[Script Info]
; Script generated by Aegisub 3.2.2
; http://www.aegisub.org/
Title: HorribleSubs
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[Aegisub Project Garbage]
Last Style Storage: Default
Audio File: [Rhythm] Princess Principal - 08 [BD 1080p Hi10p FLAC][].mkv
Video File: [Rhythm] Princess Principal - 08 [BD 1080p Hi10p FLAC][].mkv
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Video Position: 13319

[V4+ Styles]
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Style: Default,Bahij Droid Naskh,85,&H00F4F0EB,&H000000FF,&H000E0E14,&H000B0B0D,-1,0,0,0,100,100,0,0,1,1,0,2,0,0,30,1
Style: Title,Hacen Liner Print-out Light,100,&H00D6D7D7,&H000000FF,&H00000000,&H00000000,0,0,0,0,100,100,0,0,1,3,0,2,10,10,10,1
Style: Notes,Bahij Droid Naskh,70,&H00FFFFFF,&H000000FF,&H00000000,&H00000000,-1,0,0,0,100,100,0,0,1,1,2,8,10,10,10,1
Style: Default - up,Bahij Droid Naskh,85,&H00F4F0EB,&H000000FF,&H000E0E14,&H000B0B0D,-1,0,0,0,100,100,0,0,1,1.5,0,8,0,0,30,1
Style: ED - A Page of My Story,Steampunk DEMO by Marta van Eck,74,&H00A8D0D7,&H000F161C,&H00244155,&HAF000000,0,0,0,0,85,100,0,0,1,3,0,7,45,45,38,1
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Style: OP Arabic,هشام الشرق طبيعي,80,&H003644B1,&H000000FF,&H00FFFFFF,&H00FFFFFF,-1,0,0,0,100,100,0,0,1,2,2,3,30,80,25,1
Style: ED Arabic,Hesham Free,75,&H00A8D0D7,&H000F161C,&H00244155,&H00000000,-1,-1,0,0,100,100,0,0,1,2,2,3,80,80,20,1
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[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text

Dialogue: 0,0:02:43.26,0:02:47.27,Rhythm,,0,0,0,,{\fad(100,100)}TL: Jane-Subs\NCh: yumi\NEncoding: shx\NKaraoke & TM : Zetsubou Ou
Dialogue: 0,0:02:43.26,0:02:47.27,Rhythm,,0,0,0,,{\fad(100,100)\an9}rhy-sub.blogspot.com
Dialogue: 0,0:00:05.66,0:00:08.91,Default,,0,0,0,,{\be2}.أبعثُ إليكِ أطيب تحياتي يا أختي الكبيرة
Dialogue: 0,0:00:09.16,0:00:12.78,Default,,0,0,0,,{\be2}.مضت أربعة شهور منذ غادرت اليابان
Dialogue: 0,0:00:13.32,0:00:18.36,Default,,0,0,0,,{\be2}.إنني أعمل كجاسوسة في لندن تلبية لطلب شخصي من القائد هوريكاوا
Dialogue: 0,0:00:19.36,0:00:22.91,Default,,0,0,0,,{\be2}.الجاسوس هو شخص يشبه الأونميتسو أو النينجا
Dialogue: 0,0:00:23.45,0:00:25.53,Default,,0,0,0,,{\be2}.يحل الصباح متأخرًا للجواسيس
Dialogue: 0,0:00:25.53,0:00:29.41,Default,,0,0,0,,{\be2}.غالبًا ما نعمل في وقت متأخر في الليل لذا فنحن نشبه البومة
Dialogue: 0,0:00:30.70,0:00:33.82,Default,,0,0,0,,{\be2}أتساءل سبب نوم الأجانب على ارتفاع عالٍ من الأرض؟
Dialogue: 0,0:00:34.03,0:00:37.28,Default,,0,0,0,,{\be2}.كما أنهم لا يخلعون أحذيتهم حينما يدخلون المنزل
Dialogue: 0,0:00:37.41,0:00:39.32,Default,,0,0,0,,{\be2}.هذا يجعل رائحة أقدامهم نتنة
Dialogue: 0,0:00:39.32,0:00:41.82,Default,,0,0,0,,{\be2}!رائحة نتنة
Dialogue: 0,0:00:42.20,0:00:43.82,Default,,0,0,0,,{\be2}.هذه الفتاة هي بياتريس
Dialogue: 0,0:00:43.95,0:00:46.95,Default,,0,0,0,,{\be2}إنها ابنة عائلة نبيلة\N.وهي في نفس عامي الدراسي
Dialogue: 0,0:00:46.95,0:00:48.70,Default,,0,0,0,,{\be2}!ما هذه الرائحة؟
Dialogue: 0,0:00:48.70,0:00:50.03,Default,,0,0,0,,{\be2}!أهي منكِ يا تشيس-سان؟
Dialogue: 0,0:00:50.16,0:00:52.53,Default,,0,0,0,,{\be2}...يا لوقاحتكِ! إنني أستحم كل
Dialogue: 0,0:00:52.53,0:00:53.99,Default,,0,0,0,,{\be2}!لم أعنِ هذا
Dialogue: 0,0:00:54.11,0:00:56.11,Default,,0,0,0,,{\be2}هل أحضرتِ شيئًا إلى هنا؟
Dialogue: 0,0:00:56.11,0:00:58.24,Default,,0,0,0,,{\be2}...آخر مرة كانت تلك الفاصولياء الفاسدة
Dialogue: 0,0:00:58.57,0:01:00.57,Default,,0,0,0,,{\be2}أتعنين الناتّو؟
Dialogue: 0,0:01:00.70,0:01:03.03,Default,,0,0,0,,{\be2}ما هو هذه المرة؟ أهو لحم؟
Dialogue: 0,0:01:03.16,0:01:04.49,Default,,0,0,0,,{\be2}أم سمك؟
Dialogue: 0,0:01:04.70,0:01:05.86,Default,,0,0,0,,{\be2}.خضروات
Dialogue: 0,0:01:06.32,0:01:07.86,Default,,0,0,0,,{\be2}.إننا نسميه نوكازوكي
Dialogue: 0,0:01:09.07,0:01:10.11,Default,,0,0,0,,{\be2}.إنه لذيذ
Dialogue: 0,0:02:29.59,0:02:32.37,OP - The Other Side of the Wall,,0,0,0,,{\fad(150,300)\blur1.95\an9\}{\fnBlackKnightFLF\fs70.5}({\fnFancy Card Text\fs108}you got to find{\fnBlackKnightFLF\fs70.5})
Dialogue: 0,0:01:28.77,0:01:31.46,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}اسمعني فأنا أقول
Dialogue: 0,0:01:31.49,0:01:35.29,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}اعبر الجدار
Dialogue: 0,0:01:35.99,0:01:41.44,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}أيمكنك الشعور بأنه ما من تغيير يحدث؟
Dialogue: 0,0:01:42.14,0:01:47.13,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}كترس متزامن بداخل ساعة
Dialogue: 0,0:01:48.17,0:01:53.41,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}من يعرف طريقة للتغيير؟
Dialogue: 0,0:01:53.41,0:01:59.79,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}تعرّف، تبصر باطنيًا، يجب أن تبقى حيًا
Dialogue: 0,0:02:00.24,0:02:05.97,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}لن أخدع لأنني فتاة أميّز الأكاذيب
Dialogue: 0,0:02:05.97,0:02:08.99,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}لأنني أعرفها، أعرفها كلها
Dialogue: 0,0:02:08.99,0:02:13.47,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}سأطير عاليًا
Dialogue: 0,0:02:13.52,0:02:16.34,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}يا له من انتظار لعبور الجدار
Dialogue: 0,0:02:16.34,0:02:19.77,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}وسأطيح بأي شيء يواجهني عند الجدار
Dialogue: 0,0:02:19.77,0:02:22.69,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}سأعبر الجدار وأهرب
Dialogue: 0,0:02:22.69,0:02:26.72,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}"ولا تدعهم يمسكوني وقل: "لا تخذليني
Dialogue: 0,0:02:26.72,0:02:27.82,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}أوه نعم
Dialogue: 0,0:02:27.82,0:02:31.82,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}عندما يعمل محرك الساعة ويبدأ في التألق
Dialogue: 0,0:02:29.59,0:02:32.37,OP Arabic,,0,0,0,,{\fad(150,300)\blur1.95\an1}{\fnBlackKnightFLF\fs70.5}({\fnهشام الشرق طبيعي\fs80}سوف تجد{\fnBlackKnightFLF\fs70.5})
Dialogue: 0,0:02:31.82,0:02:33.82,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}فادفعه للأبد
Dialogue: 0,0:02:33.82,0:02:38.29,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}أكمله ومن ثم حدّد طريقه
Dialogue: 0,0:02:38.29,0:02:42.12,OP Arabic,,0,0,0,,{\fad(500,500)}{\be1}وأطلقه مباشرة
Dialogue: 0,0:02:43.26,0:02:47.27,Title,,0,0,0,,{\fad(500,500)\fs150\fscx68\fscy82\pos(864,863.999)}القضية 11
Dialogue: 0,0:02:43.26,0:02:47.27,Title,,0,0,0,,{\fad(500,500)\fs150\pos(1399.999,860.833)}نزال طائش
Dialogue: 0,0:02:43.95,0:02:47.36,Default,,0,0,0,,{\be2}.كل طلبة المساكن يتناولون طعام الإفطار معًا
Dialogue: 0,0:02:47.86,0:02:48.82,Default,,0,0,0,,{\be2}...لكن
Dialogue: 0,0:02:53.45,0:02:56.78,Default,,0,0,0,,{\be2}.طعام هذه الدولة ليس لذيذًا بصراحة
Dialogue: 0,0:03:04.99,0:03:07.82,Default,,0,0,0,,{\be2}.تبدأ الدراسة في الثامنة صباحًا
Dialogue: 0,0:03:20.49,0:03:21.70,Default,,0,0,0,,{\be2}.آنسة تودو
Dialogue: 0,0:03:22.70,0:03:24.11,Default,,0,0,0,,{\be2}.أجيبي عن هذا السؤال
Dialogue: 0,0:03:25.20,0:03:28.32,Default,,0,0,0,,{\be2}.لم أتقن الإنجليزيّة بعد
Dialogue: 0,0:03:29.20,0:03:30.28,Default,,0,0,0,,{\be2}.إنها الحقيقة
Dialogue: 0,0:03:31.91,0:03:32.82,Default,,0,0,0,,{\be2}.في التاسعة صباحًا
Dialogue: 0,0:03:33.16,0:03:35.24,Default,,0,0,0,,{\be2}.وقت التدريب، إنهم يسمونه التربية البدنيّة
Dialogue: 0,0:03:53.78,0:03:57.03,Default,,0,0,0,,{\be2}.المجهود البدني هو اختصاصي
Dialogue: 0,0:03:59.95,0:04:01.70,Default,,0,0,0,,{\be2}.في العاشرة: حصة الموسيقى
Dialogue: 0,0:04:04.32,0:04:06.74,Default,,0,0,0,,{\be2}.أظهرتُ اليوم آلة من اليابان
Dialogue: 0,0:04:08.20,0:04:09.16,Default,,0,0,0,,{\be2}...لأكون أكثر دقة
Dialogue: 0,0:04:09.28,0:04:11.20,Default,,0,0,0,,{\be2}.إنها الآلة الوحيدة التي يمكنني عزفها
