All language subtitles for Hawaii.Five-O.S02E06.A.Bullet.for.McGarrett.1080p.AMZN.WEB-DL.DDP2.0.H.264-NTb
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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�X Da� �ғv s���mi8ܮ��K�e�1`T�k���ׁsňǧ���K�̓��� �� ��S_TEXT/UTF8"���en�D) C�u�� u����� SO YOU CAN SEE THAT STUDIES�� A����� b ON INDIVIDUAL FLUCTUATIONS
IN THIS AREA,��
�C�u��4ʠ���� TOGETHER WITH EGO CHANGE,
COULD ALSO BE PERTINENT.��5�����W WE CAN FURTHER POINT OUT
THAT THE CAPACITY���C�u@��O栤��� AND THE SERVICE OF THE EGO��������� WILL VARY WITH
THE AMOUNT OF STRESS�� ������w UNDER 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�����m I 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.��������x PLEASE 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�����y IT APPEARS TO BE
A SMALL BORE.��������K CAN'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��
m FROM 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?�� ����� A NOT 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.�� @����� b CAME TO THE ISLANDS
THREE YEARS AGO��6������ WITH HER PARENTS
MR. AND MRS. HAROLD ADAMSON��WC�u��ȿ����� OF DETROIT, MICHIGAN.��X�����z PARENTS DIED.�� Ơ����b BOATING 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�����x EVEN 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.��,�����x OR MAYBE SHE WAS
IN LOVE WITH HIM��Ҡ����l AND 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@������ THAT'S REACHING PRETTY FAR.��+�����L I AGREE.��-������ YOU GOT TO GIVE ME
SOMETHING BETTER.��������l WITHOUT 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.��+�����L GET 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�� ����� HE WAS A MAOIST,��M�����n BUT 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�����x DO 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 ]��+�����M HERE'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�����V OH, NO.��+C�u��{5����� NO. OH, WHY'D YOU
HAVE TO DIE?���C�u���;����� KAREN?��a������ OH, NO.���C�u���x����� PLEASE DON'T.�� !����� B DON'T LET HIM HIT ME, PAUL.���C�u��ɫ����� I HATE HIM.��6�����W I 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!��
*�����
K MAMA...���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�����n JANUARY 7, 1944.��
n������ YOUR FATHER WAS A FOREMAN
WITH WHAT COMPANY?��
C�u@�������� WHITEMAN PAPER COMPANY
OF ILLINOIS.�������6 HE WASN'T A FOREMAN.
HE WAS A SALESMAN.�������� ISN'T 26 A LITTLE OLD
FOR AN UNDERGRADUATE?��
+C�u��3\����� I'M 25.�� ����� A WHY DID YOU LEAVE
THE UNIVERSITY OF CHICAGO?��KC�u@��M ����� HAWAII SOUNDED LIKE FUN,��c������ AND I DECIDED I MIGHT
AS WELL ENJOY MYSELF��
������5 WHILE COMPLETING
MY REQUIREMENTS FOR A B.A.���C�u��e��� WHY PSYCHOLOGY?��n������ I HATE BUSINESS.�� A�����
� WHY DIDN'T YOU MARRY
YOUR FIANC���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�����J I KNOW, I KNOW,
BUT I JUST SAW A GIRL DIE.���C�u��������� YEAH, I'M WORRIED.
I ADMIT IT.��5�����W WON'T FIND ANYONE
BETTER EQUIPPED FOR THE JOB.�� bC�u@��ʍ����� I MAJORED IN PSYCH.��Y�����z I 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�����
n FARRAR 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.��
�����J WHAT'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��,�����M WAS 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.��������l HE WAS A PROFESSOR
OF ORIENTAL PSYCHOLOGY IN EUROPE���C�u@��_f����� BEFORE HE JOINED THE U.N. FORCES
IN THE KOREAN ACTION.�������5 CAPTURED BY NORTH KOREA,
SPENT THREE YEARS --���C�u��vV����� THREE YEARS AS A P.O.W.��M�����n WHAT DOES THAT MEAN?��������A WELL...�� �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�����l I 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.�� ������x MOOD 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.��@�����b WHAT 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.��������V YOU'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�������� B YOUR 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�����V NOT 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�����o I 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�����
m YOU 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?��������K YOU'RE GOING TO BE IN PEKING
WHILE I AM --���C�u��
������ WHILE YOU, DR. FARRAR,��
�����, TRANSFORM MISS BENNETT�������a INTO 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.�������J THE 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�����x HOW 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��ʡā YOU WILL BE SURPRISED HOW MANY
PEOPLE HAVE SIMPLY FORGOTTEN IT.��JC�u��������� TRY THESE.
THINK IT THROUGH.��M�����n TAKE YOUR TIME, KIDDO.
