡ���� @IS IT POSSIBLE FOR SOMEONE TO BE HYPNOTIZED�� C�u��#Si�����WITHOUT THEIR KNOWING IT?���������NOT KNOWING IT? NO.��6�����)WITHOUT REMEMBERING IT, YES.�� �C�u��#v�����THANK YOU, DOCTOR.��6�����X[ TELEPHONE RINGS ]�� �C�u��#������[ EERIE MUSIC PLAYING ]���������HELLO?��WC�u��#�נ����JOYCE?�� �����AJOYCE, THIS IS DR. FARRAR.��X������CAN YOU HEAR ME?���C�u��#�X�����YES.���������GOOD.��ޠ���� �NOW, LISTEN VERY CAREFULLY TO ME.��)C�u��$t�����YOU WILL DO EXACTLY AS I INSTRUCT YOU TO.�� ������ �Do you understand that?���C�u��$ �����YES, I UNDERSTAND.��X�����yGood. Are you dressed, Joyce?�� +������NO.���C�u��$0w�����THEN YOU WILL GET DRESSED NOW,��������AND YOU WILL COME OVER TO MY CLASSROOM.���C�u��$H0�����DO YOU UNDERSTAND THAT?��y������I understand.��������WGOOD. YOU MAY GO NOW, JOYCE.��C�u��$rk�����[ TELEPHONE BUZZES ]��b������McGARRETT.��+����� �JOYCE? WHERE ARE YOU?�� MC�u��$�������WHERE?��n�á���WHERE? NOW, LOOK, HONEY, I TOLD YOU TO STAY AWAY FROM --���C�u��$�6�����[ CLICK ]�������!WHAT HAPPENED?���������SHE HUNG UP.��XC�u��$�_�����WHERE IS SHE?��*�����KSHE'S UP AT THE UNIVERSITY.��N����� �SHE ASKED ME TO COME THERE ALONE.���C�u@��$�젚���ALONE? WHAT FOR?��+�����MSHE DIDN'T SAY. SHE JUST ASKED ME TO COME ALONE.��n����� �YOU SURE IT WAS HER?��Ƞ�����OH, YEAH, IT WAS HER.�� C�u@��$�򠡡��STEVE, I DON'T LIKE IT.���������REMEMBER KAREN ADAMSON?�������� �I'VE GOT TO GO.��Ҡ�����SHE SOUNDED LIKE SHE NEEDED HELP.���C�u@��$�F�����IT COULD BE A SETUP. WHY RISK IT?�� +����� MWE COULD ALL GO IN THERE AND --��󠿡��bAND WHAT? IF IT IS A SETUP, THAT WOULD ONLY BLOW IT.���C�u@��%L�����YOU HEARD WHAT DR. ABRAHAMS SAID.���������IF WE SHAKE HER UP TOO MUCH,��6�����SHE COULD SUFFER POST-HYPNOTIC TRAUMA,��+C�u@��%,������SHOCK, COMPLETE BREAKDOWN.���������IT'S COMPLICATED STUFF WE'RE DEALING WITH, DANNO.�� �����FARRAR MIGHT BE WALKING AROUND IN HER MIND.�� �C�u��&������JOYCE?�� C�u��&&E�����JOYCE?�� �C�u��&�N�����[ JOYCE SOBBING ]��C�u��'C������JOYCE.���������JOYCE, WHAT'S THE MATTER?�� 󠏡���EASY.���C�u��'[������OHH, STEVE.��7�����YEASY, EASY, EASY.�������� +ARE YOU ALL RIGHT?���C�u��'q������HUH?��6�����XSTEVE, WHAT HAPPENED? WHAT AM I DOING HERE?���C�u��'� �����PLEASE, EASY. TAKE IT EASY.��A�����cI'LL EXPLAIN LATER. COME ON.��c����� �LET'S GET OUT OF HERE.�� �C�u��'�G�����EASY, EASY.�� �C�u��(i������JOYCE, JOYCE, WHAT IS IT?�� �����+GET BACK IN THE CAR.��cC�u��(�������JOYCE, PUT THAT DOWN.�� AC�u��(�'�����PUT IT DOWN, JOYCE.���C�u��(�������NO, DON'T!��+�����MUGH!��������4[ GUNSHOT ]��MC�u��(�@�����[ GUNSHOT ]��X������UNH.���C�u��) ������[ LEAVES RUSTLING ]�� +C�u��)|Š����JOYCE. JOYCE, LISTEN TO ME.�� 򠞡��THIS IS YOUR CHANCE.�������JTHIS IS YOUR CHANCE TO KILL THE MAN�� AC�u@��)�q�����WHO IS TRYING TO KILL YOUR MOTHER.���������DON'T LET HIM DO IT. DON'T LET HIM KILL HER.�� �����KILL THE MAN, JOYCE. KILL HIM.���C�u��*� �����KILL THE MAN, JOYCE.��c������KILL HIM.��頞��� �THIS IS YOUR CHANCE.��BC�u��+ �����[ GRUNTING ]�� C�u��+�@�����[ GUNSHOT ]�� �C�u��+�������JOYCE.���������[ CLICK ]��Ơ���� �[ CLICK ]��Ƞ����vJOYCE, IT'S EMPTY.��BC�u��,������[ CLICKING ]���������NO ONE'S GOING TO HURT YOU, JOYCE.��ݠ���� �YOU STAY AWAY!�� �C�u��,-�����JOYCE, PUT IT AWAY.�� ������ �OH, PLEASE.��B�����)IT'S STEVE, JOYCE.�� LC�u��,J������MOTHER!��n������JOYCE.��,����� �EASY, EASY.��)C�u��,lҠ����EASY.��6�����XEASY.��󠞡��lJOYCE, LISTEN TO ME.��nC�u��,�Π����LISTEN TO ME, HONEY. IT'S STEVE.��x������YOU'RE NOT A CHILD ANYMORE.�� �C�u��,�p�����YOU'RE NOT A CHILD.��+�����LCAN YOU HEAR ME?��ޠ���� LYOU'RE NOT A CHILD ANYMORE.�� �C�u��,�l�����YOU'RE A WOMAN, JOYCE.��y������DO YOU UNDERSTAND?��������lYOU'RE NOT A CHILD. YOU'RE A WOMAN.�� �C�u��,Ӈ�����YOU'RE A WOMAN.��z������YOUR MOTHER IS NOT HERE.��y�����5NO ONE IS HERE EXCEPT YOU AND ME.�� +C�u��,� �����EASY.�������ALOOK AT ME. LOOK AT ME.�� �������IT'S STEVE.���C�u��-������I'M RIGHT HERE WITH YOU.��,������[ SMOOCHES ]�� �����)EVERYTHING IS GONNA BE ALL RIGHT.�� C�u��-%�����NO ONE IS GONNA HURT YOU.��n������NO ONE IS GONNA HURT YOU. NO ONE.�� bC�u��-91�����YOU'LL BE ALL RIGHT.�� L����� mCOME ON, NOW.���C�u��-L������THAT'S IT. 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