Dialogue: 0,0:04:12.28,0:04:13.49,Default,,0,0,0,,{\be2}.في الحادية عشر
Dialogue: 0,0:04:13.91,0:04:14.95,Default,,0,0,0,,{\be2}.حصة الفن
Dialogue: 0,0:04:27.95,0:04:30.28,Default - up,,0,0,0,,{\be2}!المعذرة! إنها لا تشبهني
Dialogue: 0,0:04:28.70,0:04:30.28,Default,,0,0,0,,{\be2}.لم تكن ردة فعلها إيجابيّة
Dialogue: 0,0:04:31.49,0:04:33.86,Default,,0,0,0,,{\be2}.في الثانية عشر: وقت استراحة الظهر
Dialogue: 0,0:04:34.28,0:04:37.20,Default,,0,0,0,,{\be2}.كلنا نغادر الصفوف ونقضي وقتنا بحريّة
Dialogue: 0,0:04:39.36,0:04:40.36,Default,,0,0,0,,{\be2}ما ذاك؟
Dialogue: 0,0:04:41.07,0:04:42.57,Default,,0,0,0,,{\be2}.فريق المبارزة
Dialogue: 0,0:04:42.78,0:04:46.28,Default,,0,0,0,,{\be2}.الشخص الذي يصيب خصمه فوق خصره بسيف المبارزة ينتصر
Dialogue: 0,0:04:46.49,0:04:47.99,Default,,0,0,0,,{\be2}مبارزة بطريقة غربيّة؟
Dialogue: 0,0:04:47.99,0:04:48.95,Default,,0,0,0,,{\be2}.هذا مثير
Dialogue: 0,0:04:48.95,0:04:50.53,Default,,0,0,0,,{\be2}!انتظري يا تشيس-سان
Dialogue: 0,0:04:50.70,0:04:51.91,Default,,0,0,0,,{\be2}!المعذرة
Dialogue: 0,0:04:51.91,0:04:54.20,Default,,0,0,0,,{\be2}ماذا؟ هل تريدين الانضمام للفريق؟
Dialogue: 0,0:04:54.66,0:04:56.45,Default,,0,0,0,,{\be2}.أود أن أتحداكِ
Dialogue: 0,0:04:57.03,0:04:58.41,Default,,0,0,0,,{\be2}تحدي؟
Dialogue: 0,0:04:58.78,0:05:01.16,Default,,0,0,0,,{\be2}إن كنتِ تعنين مباراة مبارزة\N.فعليكِ إرسال طلب رسمي
Dialogue: 0,0:05:01.32,0:05:02.70,Default,,0,0,0,,{\be2}طلب رسمي؟
Dialogue: 0,0:05:02.70,0:05:04.20,Default,,0,0,0,,{\be2}!صحيح
Dialogue: 0,0:05:04.20,0:05:06.61,Default,,0,0,0,,{\be2}.لقد سمعتُ بهذا! صدف أنني أمتلك واحدة معي
Dialogue: 0,0:05:09.99,0:05:10.99,Default,,0,0,0,,{\be2}!مقرف
Dialogue: 0,0:05:10.99,0:05:12.82,Default,,0,0,0,,{\be2}ما الذي تفعلينه يا تشيس-سان؟
Dialogue: 0,0:05:12.82,0:05:13.53,Default,,0,0,0,,{\be2}!مقرف
Dialogue: 0,0:05:13.70,0:05:14.45,Default,,0,0,0,,{\be2}ماذا؟
Dialogue: 0,0:05:14.57,0:05:19.16,Default,,0,0,0,,{\be2}سمعتُ أنه في حال أردت تحدي شخص ذا فن\N.قتاليّ مختلف في الغرب فإنك ترمي لفتًا أبيضًا في وجهه
Dialogue: 0,0:05:19.16,0:05:20.45,Default,,0,0,0,,{\be2}!هذا في حال أردتِ نزالاً
Dialogue: 0,0:05:20.45,0:05:22.74,Default,,0,0,0,,{\be2}!كما أنكِ لا ترمين لفتًا بل قفازات
Dialogue: 0,0:05:22.86,0:05:24.03,Default,,0,0,0,,{\be2}حقًا؟
Dialogue: 0,0:05:24.03,0:05:25.49,Default,,0,0,0,,{\be2}.أعتذر عن وقاحتي
Dialogue: 0,0:05:25.49,0:05:27.95,Default,,0,0,0,,{\be2}.لقد شعرتُ بأن هناك أمرًا خاطئًا
Dialogue: 0,0:05:27.95,0:05:28.91,Default,,0,0,0,,{\be2}.سامحيني
Dialogue: 0,0:05:28.91,0:05:31.24,Default,,0,0,0,,{\be2}...عليّ إعادة رمي قفاز في
Dialogue: 0,0:05:32.03,0:05:33.11,Default,,0,0,0,,{\be2}!ما خطبكِ؟
Dialogue: 0,0:05:33.11,0:05:34.24,Default,,0,0,0,,{\be2}!سئمتُ من هذا
Dialogue: 0,0:05:34.41,0:05:36.07,Default,,0,0,0,,{\be2}رمي الأوقية مقبول أيضًا؟
Dialogue: 0,0:05:36.70,0:05:38.41,Default,,0,0,0,,{\be2}.لا بأس! موافقة
Dialogue: 0,0:05:38.53,0:05:38.99,Default,,0,0,0,,{\be2}!أريني ما لديكِ
Dialogue: 0,0:05:38.99,0:05:40.16,Default,,0,0,0,,{\be2}!إنني لا أنازلكِ
Dialogue: 0,0:05:41.61,0:05:42.61,Default,,0,0,0,,{\be2}.لا بد أن يكون هذا مزحة
Dialogue: 0,0:05:42.61,0:05:43.61,Default,,0,0,0,,{\be2}!أسلوبي قتال مختلفَين
Dialogue: 0,0:05:43.61,0:05:44.99,Default,,0,0,0,,{\be2}!أيتها القائدة! افعلي ما بوسعكِ
Dialogue: 0,0:05:46.07,0:05:47.07,Default,,0,0,0,,{\be2}...أيتها
Dialogue: 0,0:05:47.07,0:05:49.20,Default,,0,0,0,,{\be2}ما الذي تفعلانه؟
Dialogue: 0,0:05:51.28,0:05:52.99,Default,,0,0,0,,{\be2}!أوقفا هذا حالاً
Dialogue: 0,0:05:59.66,0:06:02.45,Default,,0,0,0,,{\be2}ومن ثم ضربتِ كراوس-سينسي؟
Dialogue: 0,0:06:02.45,0:06:03.57,Default,,0,0,0,,{\be2}!هذا جيد
Dialogue: 0,0:06:03.57,0:06:05.82,Default,,0,0,0,,{\be2}!هذا ليس مضحكًا
Dialogue: 0,0:06:06.36,0:06:08.57,Default,,0,0,0,,{\be2}.إننا نتناول وجبتنا الظهريّة في الخارج
Dialogue: 0,0:06:08.70,0:06:11.61,Default,,0,0,0,,{\be2}.إنه أمر جميل في هذه الأنحاء ويسمى بالغداء
Dialogue: 0,0:06:12.11,0:06:13.32,Default,,0,0,0,,{\be2}.إنه يستحق ذلك
Dialogue: 0,0:06:13.32,0:06:15.95,Default,,0,0,0,,{\be2}.إنّ تعابير الغضب تكون بادية عليه دومًا
Dialogue: 0,0:06:16.07,0:06:19.41,Default,,0,0,0,,{\be2}.هذه قائدة فرقتنا التجسسيّة: دوروثي
Dialogue: 0,0:06:19.61,0:06:20.91,Default,,0,0,0,,{\be2}.لديها شخصيّة إيجابيّة
Dialogue: 0,0:06:21.03,0:06:23.20,Default,,0,0,0,,{\be2}...عمرها المعروف هو 17 سنة، لكن
Dialogue: 0,0:06:26.20,0:06:28.82,Default,,0,0,0,,{\be2}.لا بد أنه أكثر من ذلك بكثير...
Dialogue: 0,0:06:28.82,0:06:31.07,Default,,0,0,0,,{\be2}.بدأ يذاع صيتكِ كثيرًا يا تشيس-سان
Dialogue: 0,0:06:31.24,0:06:34.86,Default,,0,0,0,,{\be2}،لقد انتقلتِ إلى هنا لتوك\N.عليكِ ألا تجذبي الكثير من الانتباه
Dialogue: 0,0:06:35.07,0:06:36.36,Default,,0,0,0,,{\be2}.هذه أنجي
Dialogue: 0,0:06:36.49,0:06:38.41,Default,,0,0,0,,{\be2}.إنها تتصرف كغريبة أطوار لكنه مجرّد تمثيل
Dialogue: 0,0:06:38.53,0:06:41.16,Default,,0,0,0,,{\be2}.دومًا ما تكذب هذه المرأة
Dialogue: 0,0:06:43.20,0:06:45.41,Default,,0,0,0,,{\be2}.أعتذر، سأكون أكثر حذرًا
Dialogue: 0,0:06:45.53,0:06:48.61,Default,,0,0,0,,{\be2}.إنكِ في دولة غربيّة لذا ما باليد حيلة
Dialogue: 0,0:06:49.11,0:06:51.78,Default,,0,0,0,,{\be2}.في الحقيقة، سيكون الأمر غريبًا لو تصرفت بطريقة عاديّة
Dialogue: 0,0:06:51.99,0:06:54.11,Default,,0,0,0,,{\be2}.قد يكون هذا صحيحًا
Dialogue: 0,0:06:54.11,0:06:54.99,Default,,0,0,0,,{\be2}أرأيتِ؟
Dialogue: 0,0:06:54.99,0:06:56.57,Default,,0,0,0,,{\be2}.هذه هي أميرة هذه الدولة
Dialogue: 0,0:06:56.70,0:06:59.20,Default,,0,0,0,,{\be2}.إنها أكثر غموضًا من أنجي
Dialogue: 0,0:06:59.45,0:07:03.16,Default,,0,0,0,,{\be2}لمَ قد تعمل الأميرة كجاسوسة لدولة معادية لدولتها؟
Dialogue: 0,0:07:03.45,0:07:07.28,Default,,0,0,0,,{\be2}.كما أنها ليست خائفة من عواقب الأمر
Dialogue: 0,0:07:07.78,0:07:08.86,Default,,0,0,0,,{\be2}ما الأمر؟
Dialogue: 0,0:07:09.78,0:07:11.82,Default,,0,0,0,,{\be2}.إنكِ تبتسمين دومًا
Dialogue: 0,0:07:12.57,0:07:13.86,Default,,0,0,0,,{\be2}أتبدو ابتسامة مزيّفة؟
Dialogue: 0,0:07:14.41,0:07:15.16,Default,,0,0,0,,{\be2}...لا
Dialogue: 0,0:07:15.16,0:07:16.07,Default,,0,0,0,,{\be2}.لا بأس
Dialogue: 0,0:07:16.20,0:07:20.28,Default,,0,0,0,,{\be2}.دومًا ما يخبرني الناس أنهم لا يستطيعون معرفة ما أفكر فيه
Dialogue: 0,0:07:20.28,0:07:22.11,Default,,0,0,0,,{\be2}!لا شيء من هذا صحيحًا
Dialogue: 0,0:07:22.11,0:07:25.28,Default,,0,0,0,,{\be2}.إنَّ سموكِ مثالي في كل شيء
Dialogue: 0,0:07:25.41,0:07:28.36,Default,,0,0,0,,{\be2}.يمكنكِ القول أنه من الصعب وصف ما تشعرين به
Dialogue: 0,0:07:29.36,0:07:33.11,Default,,0,0,0,,{\be2}حينما تمسك ياقتها فهذه الإشارة التي تعني\N.أنها تريد إخبارنا عن مهمة
Dialogue: 0,0:07:33.91,0:07:37.32,Default,,0,0,0,,{\be2}.لدى الأميرة حرس يحيطون بها حتى في المدرسة
Dialogue: 0,0:07:37.74,0:07:42.28,Default,,0,0,0,,{\be2}.وأحدهم يقدِّم تقريرًا عن نشاطاتها لوزير الداخليّة
Dialogue: 0,0:07:47.41,0:07:49.91,Default,,0,0,0,,{\be2}.دورة المياة هي المكان المثالي لعقد اجتماعاتٍ سريّة
Dialogue: 0,0:07:49.91,0:07:52.28,Default,,0,0,0,,{\be2}أيتها الأميرة، كيف حالكِ؟
Dialogue: 0,0:07:53.32,0:07:55.11,Default,,0,0,0,,{\be2}كيف حالكِ يا ليلي-سان؟
Dialogue: 0,0:07:56.78,0:07:58.24,Default,,0,0,0,,{\be2}.ليلي قافستون
Dialogue: 0,0:07:58.24,0:08:00.41,Default,,0,0,0,,{\be2}.ابنة رئيس قضاة المملكة
Dialogue: 0,0:08:00.61,0:08:03.36,Default,,0,0,0,,{\be2}.إنها أحد أعوان وزير الداخليّة
Dialogue: 0,0:08:03.49,0:08:05.66,Default,,0,0,0,,{\be2}...لم تتدرب كجاسوسة
Dialogue: 0,0:08:05.78,0:08:08.20,Default,,0,0,0,,{\be2}.لكنها بنفس جنس الأميرة وفصلها
Dialogue: 0,0:08:08.32,0:08:10.45,Default,,0,0,0,,{\be2}.وهذا يجعلها أكبر مصدر للإزعاج
Dialogue: 0,0:08:11.57,0:08:14.24,Default,,0,0,0,,{\be2}.أرى أنكِ مع نادي التاريخ الطبيعي اليوم مجددًا
Dialogue: 0,0:08:14.78,0:08:16.95,Default,,0,0,0,,{\be2}.مساء الخير يا ليلي-سان