WE GOT TO BE SURE.���C�u������ 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�����m WHAT KIND OF MOOD
ARE YOU TRYING TO PUT ME IN?���C�u���A����� RELAXED AND COMFORTABLE.�� !����� B WELL, 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�����o I'D RATHER TALK ABOUT YOU,��ܠ����l ABOUT WHEN YOU
WERE A LITTLE GIRL.��lC�u���ߠ���� I WAS VERY SENSITIVE
AND SHY.��5�����V I'M MOSTLY INTERESTED
IN THAT MAN,���C�u���T����� THAT MAN YOU SAID
YOUR MOTHER ALMOST MARRIED��@�����b AFTER THE DEATH
OF YOUR FATHER.���C�u��͈����� WHAT MAKES YOU
SO INTERESTED IN HIM?��W�����x I 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.�������6 YES, 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�����W YES, I GUESS SO.�� C�u��l&����� SO YOU DIDN'T LIKE HIM?�������@ THE MAN.���C�u���
����� WAS HE KIND TO YOUR MOTHER?��!�����B KIND?
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.��,�����M BACK...���C�u������ 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�����a 3.���C�u��Vࠦ��� LOOK INTO THE MIRROR, JOYCE.��Ơ����� LOOK DEEP INTO
THE MIRROR, JOYCE.��
�C�u��q������ YOU WILL SEE YOURSELF��W�����y AS WE GO BACKWARD
THROUGH TIME,��
������) AND NOW WE ARE GOING BACK.��
�C�u��������� YOU'RE 20 YEARS OLD.��
+�����
M DO YOU SEE YOURSELF
AT 20, JOYCE?���C�u���u����� AND NOW YOU ARE 13 YEARS OLD.��4�����V YOU'RE LIVING WITH YOUR MOTHER.���C�u���Ƞ���� YOU CAN SEE YOUR MOTHER,
CAN'T YOU, JOYCE?��K�����l YES, 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.��
+�����
L THE 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�����x WE 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�����Y WE 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�����y I 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�����o MAY HAVE HYPNOTIZED
KAREN ADAMSON INTO KILLING HAN.��Ơ����W YOU CAN'T BE SERIOUS.���C�u@�� \������ I'M DEAD SERIOUS.�������� HE BOUGHT THE GUN
THAT KILLED HAN.��������� THAT'S PRETTY INCRIMINATING.��M�����V HE BOUGHT THE GUN
THAT KILLED HAN.��nC�u@�� u������ DID YOU HEAR ME?��M�����o HE'S TAUGHT
ORIENTAL PSYCHOLOGY.��������
L HE SPENT THREE YEARS
WITH THE COMMUNISTS AS A P.O.W.��C�u@�� ������ HE'S WRITTEN BOOKS
ON HYPNOTISM AND MESMERISM.��6�����W IS 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.�� �����k IT 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.��������V JOYCE, 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.��
+�����
L NOW 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�����6 LET'S GO OVER IT
ONCE MORE, HUH?���C�u@��"=������ COULD KAREN HAVE BEEN
HYPNOTIZED TO MURDER?��@�����b I 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�����X JUST 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?�� �����A JOYCE, 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�����y Good.
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.��������W GOOD. YOU MAY GO NOW, JOYCE.��C�u��$rk����� [ TELEPHONE BUZZES ]��b������ McGARRETT.��+�����
� JOYCE? WHERE ARE YOU?��
MC�u��$������� WHERE?��n��� 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?��*�����K SHE'S UP AT THE UNIVERSITY.��N������ SHE ASKED ME
TO COME THERE ALONE.���C�u@��$�젚��� ALONE? WHAT FOR?��+�����M SHE DIDN'T SAY.
SHE JUST ASKED ME TO COME ALONE.��n������ YOU SURE IT WAS HER?��Ƞ����� OH, YEAH, IT WAS HER.�� C�u@��$��� 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?��
+�����
M WE COULD ALL GO IN THERE AND --����b AND 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�����Y EASY, EASY, EASY.��������
+ ARE YOU ALL RIGHT?���C�u��'q������ HUH?��6�����X STEVE, WHAT HAPPENED?
WHAT AM I DOING HERE?���C�u��'�
����� PLEASE, EASY. TAKE IT EASY.��A�����c I'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!��+�����M UGH!��������4 [ GUNSHOT ]��MC�u��(�@����� [ GUNSHOT ]��X������ UNH.���C�u��) ������ [ LEAVES RUSTLING ]��
+C�u��)|Š���� JOYCE. JOYCE, LISTEN TO ME.��
�� THIS IS YOUR CHANCE.�������J THIS 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����v JOYCE, 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�����X EASY.����l JOYCE, 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.��+�����L CAN YOU HEAR ME?��ޠ����
L YOU'RE NOT A CHILD ANYMORE.��
�C�u��,�l����� YOU'RE A WOMAN, JOYCE.��y������ DO YOU UNDERSTAND?��������l YOU'RE NOT A CHILD.
YOU'RE A WOMAN.��
�C�u��,Ӈ����� YOU'RE A WOMAN.��z������ YOUR MOTHER IS NOT HERE.��y�����5 NO ONE IS HERE
EXCEPT YOU AND ME.��
+C�u��,� ����� EASY.�������A LOOK 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�����
m COME ON, NOW.���C�u��-L������ THAT'S IT. YOU OKAY?��������� ALL RIGHT.���C�u��-cK����� EASY.���C�u��-�(����� [ "HAWAII FIVE-O" THEME PLAYS ]���S�k~�� u���������� A����)�������+��
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