Dialogue: 0,0:08:16.95,0:08:17.99,Default,,0,0,0,,{\be2}.مساء الخير
Dialogue: 0,0:08:17.99,0:08:19.28,Default,,0,0,0,,{\be2}من أنتِ؟
Dialogue: 0,0:08:19.28,0:08:20.78,Default,,0,0,0,,{\be2}.أنا أنجي
Dialogue: 0,0:08:20.91,0:08:26.20,Default,,0,0,0,,{\be2}.آسفة، لا أستطيع تذكر أسماء الأشخاص الذين لستُ على اتصال معهم
Dialogue: 0,0:08:26.32,0:08:27.53,Default,,0,0,0,,{\be2}.يا للوقاحة
Dialogue: 0,0:08:28.03,0:08:31.70,Default,,0,0,0,,{\be2}.إن لم ترق لكِ أنجي فسيكون أمرًا جيدًا لو قلتها بوضوح
Dialogue: 0,0:08:31.70,0:08:35.32,Default,,0,0,0,,{\be2}سخريتكِ التي لا طائل منها\N.لا تنقص سوى من قدركِ أنتِ
Dialogue: 0,0:08:38.28,0:08:39.41,Default,,0,0,0,,{\be2}.أيتها الأميرة
Dialogue: 0,0:08:39.41,0:08:42.32,Default,,0,0,0,,{\be2}.أعتقد أن عليكِ اختيار صديقاتكِ بحرص أكبر
Dialogue: 0,0:08:43.20,0:08:46.11,Default,,0,0,0,,{\be2}.لكنني أعتبركِ كصديقة
Dialogue: 0,0:08:46.49,0:08:48.16,Default,,0,0,0,,{\be2}أتقولين أن عليّ إعادة التفكير في الأمر؟
Dialogue: 0,0:08:49.78,0:08:52.16,Default,,0,0,0,,{\be2}!لا بأس بالأمر كما هو عليه
Dialogue: 0,0:08:55.03,0:08:58.99,Default,,0,0,0,,{\be2}.حينما نباشر عملاً فإننا نستخدم هذا الممر السفلي
Dialogue: 0,0:09:05.07,0:09:06.57,Default,,0,0,0,,{\be2}...ثمة العديد من السيارات
Dialogue: 0,0:09:06.74,0:09:07.86,Default,,0,0,0,,{\be2}.والمناطيد
Dialogue: 0,0:09:08.07,0:09:10.70,Default,,0,0,0,,{\be2}.لن تري مثل هذا المنظر في اليابان قط
Dialogue: 0,0:09:11.16,0:09:14.45,Default,,0,0,0,,{\be2}.أبنية شاهقة كالقلاع مصطفة على ضفاف الشوارع
Dialogue: 0,0:09:14.82,0:09:18.99,Default,,0,0,0,,{\be2}لا أستطيع تجنب أن أتذكر المقدار المؤلم \N.لاختلاف دولتنا حينما أدخل للمدينة
Dialogue: 0,0:09:19.86,0:09:26.99,Default - up,,0,0,0,,{\be2}نعم، أخبر السيد أن زوجته تريد منه\N.الوقوف بجانب شارع بيكاديلي سيركس
Dialogue: 0,0:09:27.11,0:09:32.99,Default,,0,0,0,,{\be2}حلق بياتريس مزود بتكنولوجيا متقدمة\N.يمكّنها من محاكاة أي صوت بشريّ
Dialogue: 0,0:09:27.61,0:09:28.49,Default - up,,0,0,0,,{\be2}.نعم
Dialogue: 0,0:09:29.11,0:09:31.74,Default - up,,0,0,0,,{\be2}.نعم، المعذرة
Dialogue: 0,0:09:33.86,0:09:37.49,Default,,0,0,0,,{\be2}إنها بارعة مع الآلات بحد ذاتها\N.ممّا يجعلها حليفة مفيدة
Dialogue: 0,0:09:38.03,0:09:39.36,Default,,0,0,0,,{\be2}.فعلتها
Dialogue: 0,0:09:39.36,0:09:41.86,Default,,0,0,0,,{\be2}.رئيس مجلس الشورى سيكون هناك
Dialogue: 0,0:09:42.32,0:09:42.91,Default,,0,0,0,,{\be2}.فهمت
Dialogue: 0,0:09:43.41,0:09:46.45,Default,,0,0,0,,{\be2}.كل ما علينا فعله الآن هو معرفة فحوى اجتماعهم السريّ
Dialogue: 0,0:09:49.66,0:09:50.36,Default,,0,0,0,,{\be2}.مطر
Dialogue: 0,0:09:50.36,0:09:52.57,Default,,0,0,0,,{\be2}.توقيت مثالي، يمكنني استخدامه في صالحي
Dialogue: 0,0:09:54.57,0:09:55.66,Default,,0,0,0,,{\be2}.أختي العزيزة
Dialogue: 0,0:09:55.66,0:09:57.91,Default,,0,0,0,,{\be2}."يسمى هذا الشيء بـ"سلاح المرأة
Dialogue: 0,0:09:58.53,0:10:01.61,Default,,0,0,0,,{\be2}.لسوء الحظ، لم أحظَ به بعد
Dialogue: 0,0:10:02.03,0:10:03.32,Default,,0,0,0,,{\be2}!لا
Dialogue: 0,0:10:03.32,0:10:04.95,Default,,0,0,0,,{\be2}من أين يأتي هذا المطر؟
Dialogue: 0,0:10:05.41,0:10:07.91,Default,,0,0,0,,{\be2}.حسنٌ، سأدخل من السطح
Dialogue: 0,0:10:08.03,0:10:09.78,Default,,0,0,0,,{\be2}.كوني على أهبة الاستعداد يا تشيس
Dialogue: 0,0:10:10.28,0:10:12.66,Default,,0,0,0,,{\be2}.ثمة القليل من العمل لي كي أفعله
Dialogue: 0,0:10:13.36,0:10:16.28,Default,,0,0,0,,{\be2}...تقول أنجي أن الأمر أفضل هكذا، لكن
Dialogue: 0,0:10:26.66,0:10:31.95,Default,,0,0,0,,{\be2}أليس من الطبيعي أن يرغب المرء في أن يكون ذا منفعة لفريقه؟
Dialogue: 0,0:10:38.28,0:10:41.20,Default,,0,0,0,,{\be2}.لديّ اجتماعات منتظمة مع القائد هوريكاوا
Dialogue: 0,0:10:45.61,0:10:46.66,Default,,0,0,0,,{\be2}!لذيذ
Dialogue: 0,0:10:46.78,0:10:49.07,Default,,0,0,0,,{\be2}!هذه الكينتسوبا لذيذ جدًا
Dialogue: 0,0:10:49.20,0:10:51.53,Default,,0,0,0,,{\be2}.إنه من العاصمة
Dialogue: 0,0:10:51.70,0:10:53.78,Default,,0,0,0,,{\be2}.لا عجب إذن
Dialogue: 0,0:10:55.86,0:10:57.03,Default,,0,0,0,,{\be2}!لذيذ جدًا
Dialogue: 0,0:10:57.16,0:10:58.28,Default,,0,0,0,,{\be2}.بالمناسبة يا تشيس
Dialogue: 0,0:10:59.03,0:11:00.57,Default,,0,0,0,,{\be2}ما رأيكِ بالأميرة؟
Dialogue: 0,0:11:01.53,0:11:02.41,Default,,0,0,0,,{\be2}.أختي العزيزة
Dialogue: 0,0:11:02.86,0:11:06.20,Default,,0,0,0,,{\be2}.مهمتي هي استكشاف الجمهوريّة
Dialogue: 0,0:11:06.36,0:11:09.28,Default,,0,0,0,,{\be2}.بعبارة أخرى؛ إنني أتجسس على الجواسيس
Dialogue: 0,0:11:09.61,0:11:12.70,Default,,0,0,0,,{\be2}.استنتجتُ أنها امرأة رصينة وذكيّة
Dialogue: 0,0:11:12.70,0:11:14.28,Default,,0,0,0,,{\be2}هل ستنجح؟
Dialogue: 0,0:11:14.61,0:11:16.74,Default,,0,0,0,,{\be2}.عمليّة التبديل
Dialogue: 0,0:11:16.99,0:11:19.78,Default,,0,0,0,,{\be2}.لم يمضِ أسبوعين منذ أن انضممتُ لهن
Dialogue: 0,0:11:20.36,0:11:22.78,Default,,0,0,0,,{\be2}.سأحتاج المزيد من الوقت لأطلق حكمًا صائبًا
Dialogue: 0,0:11:23.82,0:11:25.99,Default,,0,0,0,,{\be2}.آمل أنكِ لا تظنينني جبانًا يا تشيس
Dialogue: 0,0:11:25.99,0:11:28.11,Default,,0,0,0,,{\be2}.ما تزال دولتنا صغيرة
Dialogue: 0,0:11:28.61,0:11:30.78,Default,,0,0,0,,{\be2}...من بين المملكة والجمهوريّة
Dialogue: 0,0:11:30.78,0:11:36.45,Default,,0,0,0,,{\be2}علينا معرفة أي الفريقين سينتصر ونتبعه\N.وإلا فلن يكون لنا مستقبل
Dialogue: 0,0:11:37.49,0:11:38.99,Default,,0,0,0,,{\be2}.مفهوم
Dialogue: 0,0:11:44.82,0:11:46.95,Default,,0,0,0,,{\be2}.لا تقلقي رجاء يا أختي
Dialogue: 0,0:11:47.07,0:11:50.99,Default,,0,0,0,,{\be2}.أعدكِ أن أجد المعلومات التي ستعود بالنفع على دولتنا
Dialogue: 0,0:11:51.11,0:11:53.07,Default,,0,0,0,,{\be2}.سأكون ذات منفعة
Dialogue: 0,0:11:58.70,0:12:00.78,Default,,0,0,0,,{\be2}.إنه مضحك لأنه ملائم تمامًا
Dialogue: 0,0:12:00.91,0:12:04.41,Default,,0,0,0,,{\be2}.إنه مكان حيث تبدأ فيه الحشرة في البلوغ
Dialogue: 0,0:12:04.41,0:12:06.07,Default,,0,0,0,,{\be2}إنها من عامّة الشعب، أليست كذلك؟
Dialogue: 0,0:12:06.07,0:12:08.20,Default,,0,0,0,,{\be2}.لا بد أنها تبتغي المال إذن
Dialogue: 0,0:12:09.32,0:12:10.74,Default,,0,0,0,,{\be2}.تنحي جانبًا
Dialogue: 0,0:12:12.32,0:12:13.53,Default,,0,0,0,,{\be2}.فتاة شرقيّة
Dialogue: 0,0:12:13.53,0:12:15.28,Default,,0,0,0,,{\be2}ألا تتحدثين الإنجليزيّة؟
Dialogue: 0,0:12:16.82,0:12:19.70,Default,,0,0,0,,{\be2}.هذه الفراشة على وشك أن تغادر شرنقتها
Dialogue: 0,0:12:20.24,0:12:25.24,Default,,0,0,0,,{\be2}يمكنكم المرور من خلفي بسهولة لو لم تكونوا\N.مصطفين بجانب بعضكم على طول الطريق
Dialogue: 0,0:12:25.66,0:12:26.82,Default,,0,0,0,,{\be2}.فهمت
Dialogue: 0,0:12:27.11,0:12:29.16,Default,,0,0,0,,{\be2}...هذه إحدى الطرق لفعلها، أو
Dialogue: 0,0:12:30.49,0:12:33.91,Default,,0,0,0,,{\be2}.والآن لا سبب يدعوكِ للبقاء هناك
Dialogue: 0,0:12:34.11,0:12:36.70,Default,,0,0,0,,{\be2}.كما هو متوقع من أخي، تفكير منطقي
Dialogue: 0,0:12:37.74,0:12:38.78,Default,,0,0,0,,{\be2}.أيها الأوغاد
Dialogue: 0,0:12:38.95,0:12:41.16,Default,,0,0,0,,{\be2}.سأخبركِ أمرًا أيتها الشرقيّة
Dialogue: 0,0:12:41.16,0:12:43.32,Default,,0,0,0,,{\be2}.تلك الحشرة تمثلكم جميعًا
Dialogue: 0,0:12:43.32,0:12:46.45,Default,,0,0,0,,{\be2}.من الأفضل لكم أن تتوخوا الحذر إن أردتم إمتلاك أجنحة
Dialogue: 0,0:12:46.45,0:12:48.95,Default,,0,0,0,,{\be2}أتعتقد أن بإمكانهم إمتلاك أجنحة أصلاً؟
Dialogue: 0,0:12:49.95,0:12:52.45,Default,,0,0,0,,{\be2}.يصبح الرجل أحمقًا حينما يتحدث كثيرًا
Dialogue: 0,0:12:52.45,0:12:53.61,Default,,0,0,0,,{\be2}ماذا؟
Dialogue: 0,0:12:58.74,0:13:00.03,Default,,0,0,0,,{\be2}!أتحداك في نزال
Dialogue: 0,0:13:00.03,0:13:05.20,Default,,0,0,0,,{\be2}!ستكفِّر عن جريمتَي إهانة موطني وقتل حياة صغيرة
Dialogue: 0,0:13:05.20,0:13:07.24,Default,,0,0,0,,{\be2}ماذا؟ ما الذي تهذين به؟
Dialogue: 0,0:13:07.24,0:13:08.99,Default,,0,0,0,,{\be2}.تجاهلها وحسب يا أخي
Dialogue: 0,0:13:08.99,0:13:10.41,Default,,0,0,0,,{\be2}!أنا جادة
Dialogue: 0,0:13:10.61,0:13:11.32,Default,,0,0,0,,{\be2}تشيس؟
Dialogue: 0,0:13:11.32,0:13:12.74,Default,,0,0,0,,{\be2}.يبدو أنها دخلت في قتال
Dialogue: 0,0:13:12.74,0:13:14.07,Default,,0,0,0,,{\be2}!ليس ثانية يا تشيس-سان
Dialogue: 0,0:13:14.70,0:13:18.20,Default,,0,0,0,,{\be2}.اصمتي، النزال هو قتال يخوضه المرء للدفاع عن شرفه
Dialogue: 0,0:13:18.53,0:13:22.45,Default,,0,0,0,,{\be2}.لا أحد سيرهن شرفه في قتال مع فتاة شرقيّة
Dialogue: 0,0:13:22.45,0:13:24.45,Default,,0,0,0,,{\be2}ما الذي تفعلينه يا تشيس-سان؟
Dialogue: 0,0:13:24.61,0:13:26.66,Default,,0,0,0,,{\be2}!إنني أستعد لنزال هذا الوغد
Dialogue: 0,0:13:26.66,0:13:27.53,Default,,0,0,0,,{\be2}!تشيس-سان
Dialogue: 0,0:13:27.53,0:13:28.49,Default,,0,0,0,,{\be2}!توقفي
Dialogue: 0,0:13:28.49,0:13:30.28,Default,,0,0,0,,{\be2}!إنه أمر خطير
Dialogue: 0,0:13:30.41,0:13:31.45,Default,,0,0,0,,{\be2}...لكن
Dialogue: 0,0:13:31.66,0:13:32.78,Default,,0,0,0,,{\be2}نزال؟
Dialogue: 0,0:13:32.95,0:13:34.74,Default,,0,0,0,,{\be2}.هذا بالكاد حل سلميّ
Dialogue: 0,0:13:34.86,0:13:35.95,Default,,0,0,0,,{\be2}.الأميرة
Dialogue: 0,0:13:36.24,0:13:39.03,Default,,0,0,0,,{\be2}.إذن فأنتِ صديقة للأميرة
Dialogue: 0,0:13:39.03,0:13:41.20,Default,,0,0,0,,{\be2}.لستُ مهتمًا في نزالكِ
Dialogue: 0,0:13:41.20,0:13:44.66,Default,,0,0,0,,{\be2}.صديقتكِ الشرقيّة هي من أرادت القتال
Dialogue: 0,0:13:44.82,0:13:46.78,Default,,0,0,0,,{\be2}!إنك من أجبرتني على ذلك
Dialogue: 0,0:13:46.78,0:13:48.61,Default,,0,0,0,,{\be2}!توقفي يا تشيس-سان
Dialogue: 0,0:13:49.16,0:13:50.61,Default,,0,0,0,,{\be2}هل نسيتِ مهمتكِ؟
Dialogue: 0,0:13:50.61,0:13:52.32,Default,,0,0,0,,{\be2}!تعلمي اختيار قتالاتكِ برويّة
Dialogue: 0,0:13:53.78,0:13:57.49,Default,,0,0,0,,{\be2}.لا نية لدي في إحراج إحدى صديقات الأميرة
Dialogue: 0,0:13:57.70,0:13:58.70,Default,,0,0,0,,{\be2}.هيّا بنا
Dialogue: 0,0:14:04.36,0:14:05.07,Default,,0,0,0,,{\be2}.تشيس
Dialogue: 0,0:14:05.07,0:14:07.03,Default,,0,0,0,,{\be2}.الجواسيس لا يجذبون الانتباه
Dialogue: 0,0:14:07.61,0:14:08.57,Default,,0,0,0,,{\be2}.أعتذر
Dialogue: 0,0:14:16.41,0:14:19.32,Default,,0,0,0,,{\be2}.أختي العزيزة، لقد فعلتها ثانية
Dialogue: 0,0:14:21.07,0:14:22.03,Default,,0,0,0,,{\be2}.تفضل
Dialogue: 0,0:14:25.07,0:14:27.49,Default,,0,0,0,,{\be2}.يمكنني القول أنكِ لم تتوقعي قدومي من النظرة التي تعلو وجهكِ
Dialogue: 0,0:14:28.36,0:14:30.11,Default,,0,0,0,,{\be2}.أعتذر عمّا بدر مني سابقًا
Dialogue: 0,0:14:30.32,0:14:32.45,Default,,0,0,0,,{\be2}.لا بد أن أنجي والآخرتين مذعورتين
Dialogue: 0,0:14:32.45,0:14:33.82,Default,,0,0,0,,{\be2}.هذا صحيح
Dialogue: 0,0:14:33.99,0:14:36.74,Default,,0,0,0,,{\be2}هل أتيتِ لتوبيخي؟
Dialogue: 0,0:14:36.74,0:14:38.82,Default,,0,0,0,,{\be2}.لا، بل العكس
Dialogue: 0,0:14:39.91,0:14:43.78,Default,,0,0,0,,{\be2}.أتيتُ لتعليمكِ قوانين دولتنا للنزال
Dialogue: 0,0:14:43.78,0:14:44.78,Default,,0,0,0,,{\be2}ماذا؟
Dialogue: 0,0:14:45.03,0:14:48.16,Default,,0,0,0,,{\be2}.الأمر لا يقتضي رمي قفاز أبيض وحسب
Dialogue: 0,0:14:48.16,0:14:51.61,Default,,0,0,0,,{\be2}.في البداية، أنتِ بحاجة لشخص ليكون طرفًا ثانيًا
Dialogue: 0,0:14:51.91,0:14:57.28,Default,,0,0,0,,{\be2}مهمته هو التفاوض مع الطرف الثاني لخصمك\N.لتحديد تاريخ ووقت وطريقة النزال
Dialogue: 0,0:14:57.86,0:15:01.82,Default,,0,0,0,,{\be2}.ستحتاجين لإحضار شاهد وطبيب أيضًا
Dialogue: 0,0:15:01.95,0:15:04.74,Default,,0,0,0,,{\be2}.يجب عليكِ اختيار موقع لا يوجد به العديد من الناس
Dialogue: 0,0:15:04.74,0:15:05.28,Default,,0,0,0,,{\be2}...و
Dialogue: 0,0:15:05.28,0:15:05.86,Default,,0,0,0,,{\be2}.انتظري
Dialogue: 0,0:15:05.86,0:15:06.78,Default,,0,0,0,,{\be2}!انتظري لحظة
Dialogue: 0,0:15:06.78,0:15:09.53,Default,,0,0,0,,{\be2}ألم تكوني معارضة للنزال؟
Dialogue: 0,0:15:10.57,0:15:13.20,Default,,0,0,0,,{\be2}.ثمة أوقات يتعين فيها على المرء القتال
Dialogue: 0,0:15:13.61,0:15:16.45,Default,,0,0,0,,{\be2}.إن كنتِ ستقاتلين فلا بد أن تنتصري
Dialogue: 0,0:15:16.45,0:15:18.57,Default,,0,0,0,,{\be2}أتفهمين يا تشيس-سان؟
Dialogue: 0,0:15:20.36,0:15:22.11,Default,,0,0,0,,{\be2}.اسمحا لي بمراجعة القوانين
Dialogue: 0,0:15:22.11,0:15:24.28,Default,,0,0,0,,{\be2}...ستقفان على بعد عشر خطوات من بعضكما البعض
Dialogue: 0,0:15:24.28,0:15:27.57,Default,,0,0,0,,{\be2}.وتطلقان ثلاث طلقات من مسدسيكما
Dialogue: 0,0:15:28.20,0:15:32.41,Default,,0,0,0,,{\be2}"طلب الطرف المتحدَّى "السيد كاميرون\N.أن يكون ثاني من يطلق
Dialogue: 0,0:15:32.70,0:15:36.07,Default,,0,0,0,,{\be2}.ستكون تشيس-سان أول من يطلق ومن ثم تتناوبان على ذلك
Dialogue: 0,0:15:36.07,0:15:38.49,Default,,0,0,0,,{\be2}.الشخص الذي ينجح في إصابة الثاني أولاً ينتصر
Dialogue: 0,0:15:38.49,0:15:41.99,Default,,0,0,0,,{\be2}.إن أخطأت كل الست طلقات فسيسامح كل منكما الآخر
Dialogue: 0,0:15:42.11,0:15:43.41,Default,,0,0,0,,{\be2}هل توافقان؟
Dialogue: 0,0:15:43.57,0:15:45.57,Default,,0,0,0,,{\be2}.بالطبع أيتها الأميرة
Dialogue: 0,0:15:45.57,0:15:46.70,Default,,0,0,0,,{\be2}.ليس لديّ اعتراض
Dialogue: 0,0:15:46.99,0:15:50.32,Default,,0,0,0,,{\be2}.أحضرتُ بعض مسدسات روبرت وودون المخصصة للنزالات
Dialogue: 0,0:15:51.07,0:15:52.53,Default,,0,0,0,,{\be2}.أرجو أن يعجبك
Dialogue: 0,0:15:52.53,0:15:56.03,Default,,0,0,0,,{\be2}.في النزال، العدل أهم من أي شيء
Dialogue: 0,0:15:56.36,0:15:59.53,Default,,0,0,0,,{\be2}.لهذا كلانا يستخدم السلاح نفسه
Dialogue: 0,0:16:08.49,0:16:16.03,Default,,0,0,0,,{\be2}والآن، سأكون أنا "ليلي قافستون" من سلالة القائد\N.قافستون العادلة شاهدة على نتيجة هذا النزال
Dialogue: 0,0:16:16.16,0:16:18.28,Default,,0,0,0,,{\be2}.فليتوجه كل طرف لموقعه
Dialogue: 0,0:16:18.95,0:16:23.53,Default,,0,0,0,,{\be2}.يجب اختيار شاهد ليس منحاز لأي جانب
Dialogue: 0,0:16:23.70,0:16:26.28,Default,,0,0,0,,{\be2}.رغم ذلك، لم يكن هناك حاجة لاختيار هذه المرأة
Dialogue: 0,0:16:27.11,0:16:28.28,Default,,0,0,0,,{\be2}.هذه المسافة كافية
Dialogue: 0,0:16:29.57,0:16:31.53,Default,,0,0,0,,{\be2}أيتها الشرقيّة! أيمكنكِ الإطلاق من سلاح؟
Dialogue: 0,0:16:31.53,0:16:33.20,Default,,0,0,0,,{\be2}.لن ألومكِ إن بكيتِ
Dialogue: 0,0:16:33.36,0:16:35.24,Default,,0,0,0,,{\be2}.ليس مسموحًا بالكونغ فو
Dialogue: 0,0:16:36.28,0:16:37.16,Default,,0,0,0,,{\be2}.أختي العزيزة
Dialogue: 0,0:16:37.32,0:16:40.78,Default,,0,0,0,,{\be2}.هؤلاء الناس لا يعرفون شيئًا عن اليابان
Dialogue: 0,0:16:41.11,0:16:44.45,Default,,0,0,0,,{\be2}.إنه لأمر حزين، هذا هو المكان الذي تقبع فيه دولتنا
Dialogue: 0,0:16:44.45,0:16:46.28,Default,,0,0,0,,{\be2}.أرجو ألا تتدخل الأطراف الثانية
Dialogue: 0,0:16:47.16,0:16:48.28,Default,,0,0,0,,{\be2}...استعدا
Dialogue: 0,0:16:48.49,0:16:49.61,Default,,0,0,0,,{\be2}!ابدآ
Dialogue: 0,0:16:49.78,0:16:54.32,Default,,0,0,0,,{\be2}استخدموا أسلحة قديمة عمدًا ليجعلوا\N.إصابة الهدف أمرًا صعبًا
Dialogue: 0,0:16:54.61,0:16:58.95,Default,,0,0,0,,{\be2}إنني أقول هذا لأن اختلاف مستوى\N.المهارات سيجعل المنافسة غير عادلة
Dialogue: 0,0:17:14.41,0:17:16.07,Default,,0,0,0,,{\be2}.إنه سلاح قديم
Dialogue: 0,0:17:16.07,0:17:17.66,Default,,0,0,0,,{\be2}.أمور كهذه تحدث أحيانًا
Dialogue: 0,0:17:18.28,0:17:19.66,Default,,0,0,0,,{\be2}أليس هذا صحيحًا أيتها الشاهدة؟
Dialogue: 0,0:17:19.66,0:17:21.24,Default,,0,0,0,,{\be2}...ماذا؟ لكن
Dialogue: 0,0:17:21.24,0:17:24.24,Default,,0,0,0,,{\be2}أم يمكنكِ إثبات أنه تم العبث بالسلاح؟
Dialogue: 0,0:17:24.57,0:17:25.74,Default,,0,0,0,,{\be2}...هذا
Dialogue: 0,0:17:25.86,0:17:26.99,Default,,0,0,0,,{\be2}.إنه دوري
Dialogue: 0,0:17:27.16,0:17:29.20,Default,,0,0,0,,{\be2}.ها أنا ذا أيتها المرأة الشرقيّة
Dialogue: 0,0:17:31.86,0:17:32.95,Default,,0,0,0,,{\be2}!تشيس-سان
Dialogue: 0,0:17:33.57,0:17:37.41,Default,,0,0,0,,{\be2}.أختي العزيزة، هذا ما يسمونه عدلاً
Dialogue: 0,0:17:37.78,0:17:39.70,Default,,0,0,0,,{\be2}.ما زالت لديّ طلقتان
Dialogue: 0,0:17:39.70,0:17:41.70,Default,,0,0,0,,{\be2}.أريد رؤيتكِ ترتعبين خوفًا
Dialogue: 0,0:17:45.70,0:17:47.53,Default,,0,0,0,,{\be2}إنه دوري، صحيح؟
Dialogue: 0,0:17:47.66,0:17:51.24,Default,,0,0,0,,{\be2}لا تخبريني أنكِ تنوين قذف الرصاصة باتجاهي؟
Dialogue: 0,0:17:51.82,0:17:52.95,Default,,0,0,0,,{\be2}.أصبت
Dialogue: 0,0:17:59.07,0:17:59.91,Default,,0,0,0,,{\be2}!أخي
Dialogue: 0,0:18:00.95,0:18:01.66,Default,,0,0,0,,{\be2}!أخي
Dialogue: 0,0:18:01.78,0:18:02.61,Default,,0,0,0,,{\be2}!سحقًا
Dialogue: 0,0:18:03.66,0:18:04.91,Default,,0,0,0,,{\be2}!أيتها الشاهدة
Dialogue: 0,0:18:05.57,0:18:07.07,Default,,0,0,0,,{\be2}!تقرّر المنتصر
Dialogue: 0,0:18:07.36,0:18:08.45,Default,,0,0,0,,{\be2}...وفقًا للقوانين
Dialogue: 0,0:18:08.45,0:18:11.28,Default,,0,0,0,,{\be2}!انتظري! لا يمكنكِ احتساب تلك الخدعة السحريّة
Dialogue: 0,0:18:11.41,0:18:12.41,Default,,0,0,0,,{\be2}!واصلي
Dialogue: 0,0:18:12.41,0:18:14.53,Default,,0,0,0,,{\be2}!صحيح! هذا النزال لم ينتهِ بعد
Dialogue: 0,0:18:14.70,0:18:16.32,Default,,0,0,0,,{\be2}!كوني عادلة أيتها الشاهدة
Dialogue: 0,0:18:16.53,0:18:17.53,Default,,0,0,0,,{\be2}...لكن
Dialogue: 0,0:18:17.66,0:18:18.95,Default,,0,0,0,,{\be2}.سأستمر
Dialogue: 0,0:18:19.49,0:18:21.41,Default,,0,0,0,,{\be2}.إن أردت المواصلة فأطلق
Dialogue: 0,0:18:21.41,0:18:24.74,Default,,0,0,0,,{\be2}لكن حينما يحين دوري\N.سأصوّب بين حاجبيك
Dialogue: 0,0:18:26.07,0:18:27.32,Default,,0,0,0,,{\be2}!هذا يكفي
Dialogue: 0,0:18:27.32,0:18:28.91,Default,,0,0,0,,{\be2}!لقد غلبتني أيتها الشرقيّة
Dialogue: 0,0:18:29.28,0:18:30.86,Default,,0,0,0,,{\be2}ألا تسمعيني؟
Dialogue: 0,0:18:30.86,0:18:32.99,Default,,0,0,0,,{\be2}!متخلّفة لا تعرف حتى قوانين النزال
Dialogue: 0,0:18:34.24,0:18:36.11,Default,,0,0,0,,{\be2}!كاميرون-ساما، قدِّم اعتذارك
Dialogue: 0,0:18:46.11,0:18:47.07,Default,,0,0,0,,{\be2}!فهمت
Dialogue: 0,0:18:47.07,0:18:48.07,Default,,0,0,0,,{\be2}!أنا آسف
Dialogue: 0,0:18:48.07,0:18:51.61,Default,,0,0,0,,{\be2}أعتذر عن إهانة دولتك\N!وأتراجع عن كل ما قلته
Dialogue: 0,0:18:52.86,0:18:55.70,Default,,0,0,0,,{\be2}أيتها المتحديّة! أتقبلين بالاعتذار؟
Dialogue: 0,0:19:02.45,0:19:03.45,Default,,0,0,0,,{\be2}!أيها الطبيب
Dialogue: 0,0:19:03.45,0:19:04.36,Default,,0,0,0,,{\be2}.ألقِ نظرة على أخي
Dialogue: 0,0:19:04.36,0:19:05.74,Default,,0,0,0,,{\be2}!حاضر
Dialogue: 0,0:19:06.78,0:19:09.07,Default,,0,0,0,,{\be2}!لا تحتشدوا عندي! إنكم مزعجون
Dialogue: 0,0:19:09.86,0:19:11.24,Default,,0,0,0,,{\be2}.لا تضغط على نفسك
Dialogue: 0,0:19:11.24,0:19:12.53,Default,,0,0,0,,{\be2}.استند عليّ
Dialogue: 0,0:19:12.66,0:19:14.36,Default,,0,0,0,,{\be2}.هذا لا شيء! أنا بخير
Dialogue: 0,0:19:14.74,0:19:15.45,Default,,0,0,0,,{\be2}!هيّا بنا
Dialogue: 0,0:19:16.61,0:19:18.86,Default,,0,0,0,,{\be2}.أحسنتِ عملاً يا تشيس-سان
Dialogue: 0,0:19:19.32,0:19:21.91,Default,,0,0,0,,{\be2}.لم يأتين
Dialogue: 0,0:19:21.91,0:19:22.53,Default,,0,0,0,,{\be2}ماذا؟
Dialogue: 0,0:19:22.82,0:19:23.86,Default,,0,0,0,,{\be2}.لا
Dialogue: 0,0:19:24.36,0:19:26.24,Default,,0,0,0,,{\be2}.لا شيء
Dialogue: 0,0:19:31.41,0:19:33.57,Default,,0,0,0,,{\be2}ما رأيكِ بعمليّة التبديل؟
Dialogue: 0,0:19:34.95,0:19:37.03,Default,,0,0,0,,{\be2}.تحدثنا آخر مرة قبل أكثر من أسبوع
Dialogue: 0,0:19:37.16,0:19:39.61,Default,,0,0,0,,{\be2}.لن يحدث تقدمًا في الخطة بهذه السرعة
Dialogue: 0,0:19:40.32,0:19:42.99,Default,,0,0,0,,{\be2}.رغم ذلك، أود سماع رأيك
Dialogue: 0,0:19:43.45,0:19:47.36,Default,,0,0,0,,{\be2}.إنّ المملكة تلحّ علينا لتسوية هذه المعاهدة
Dialogue: 0,0:19:48.07,0:19:53.20,Default,,0,0,0,,{\be2}أريد استخدام معلوماتكِ لمساعدتي على تحديد\N.ما إن كنتُ سأقبل ببنودهم أو سأرفضها
Dialogue: 0,0:19:54.70,0:19:56.03,Default,,0,0,0,,{\be2}...أنا
Dialogue: 0,0:20:02.74,0:20:03.95,Default,,0,0,0,,{\be2}أين كنتِ؟
Dialogue: 0,0:20:04.24,0:20:05.57,Default,,0,0,0,,{\be2}.لدينا اجتماع
Dialogue: 0,0:20:05.86,0:20:06.99,Default,,0,0,0,,{\be2}.فهمت
Dialogue: 0,0:20:18.28,0:20:19.53,Default,,0,0,0,,{\be2}أيتها الأميرة؟
Dialogue: 0,0:20:20.57,0:20:22.36,Default,,0,0,0,,{\be2}ألا يوجد أحد هنا؟
Dialogue: 0,0:20:38.36,0:20:40.36,Default,,0,0,0,,{\be2}!تهانيّ يا تشيس-سان
Dialogue: 0,0:20:40.61,0:20:42.57,Default,,0,0,0,,{\be2}!الجانب الشرقيّ
Dialogue: 0,0:20:42.74,0:20:44.70,Default,,0,0,0,,{\be2}!تهانيّ يا تشيس-سان
Dialogue: 0,0:20:44.70,0:20:46.66,Default,,0,0,0,,{\be2}!الجانب الغربيّ
Dialogue: 0,0:20:46.91,0:20:47.78,Default,,0,0,0,,{\be2}ما هذا؟
Dialogue: 0,0:20:47.78,0:20:49.28,Default,,0,0,0,,{\be2}ما الذي تفعلنه؟
Dialogue: 0,0:20:49.78,0:20:51.24,Default,,0,0,0,,{\be2}.دوهيو إيري
Dialogue: 0,0:20:54.11,0:20:58.70,Default,,0,0,0,,{\be2}.سمعتُ أنهم يحتفلون هكذا حينما ينتصر ساموراي في نزال
Dialogue: 0,0:20:58.70,0:21:01.20,Default,,0,0,0,,{\be2}هكذا تفعلونها في اليابان، صحيح؟
Dialogue: 0,0:21:01.91,0:21:04.45,Default,,0,0,0,,{\be2}.إنه لباس فريد
Dialogue: 0,0:21:07.36,0:21:09.32,Default,,0,0,0,,{\be2}هل راق لكِ؟
Dialogue: 0,0:21:09.49,0:21:13.20,Default,,0,0,0,,{\be2}.أرى أن اليابان ما زالت دولة مجهولة بالنسبة للأشخاص هنا
Dialogue: 0,0:21:13.20,0:21:16.16,Default,,0,0,0,,{\be2}.انسي اليابان، إنكِ المميّزة هنا
Dialogue: 0,0:21:16.16,0:21:17.53,Default,,0,0,0,,{\be2}.مسببة للمتاعب
Dialogue: 0,0:21:17.74,0:21:20.11,Default,,0,0,0,,{\be2}.إنكِ تجذبين الكثير من الانتباه بالنسبة لجاسوسة
Dialogue: 0,0:21:20.45,0:21:24.07,Default,,0,0,0,,{\be2}.لكنكِ أثلجتِ صدري حينما رددتِ على كلام ليلي-سان في دورة المياه
Dialogue: 0,0:21:24.36,0:21:28.53,Default,,0,0,0,,{\be2}.إضافة لذلك، يعود الفضل إليك في سريان خطتنا على أكمل وجه
Dialogue: 0,0:21:29.99,0:21:33.95,Default,,0,0,0,,{\be2}.صحيح، لم أر أي أمر مريب مع الأميرة اليوم
Dialogue: 0,0:21:34.11,0:21:35.57,Default,,0,0,0,,{\be2}.نعم، هذا صحيح
Dialogue: 0,0:21:35.95,0:21:39.91,Default,,0,0,0,,{\be2}حينما كنتِ تخوضين نزالكِ\N.تسللنا لغرفة ليلي
Dialogue: 0,0:21:39.91,0:21:43.24,Default,,0,0,0,,{\be2}.كما هو واضح، لقد كانت تخفي خط هاتف مباشر
Dialogue: 0,0:21:43.36,0:21:45.82,Default,,0,0,0,,{\be2}.أخذنا حريتنا في العبث به قليلاً
Dialogue: 0,0:21:47.03,0:21:49.36,Default,,0,0,0,,{\be2}ألهذا السبب لم تحضرن للنزال؟
Dialogue: 0,0:21:49.91,0:21:51.28,Default,,0,0,0,,{\be2}أي شيء غير طبيعي؟
Dialogue: 0,0:21:51.57,0:21:54.07,Default,,0,0,0,,{\be2}.ربما كل ذلك الضجيج عن النزال
Dialogue: 0,0:21:54.20,0:21:57.24,Default,,0,0,0,,{\be2}.أخبرتك من قبل عن تلك القزمة الشرقيّة الغريبة
Dialogue: 0,0:21:57.36,0:21:59.36,Default,,0,0,0,,{\be2}هل ستجعلينها تتراجع عمّا قالته يا تشيس؟
Dialogue: 0,0:21:59.53,0:22:03.41,Default,,0,0,0,,{\be2}.إن سألتني، فكل من هنا هم أجنبيّون غريبين
Dialogue: 0,0:22:03.57,0:22:07.03,Default,,0,0,0,,{\be2}.لكن ليس بنفس غرابة فتاة السحليّة السوداء الواقفة هناك
Dialogue: 0,0:22:07.03,0:22:08.49,Default,,0,0,0,,{\be2}.إنني طبيعيّة
Dialogue: 0,0:22:08.61,0:22:12.11,Default,,0,0,0,,{\be2}.لستُ يائسة لدرجة أن أدرس في مدرسة ثانوية كي أخفي عمري
Dialogue: 0,0:22:12.11,0:22:13.99,Default,,0,0,0,,{\be2}!أخبرتكِ أنه جزء من المهمة
Dialogue: 0,0:22:14.20,0:22:16.16,Default,,0,0,0,,{\be2}!إضافة لذلك، يمكنني السيطرة على الأمر
Dialogue: 0,0:22:16.28,0:22:17.32,Default,,0,0,0,,{\be2}.بقليل من المكياج
Dialogue: 0,0:22:17.45,0:22:19.36,Default,,0,0,0,,{\be2}!إنني أكبر منكِ بثلاث سنوات فقط
Dialogue: 0,0:22:23.36,0:22:25.53,Default,,0,0,0,,{\be2}:هذا تقريري أيها القائد هوريكاوا
Dialogue: 0,0:22:25.70,0:22:29.61,Default,,0,0,0,,{\be2}.لستُ واثقة عمّا إن كانت عمليّة التبديل ممكنة بصراحة
Dialogue: 0,0:22:29.99,0:22:30.99,Default,,0,0,0,,{\be2}...لكن
Dialogue: 0,0:22:33.70,0:22:38.16,Default,,0,0,0,,{\be2}.ما أنا واثقة منه هو... أنني أريد النصر لأولئك الفتيات
Dialogue: 0,0:22:40.90,0:22:44.08,ED - A Page of My Story,,0,0,0,,{\k29}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\frz1)}If {\k33}days {\k31}were {\k60}not {\k15}the {\k137}same
Dialogue: 0,0:22:44.57,0:22:47.11,ED - A Page of My Story,,0,0,0,,{\k32}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}I {\k31}don't {\k61}know {\k38}what {\k22}I'd {\k56}do.
Dialogue: 0,0:22:47.65,0:22:50.71,ED - A Page of My Story,,0,0,0,,{\k29}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}I{\k28}ma{\k14}gi{\k21}ne {\k29}me {\k62}laugh{\k31}ing {\k27}and {\k35}now
Dialogue: 0,0:22:50.87,0:22:53.52,ED - A Page of My Story,,0,0,0,,{\k45}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}see {\k29}me {\k31}walk {\k31}in {\k9}the {\k124}street,
Dialogue: 0,0:22:54.05,0:22:57.12,ED - A Page of My Story,,0,0,0,,{\k28}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}then {\k39}catch {\k28}a {\k59}red {\k32}dou{\k30}ble {\k59}bus,
Dialogue: 0,0:22:57.43,0:23:00.03,ED - A Page of My Story,,0,0,0,,{\k23}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}and {\k39}hea{\k31}ven {\k16}would {\k76}find {\k70}me.
Dialogue: 0,0:23:00.78,0:23:04.48,ED - A Page of My Story,,0,0,0,,{\k62}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)\t(5400,6600,\ frz-1)\t(6600,7800,\ frz1)}I'd {\k39}go {\k31}on {\k14}a {\k102}float {\k28}{\k34}eased {\k60}up.
Dialogue: 0,0:23:04.48,0:23:07.00,ED - A Page of My Story,,0,0,0,,{\k14}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)\t(5400,6600,\ frz-1)\t(6600,7800,\ frz1)}I {\k79}smile {\k24}a {\k83}dream.
Dialogue: 0,0:23:09.06,0:23:13.05,ED - A Page of My Story,,0,0,0,,{\k32}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}Now {\k29}you {\k62}know, {\k32}there {\k31}is {\k18}a {\k71}scene {\k33}that {\k93}I...
Dialogue: 0,0:23:13.97,0:23:16.42,ED - A Page of My Story,,0,0,0,,{\k31}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}I {\k29}re{\k74}peat {\k19}in {\k14}my {\k72}soul
Dialogue: 0,0:23:17.03,0:23:19.99,ED - A Page of My Story,,0,0,0,,{\k15}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}while {\k46}si{\k59}ppin' {\k61}black {\k34}tea {\k31}and {\k47}now,
Dialogue: 0,0:23:20.37,0:23:22.84,ED - A Page of My Story,,0,0,0,,{\k28}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}gen{\k35}tly {\k29}tou{\k34}ching {\k23}a {\k124}tree,
Dialogue: 0,0:23:23.40,0:23:26.52,ED - A Page of My Story,,0,0,0,,{\k36}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}cal{\k22}ming {\k40}hi-{\k61}beam {\k29}from {\k16}the {\k137}sky
Dialogue: 0,0:23:26.83,0:23:29.58,ED - A Page of My Story,,0,0,0,,{\k28}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}can {\k34}free {\k30}me, {\k26}I {\k66}feel {\k141}like
Dialogue: 0,0:23:30.18,0:23:32.64,ED - A Page of My Story,,0,0,0,,{\k61}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}I'm {\k33}get{\k17}ting {\k44}so {\k118}close
Dialogue: 0,0:23:32.93,0:23:36.66,ED - A Page of My Story,,0,0,0,,{\k33}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}to {\k61}laugh{\k16}ing {\k77}sweet {\k30}with {\k30}e{\k31}very{\k118}thing.
Dialogue: 0,0:23:36.91,0:23:39.92,ED - A Page of My Story,,0,0,0,,{\k33}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}Go{\k31}ing {\k36}out {\k11}on {\k75}Sun{\k61}day {\k32}mor{\k24}ning,
Dialogue: 0,0:23:39.92,0:23:42.44,ED - A Page of My Story,,0,0,0,,{\k38}the {\k89}light {\k32}has {\k41}come,
Dialogue: 0,0:23:39.82,0:23:44.50,ED - A Page of My Story,,0,0,0,,{\an9\fs50\pos(1871,66)}(La la, morning the light’s on me…)
Dialogue: 0,0:23:42.74,0:23:45.81,ED - A Page of My Story,,0,0,0,,{\k32}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}and {\k24}look{\k37}ing {\k28}up {\k223}high,
Dialogue: 0,0:23:44.50,0:23:49.98,ED - A Page of My Story,,0,0,0,,{\an9\fs50\pos(1871,66)}(Looking around, you’ll see all around)
Dialogue: 0,0:23:47.89,0:23:52.24,ED - A Page of My Story,,0,0,0,,{\k67}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}Va{\k62}nish {\k32}wo{\k29}rries {\k31}the {\k92}light {\k30}has {\k122}come.
Dialogue: 0,0:23:49.98,0:23:55.18,ED - A Page of My Story,,0,0,0,,{\an9\fs50\pos(1871,66)}(La la, shining the light on me…)
Dialogue: 0,0:23:52.55,0:23:57.44,ED - A Page of My Story,,0,0,0,,{\k27}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}I'm {\k34}go{\k26}ing {\k28}to {\k64}try {\k34}for {\k31}a {\k53}plea{\k70}sant {\k136}"now".
Dialogue: 0,0:23:57.71,0:24:02.16,ED - A Page of My Story,,0,0,0,,{\k41}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}Just {\k23}a {\k33}page {\k29}of {\k61}life {\k61}in {\k45}my {\k79}sto{\k107}ry.
Dialogue: 0,0:24:02.53,0:24:05.99,ED - A Page of My Story,,0,0,0,,{\k51}{\fad(100,100)\org(1500,60)\t(0,600,\ frz1)\t(600,1800,\ frz-1)\t(1800,3000,\ frz1)\t(3000,4200,\ frz-1)\t(4200,5400,\ frz1)}Sweet {\k26}and {\k318}bright.
Dialogue: 0,0:22:40.90,0:22:47.11,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}لا أعرف ما سأفعل إن لم تكن الأيام كبعضها
Dialogue: 0,0:22:47.65,0:22:53.52,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}تتخيلني أضحك والآن تراني سائرة في الطريق
Dialogue: 0,0:22:54.05,0:22:57.12,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}ومن ثم أركب حافلة حمراء ذات طابقين
Dialogue: 0,0:22:57.43,0:23:00.03,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}والنعيم سيجدني
Dialogue: 0,0:23:00.78,0:23:04.48,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}سأمتطي موكبًا ببطئ
Dialogue: 0,0:23:04.48,0:23:07.00,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}ابتسامتي بها حلم
Dialogue: 0,0:23:09.06,0:23:16.42,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}والآن كما تعرف، ثمة مشهد... أكرره في نفسي
Dialogue: 0,0:23:17.03,0:23:19.99,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}أثناء احتسائي لشاي أسود والآن
Dialogue: 0,0:23:20.37,0:23:22.84,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}أتحسّس شجرة برّقة
Dialogue: 0,0:23:23.40,0:23:26.52,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}شعاع ترحيب هادئٍ قادم من السماء
Dialogue: 0,0:23:26.83,0:23:32.64,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}يمكنه تحريري. أشعر وكأني... أقترب أكثر فأكثر
Dialogue: 0,0:23:32.93,0:23:36.66,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}للضحك بروعة على كل شيء
Dialogue: 0,0:23:36.91,0:23:39.92,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}سأخرج في صباح الأحد
Dialogue: 0,0:23:39.92,0:23:42.44,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}وقد أشرق الضوء
Dialogue: 0,0:23:39.82,0:23:44.50,ED Arabic,,0,0,0,,{\fad(500,500)\an1}(...لا لا، ضوء الصباح علي)
Dialogue: 0,0:23:42.74,0:23:45.81,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}وطامحة للعلو
Dialogue: 0,0:23:44.50,0:23:49.98,ED Arabic,,0,0,0,,{\fad(500,500)\an1}(انظر حولك وسترى في كل مكان)
Dialogue: 0,0:23:47.89,0:23:52.24,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}فلتختفِ المخاوف فقد أشرق الضوء
Dialogue: 0,0:23:49.98,0:23:55.18,ED Arabic,,0,0,0,,{\fad(500,500)\an1}(...لا لا، لمعان الضوء علي)
Dialogue: 0,0:23:52.55,0:23:57.44,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}سأحاول إيجاد سرور الآن
Dialogue: 0,0:23:57.71,0:24:02.16,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}مجرّد جزء من قصة حياتي
Dialogue: 0,0:24:02.53,0:24:05.99,ED Arabic,,0,0,0,,{\fad(500,500)}{\be1}جميلة وبهيّة
Dialogue: 0,0:01:29.07,0:01:29.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(113,85)\fad(200,0)}H
Dialogue: 0,0:01:29.07,0:01:29.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(160,85)\fad(200,0)}e
Dialogue: 0,0:01:29.07,0:01:29.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(188,85)\fad(200,0)}a
Dialogue: 0,0:01:29.07,0:01:29.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(216,85)\fad(200,0)}r
Dialogue: 0,0:01:29.07,0:01:29.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(241,85)\fad(200,0)}
Dialogue: 0,0:01:29.73,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(155,85)\bord2\shad0\be0\}Hear
Dialogue: 0,0:01:31.46,0:01:31.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(113,85,113,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}H
Dialogue: 0,0:01:31.46,0:01:31.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(160,85,160,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:01:31.46,0:01:31.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(188,85,188,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}a
Dialogue: 0,0:01:31.46,0:01:31.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(216,85,216,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}r
Dialogue: 0,0:01:31.46,0:01:31.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(241,85,241,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:01:29.07,0:01:29.83,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(155,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,660,\fscx100\fscy100\bord0\blur0)}Hear
Dialogue: 2,0:01:29.07,0:01:29.83,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(155,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,660,\fscx100\fscy100\bord0\blur0)}Hear
Dialogue: 0,0:01:29.17,0:01:29.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(274,85)\fad(200,0)}m
Dialogue: 0,0:01:29.17,0:01:29.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(311,85)\fad(200,0)}e
Dialogue: 0,0:01:29.17,0:01:29.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(333,85)\fad(200,0)},
Dialogue: 0,0:01:29.17,0:01:29.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(351,85)\fad(200,0)}
Dialogue: 0,0:01:30.30,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(296,85)\bord2\shad0\be0\}me,
Dialogue: 0,0:01:31.46,0:01:31.56,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(274,85,274,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}m
Dialogue: 0,0:01:31.46,0:01:31.56,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(311,85,311,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}e
Dialogue: 0,0:01:31.46,0:01:31.56,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(333,85,333,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\},
Dialogue: 0,0:01:31.46,0:01:31.56,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(351,85,351,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:01:29.73,0:01:30.40,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(296,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,570,\fscx100\fscy100\bord0\blur0)}me,
Dialogue: 2,0:01:29.73,0:01:30.40,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(296,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,570,\fscx100\fscy100\bord0\blur0)}me,
Dialogue: 0,0:01:29.27,0:01:30.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(379,85)\fad(200,0)}I
Dialogue: 0,0:01:29.27,0:01:30.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(407,85)\fad(200,0)}
Dialogue: 0,0:01:30.78,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(379,85)\bord2\shad0\be0\}I
Dialogue: 0,0:01:31.46,0:01:31.61,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(379,85,379,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}I
Dialogue: 0,0:01:31.46,0:01:31.61,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(407,85,407,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:01:30.30,0:01:30.88,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(379,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,480,\fscx100\fscy100\bord0\blur0)}I
Dialogue: 2,0:01:30.30,0:01:30.88,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(379,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,480,\fscx100\fscy100\bord0\blur0)}I
Dialogue: 0,0:01:29.37,0:01:30.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(434,85)\fad(200,0)}s
Dialogue: 0,0:01:29.37,0:01:30.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(464,85)\fad(200,0)}a
Dialogue: 0,0:01:29.37,0:01:30.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(495,85)\fad(200,0)}y
Dialogue: 0,0:01:31.46,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(465,85)\bord2\shad0\be0\}say
Dialogue: 0,0:01:31.46,0:01:31.66,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(434,85,434,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}s
Dialogue: 0,0:01:31.46,0:01:31.66,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(464,85,464,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}a
Dialogue: 0,0:01:31.46,0:01:31.66,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(495,85,495,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}y
Dialogue: 2,0:01:30.78,0:01:31.56,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(465,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,680,\fscx100\fscy100\bord0\blur0)}say
Dialogue: 2,0:01:30.78,0:01:31.56,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(465,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,680,\fscx100\fscy100\bord0\blur0)}say
Dialogue: 0,0:01:31.46,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(107,85)\fad(200,0)}C
Dialogue: 0,0:01:31.46,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(147,85)\fad(200,0)}r
Dialogue: 0,0:01:31.46,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(178,85)\fad(200,0)}o
Dialogue: 0,0:01:31.46,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(209,85)\fad(200,0)}s
Dialogue: 0,0:01:31.46,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(242,85)\fad(200,0)}s
Dialogue: 0,0:01:31.46,0:01:31.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(268,85)\fad(200,0)}
Dialogue: 0,0:01:31.71,0:01:35.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(169,85)\bord2\shad0\be0\}Cross
Dialogue: 0,0:01:35.29,0:01:35.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(107,85,107,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}C
Dialogue: 0,0:01:35.29,0:01:35.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(147,85,147,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}r
Dialogue: 0,0:01:35.29,0:01:35.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(178,85,178,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}o
Dialogue: 0,0:01:35.29,0:01:35.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(209,85,209,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}s
Dialogue: 0,0:01:35.29,0:01:35.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(242,85,242,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}s
Dialogue: 0,0:01:35.29,0:01:35.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(268,85,268,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:01:31.46,0:01:31.81,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(169,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,250,\fscx100\fscy100\bord0\blur0)}Cross
Dialogue: 2,0:01:31.46,0:01:31.81,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(169,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,250,\fscx100\fscy100\bord0\blur0)}Cross
Dialogue: 0,0:01:31.56,0:01:31.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(289,85)\fad(200,0)}t
Dialogue: 0,0:01:31.56,0:01:31.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(314,85)\fad(200,0)}h
Dialogue: 0,0:01:31.56,0:01:31.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(343,85)\fad(200,0)}e
Dialogue: 0,0:01:31.56,0:01:31.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(366,85)\fad(200,0)}
Dialogue: 0,0:01:32.01,0:01:35.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(317,85)\bord2\shad0\be0\}the
Dialogue: 0,0:01:35.29,0:01:35.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(289,85,289,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:01:35.29,0:01:35.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(314,85,314,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}h
Dialogue: 0,0:01:35.29,0:01:35.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(343,85,343,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}e
Dialogue: 0,0:01:35.29,0:01:35.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(366,85,366,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:01:31.71,0:01:32.11,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(317,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,300,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 2,0:01:31.71,0:01:32.11,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(317,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,300,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 0,0:01:31.66,0:01:32.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(399,85)\fad(200,0)}w
Dialogue: 0,0:01:31.66,0:01:32.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(435,85)\fad(200,0)}a
Dialogue: 0,0:01:31.66,0:01:32.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(460,85)\fad(200,0)}l
Dialogue: 0,0:01:31.66,0:01:32.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(481,85)\fad(200,0)}l
Dialogue: 0,0:01:31.66,0:01:32.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(501,85)\fad(200,0)}.
Dialogue: 0,0:01:35.29,0:01:35.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(443,85)\bord2\shad0\be0\}wall.
Dialogue: 0,0:01:35.29,0:01:35.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(399,85,399,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}w
Dialogue: 0,0:01:35.29,0:01:35.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(435,85,435,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}a
Dialogue: 0,0:01:35.29,0:01:35.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(460,85,460,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}l
Dialogue: 0,0:01:35.29,0:01:35.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(481,85,481,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}l
Dialogue: 0,0:01:35.29,0:01:35.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(501,85,501,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}.
Dialogue: 2,0:01:32.01,0:01:35.39,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(443,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,3280,\fscx100\fscy100\bord0\blur0)}wall.
Dialogue: 2,0:01:32.01,0:01:35.39,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(443,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,3280,\fscx100\fscy100\bord0\blur0)}wall.
Dialogue: 0,0:01:36.06,0:01:36.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(107,85)\fad(200,0)}C
Dialogue: 0,0:01:36.06,0:01:36.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(147,85)\fad(200,0)}a
Dialogue: 0,0:01:36.06,0:01:36.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(178,85)\fad(200,0)}n
Dialogue: 0,0:01:36.06,0:01:36.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(206,85)\fad(200,0)}
Dialogue: 0,0:01:36.42,0:01:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(138,85)\bord2\shad0\be0\}Can
Dialogue: 0,0:01:41.44,0:01:41.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(107,85,107,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}C
Dialogue: 0,0:01:41.44,0:01:41.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(147,85,147,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}a
Dialogue: 0,0:01:41.44,0:01:41.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(178,85,178,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:01:41.44,0:01:41.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(206,85,206,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:01:36.06,0:01:36.52,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(138,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,360,\fscx100\fscy100\bord0\blur0)}Can
Dialogue: 2,0:01:36.06,0:01:36.52,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(138,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,360,\fscx100\fscy100\bord0\blur0)}Can
Dialogue: 0,0:01:36.16,0:01:36.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(233,85)\fad(200,0)}y
Dialogue: 0,0:01:36.16,0:01:36.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(266,85)\fad(200,0)}o
Dialogue: 0,0:01:36.16,0:01:36.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(299,85)\fad(200,0)}u
Dialogue: 0,0:01:36.16,0:01:36.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(326,85)\fad(200,0)}
Dialogue: 0,0:01:36.58,0:01:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(266,85)\bord2\shad0\be0\}you
Dialogue: 0,0:01:41.44,0:01:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(233,85,233,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}y
Dialogue: 0,0:01:41.44,0:01:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(266,85,266,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}o
Dialogue: 0,0:01:41.44,0:01:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(299,85,299,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}u
Dialogue: 0,0:01:41.44,0:01:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(326,85,326,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:01:36.42,0:01:36.68,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(266,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,160,\fscx100\fscy100\bord0\blur0)}you
Dialogue: 2,0:01:36.42,0:01:36.68,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(266,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,160,\fscx100\fscy100\bord0\blur0)}you
Dialogue: 0,0:01:36.26,0:01:36.58,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(347,85)\fad(200,0)}f
Dialogue: 0,0:01:36.26,0:01:36.58,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(371,85)\fad(200,0)}e
Dialogue: 0,0:01:36.26,0:01:36.58,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(398,85)\fad(200,0)}e
Dialogue: 0,0:01:36.26,0:01:36.58,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(423,85)\fad(200,0)}l
Dialogue: 0,0:01:36.26,0:01:36.58,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(444,85)\fad(200,0)}
Dialogue: 0,0:01:37.10,0:01:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(385,85)\bord2\shad0\be0\}feel
Dialogue: 0,0:01:41.44,0:01:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(347,85,347,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}f
Dialogue: 0,0:01:41.44,0:01:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(371,85,371,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:01:41.44,0:01:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(398,85,398,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:01:41.44,0:01:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(423,85,423,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}l
Dialogue: 0,0:01:41.44,0:01:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(444,85,444,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:01:36.58,0:01:37.20,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(385,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,520,\fscx100\fscy100\bord0\blur0)}feel
Dialogue: 2,0:01:36.58,0:01:37.20,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(385,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,520,\fscx100\fscy100\bord0\blur0)}feel
Dialogue: 0,0:01:36.36,0:01:37.10,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(464,85)\fad(200,0)}t
Dialogue: 0,0:01:36.36,0:01:37.10,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(490,85)\fad(200,0)}h
Dialogue: 0,0:01:36.36,0:01:37.10,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(519,85)\fad(200,0)}a
Dialogue: 0,0:01:36.36,0:01:37.10,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(544,85)\fad(200,0)}t
Dialogue: 0,0:01:36.36,0:01:37.10,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(564,85)\fad(200,0)}
Dialogue: 0,0:01:37.33,0:01:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(504,85)\bord2\shad0\be0\}that
Dialogue: 0,0:01:41.44,0:01:41.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(464,85,464,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}t
Dialogue: 0,0:01:41.44,0:01:41.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(490,85,490,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}h
Dialogue: 0,0:01:41.44,0:01:41.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(519,85,519,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}a
Dialogue: 0,0:01:41.44,0:01:41.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(544,85,544,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}t
Dialogue: 0,0:01:41.44,0:01:41.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(564,85,564,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:01:37.10,0:01:37.43,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(504,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,230,\fscx100\fscy100\bord0\blur0)}that
Dialogue: 2,0:01:37.10,0:01:37.43,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(504,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,230,\fscx100\fscy100\bord0\blur0)}that
Dialogue: 0,0:01:36.46,0:01:37.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(592,85)\fad(200,0)}n
Dialogue: 0,0:01:36.46,0:01:37.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(625,85)\fad(200,0)}o
Dialogue: 0,0:01:36.46,0:01:37.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(651,85)\fad(200,0)}t
Dialogue: 0,0:01:36.46,0:01:37.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(677,85)\fad(200,0)}h
Dialogue: 0,0:01:36.46,0:01:37.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(702,85)\fad(200,0)}i
Dialogue: 0,0:01:36.46,0:01:37.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(729,85)\fad(200,0)}n
Dialogue: 0,0:01:36.46,0:01:37.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(762,85)\fad(200,0)}g
Dialogue: 0,0:01:36.46,0:01:37.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(789,85)\fad(200,0)}
Dialogue: 0,0:01:38.23,0:01:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(676,85)\bord2\shad0\be0\}nothing
Dialogue: 0,0:01:41.44,0:01:41.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(592,85,592,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}n
Dialogue: 0,0:01:41.44,0:01:41.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(625,85,625,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}o
Dialogue: 0,0:01:41.44,0:01:41.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(651,85,651,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}t
Dialogue: 0,0:01:41.44,0:01:41.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(677,85,677,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}h
Dialogue: 0,0:01:41.44,0:01:41.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(702,85,702,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}i
Dialogue: 0,0:01:41.44,0:01:41.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(729,85,729,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}n
Dialogue: 0,0:01:41.44,0:01:41.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(762,85,762,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}g
Dialogue: 0,0:01:41.44,0:01:41.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(789,85,789,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}
Dialogue: 2,0:01:37.33,0:01:38.33,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(676,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,900,\fscx100\fscy100\bord0\blur0)}nothing
Dialogue: 2,0:01:37.33,0:01:38.33,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(676,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,900,\fscx100\fscy100\bord0\blur0)}nothing
Dialogue: 0,0:01:36.56,0:01:38.23,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(809,85)\fad(200,0)}t
Dialogue: 0,0:01:36.56,0:01:38.23,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(837,85)\fad(200,0)}u
Dialogue: 0,0:01:36.56,0:01:38.23,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(868,85)\fad(200,0)}r
Dialogue: 0,0:01:36.56,0:01:38.23,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(900,85)\fad(200,0)}n
Dialogue: 0,0:01:36.56,0:01:38.23,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(934,85)\fad(200,0)}s
Dialogue: 0,0:01:36.56,0:01:38.23,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(960,85)\fad(200,0)}
Dialogue: 0,0:01:38.73,0:01:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(874,85)\bord2\shad0\be0\}turns
Dialogue: 0,0:01:41.44,0:01:41.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(809,85,809,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}t
Dialogue: 0,0:01:41.44,0:01:41.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(837,85,837,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}u
Dialogue: 0,0:01:41.44,0:01:41.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(868,85,868,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}r
Dialogue: 0,0:01:41.44,0:01:41.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(900,85,900,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}n
Dialogue: 0,0:01:41.44,0:01:41.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(934,85,934,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}s
Dialogue: 0,0:01:41.44,0:01:41.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(960,85,960,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}
Dialogue: 2,0:01:38.23,0:01:38.83,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(874,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,500,\fscx100\fscy100\bord0\blur0)}turns
Dialogue: 2,0:01:38.23,0:01:38.83,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(874,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,500,\fscx100\fscy100\bord0\blur0)}turns
Dialogue: 0,0:01:36.66,0:01:38.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(984,85)\fad(200,0)}a
Dialogue: 0,0:01:36.66,0:01:38.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1012,85)\fad(200,0)}r
Dialogue: 0,0:01:36.66,0:01:38.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1043,85)\fad(200,0)}o
Dialogue: 0,0:01:36.66,0:01:38.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1075,85)\fad(200,0)}u
Dialogue: 0,0:01:36.66,0:01:38.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1109,85)\fad(200,0)}n
Dialogue: 0,0:01:36.66,0:01:38.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1143,85)\fad(200,0)}d
Dialogue: 0,0:01:36.66,0:01:38.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1168,85)\fad(200,0)}.
Dialogue: 0,0:01:41.44,0:01:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1074,85)\bord2\shad0\be0\}around.
Dialogue: 0,0:01:41.44,0:01:41.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(984,85,984,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}a
Dialogue: 0,0:01:41.44,0:01:41.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1012,85,1012,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}r
Dialogue: 0,0:01:41.44,0:01:41.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1043,85,1043,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}o
Dialogue: 0,0:01:41.44,0:01:41.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1075,85,1075,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}u
Dialogue: 0,0:01:41.44,0:01:41.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1109,85,1109,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}n
Dialogue: 0,0:01:41.44,0:01:41.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1143,85,1143,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}d
Dialogue: 0,0:01:41.44,0:01:41.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1168,85,1168,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}.
Dialogue: 2,0:01:38.73,0:01:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1074,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,2710,\fscx100\fscy100\bord0\blur0)}around.
Dialogue: 2,0:01:38.73,0:01:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1074,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,2710,\fscx100\fscy100\bord0\blur0)}around.
Dialogue: 0,0:01:42.25,0:01:42.25,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(112,85)\fad(200,0)}L
Dialogue: 0,0:01:42.25,0:01:42.25,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(155,85)\fad(200,0)}i
Dialogue: 0,0:01:42.25,0:01:42.25,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(181,85)\fad(200,0)}k
Dialogue: 0,0:01:42.25,0:01:42.25,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(211,85)\fad(200,0)}e
Dialogue: 0,0:01:42.25,0:01:42.25,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(235,85)\fad(200,0)}
Dialogue: 0,0:01:42.71,0:01:47.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(152,85)\bord2\shad0\be0\}Like
Dialogue: 0,0:01:47.13,0:01:47.18,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(112,85,112,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}L
Dialogue: 0,0:01:47.13,0:01:47.18,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(155,85,155,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}i
Dialogue: 0,0:01:47.13,0:01:47.18,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(181,85,181,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}k
Dialogue: 0,0:01:47.13,0:01:47.18,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(211,85,211,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:01:47.13,0:01:47.18,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(235,85,235,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:01:42.25,0:01:42.81,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(152,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,460,\fscx100\fscy100\bord0\blur0)}Like
Dialogue: 2,0:01:42.25,0:01:42.81,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(152,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,460,\fscx100\fscy100\bord0\blur0)}Like
Dialogue: 0,0:01:42.35,0:01:42.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(259,85)\fad(200,0)}a
Dialogue: 0,0:01:42.35,0:01:42.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(283,85)\fad(200,0)}
Dialogue: 0,0:01:42.92,0:01:47.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(259,85)\bord2\shad0\be0\}a
Dialogue: 0,0:01:47.13,0:01:47.23,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(259,85,259,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}a
Dialogue: 0,0:01:47.13,0:01:47.23,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(283,85,283,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:01:42.71,0:01:43.02,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(259,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,210,\fscx100\fscy100\bord0\blur0)}a
Dialogue: 2,0:01:42.71,0:01:43.02,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(259,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,210,\fscx100\fscy100\bord0\blur0)}a
Dialogue: 0,0:01:42.45,0:01:42.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(309,85)\fad(200,0)}g
Dialogue: 0,0:01:42.45,0:01:42.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(339,85)\fad(200,0)}e
Dialogue: 0,0:01:42.45,0:01:42.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(367,85)\fad(200,0)}a
Dialogue: 0,0:01:42.45,0:01:42.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(395,85)\fad(200,0)}r
Dialogue: 0,0:01:42.45,0:01:42.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(420,85)\fad(200,0)}
Dialogue: 0,0:01:43.35,0:01:47.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(351,85)\bord2\shad0\be0\}gear
Dialogue: 0,0:01:47.13,0:01:47.28,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(309,85,309,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}g
Dialogue: 0,0:01:47.13,0:01:47.28,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(339,85,339,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:01:47.13,0:01:47.28,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(367,85,367,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}a
Dialogue: 0,0:01:47.13,0:01:47.28,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(395,85,395,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}r
Dialogue: 0,0:01:47.13,0:01:47.28,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(420,85,420,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:01:42.92,0:01:43.45,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(351,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,430,\fscx100\fscy100\bord0\blur0)}gear
Dialogue: 2,0:01:42.92,0:01:43.45,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(351,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,430,\fscx100\fscy100\bord0\blur0)}gear
Dialogue: 0,0:01:42.55,0:01:43.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(440,85)\fad(200,0)}i
Dialogue: 0,0:01:42.55,0:01:43.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(467,85)\fad(200,0)}n
Dialogue: 0,0:01:42.55,0:01:43.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(494,85)\fad(200,0)}
Dialogue: 0,0:01:43.60,0:01:47.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(457,85)\bord2\shad0\be0\}in
Dialogue: 0,0:01:47.13,0:01:47.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(440,85,440,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}i
Dialogue: 0,0:01:47.13,0:01:47.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(467,85,467,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}n
Dialogue: 0,0:01:47.13,0:01:47.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(494,85,494,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:01:43.35,0:01:43.70,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(457,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,250,\fscx100\fscy100\bord0\blur0)}in
Dialogue: 2,0:01:43.35,0:01:43.70,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(457,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,250,\fscx100\fscy100\bord0\blur0)}in
Dialogue: 0,0:01:42.65,0:01:43.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(521,85)\fad(200,0)}s
Dialogue: 0,0:01:42.65,0:01:43.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(554,85)\fad(200,0)}y
Dialogue: 0,0:01:42.65,0:01:43.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(589,85)\fad(200,0)}n
Dialogue: 0,0:01:42.65,0:01:43.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(619,85)\fad(200,0)}c
Dialogue: 0,0:01:42.65,0:01:43.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(641,85)\fad(200,0)}
Dialogue: 0,0:01:44.32,0:01:47.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(568,85)\bord2\shad0\be0\}sync
Dialogue: 0,0:01:47.13,0:01:47.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(521,85,521,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}s
Dialogue: 0,0:01:47.13,0:01:47.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(554,85,554,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}y
Dialogue: 0,0:01:47.13,0:01:47.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(589,85,589,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}n
Dialogue: 0,0:01:47.13,0:01:47.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(619,85,619,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}c
Dialogue: 0,0:01:47.13,0:01:47.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(641,85,641,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}
Dialogue: 2,0:01:43.60,0:01:44.42,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(568,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,720,\fscx100\fscy100\bord0\blur0)}sync
Dialogue: 2,0:01:43.60,0:01:44.42,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(568,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,720,\fscx100\fscy100\bord0\blur0)}sync
Dialogue: 0,0:01:42.75,0:01:44.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(661,85)\fad(200,0)}i
Dialogue: 0,0:01:42.75,0:01:44.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(688,85)\fad(200,0)}n
Dialogue: 0,0:01:42.75,0:01:44.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(722,85)\fad(200,0)}s
Dialogue: 0,0:01:42.75,0:01:44.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(748,85)\fad(200,0)}i
Dialogue: 0,0:01:42.75,0:01:44.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(774,85)\fad(200,0)}d
Dialogue: 0,0:01:42.75,0:01:44.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(803,85)\fad(200,0)}e
Dialogue: 0,0:01:42.75,0:01:44.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(827,85)\fad(200,0)}
Dialogue: 0,0:01:44.97,0:01:47.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(734,85)\bord2\shad0\be0\}inside
Dialogue: 0,0:01:47.13,0:01:47.43,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(661,85,661,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}i
Dialogue: 0,0:01:47.13,0:01:47.43,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(688,85,688,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}n
Dialogue: 0,0:01:47.13,0:01:47.43,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(722,85,722,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}s
Dialogue: 0,0:01:47.13,0:01:47.43,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(748,85,748,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}i
Dialogue: 0,0:01:47.13,0:01:47.43,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(774,85,774,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}d
Dialogue: 0,0:01:47.13,0:01:47.43,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(803,85,803,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}e
Dialogue: 0,0:01:47.13,0:01:47.43,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(827,85,827,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}
Dialogue: 2,0:01:44.32,0:01:45.07,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(734,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,650,\fscx100\fscy100\bord0\blur0)}inside
Dialogue: 2,0:01:44.32,0:01:45.07,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(734,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,650,\fscx100\fscy100\bord0\blur0)}inside
Dialogue: 0,0:01:42.85,0:01:44.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(851,85)\fad(200,0)}a
Dialogue: 0,0:01:42.85,0:01:44.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(875,85)\fad(200,0)}
Dialogue: 0,0:01:45.08,0:01:47.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(851,85)\bord2\shad0\be0\}a
Dialogue: 0,0:01:47.13,0:01:47.48,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(851,85,851,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}a
Dialogue: 0,0:01:47.13,0:01:47.48,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(875,85,875,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}
Dialogue: 2,0:01:44.97,0:01:45.18,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(851,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,110,\fscx100\fscy100\bord0\blur0)}a
Dialogue: 2,0:01:44.97,0:01:45.18,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(851,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,110,\fscx100\fscy100\bord0\blur0)}a
Dialogue: 0,0:01:42.95,0:01:45.08,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(898,85)\fad(200,0)}c
Dialogue: 0,0:01:42.95,0:01:45.08,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(921,85)\fad(200,0)}l
Dialogue: 0,0:01:42.95,0:01:45.08,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(947,85)\fad(200,0)}o
Dialogue: 0,0:01:42.95,0:01:45.08,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(975,85)\fad(200,0)}c
Dialogue: 0,0:01:42.95,0:01:45.08,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1004,85)\fad(200,0)}k
Dialogue: 0,0:01:42.95,0:01:45.08,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1030,85)\fad(200,0)}.
Dialogue: 0,0:01:47.13,0:01:47.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(962,85)\bord2\shad0\be0\}clock.
Dialogue: 0,0:01:47.13,0:01:47.53,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(898,85,898,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}c
Dialogue: 0,0:01:47.13,0:01:47.53,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(921,85,921,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}l
Dialogue: 0,0:01:47.13,0:01:47.53,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(947,85,947,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}o
Dialogue: 0,0:01:47.13,0:01:47.53,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(975,85,975,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}c
Dialogue: 0,0:01:47.13,0:01:47.53,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1004,85,1004,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}k
Dialogue: 0,0:01:47.13,0:01:47.53,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1030,85,1030,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}.
Dialogue: 2,0:01:45.08,0:01:47.23,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(962,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,2050,\fscx100\fscy100\bord0\blur0)}clock.
Dialogue: 2,0:01:45.08,0:01:47.23,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(962,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,2050,\fscx100\fscy100\bord0\blur0)}clock.
Dialogue: 0,0:01:48.26,0:01:48.26,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(119,85)\fad(200,0)}W
Dialogue: 0,0:01:48.26,0:01:48.26,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(172,85)\fad(200,0)}h
Dialogue: 0,0:01:48.26,0:01:48.26,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(203,85)\fad(200,0)}o
Dialogue: 0,0:01:48.26,0:01:48.26,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(228,85)\fad(200,0)}
Dialogue: 0,0:01:48.54,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(149,85)\bord2\shad0\be0\}Who
Dialogue: 0,0:01:53.41,0:01:53.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(119,85,119,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}W
Dialogue: 0,0:01:53.41,0:01:53.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(172,85,172,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}h
Dialogue: 0,0:01:53.41,0:01:53.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(203,85,203,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}o
Dialogue: 0,0:01:53.41,0:01:53.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(228,85,228,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:01:48.26,0:01:48.64,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(149,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,280,\fscx100\fscy100\bord0\blur0)}Who
Dialogue: 2,0:01:48.26,0:01:48.64,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(149,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,280,\fscx100\fscy100\bord0\blur0)}Who
Dialogue: 0,0:01:48.36,0:01:48.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(251,85)\fad(200,0)}c
Dialogue: 0,0:01:48.36,0:01:48.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(277,85)\fad(200,0)}a
Dialogue: 0,0:01:48.36,0:01:48.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(309,85)\fad(200,0)}n
Dialogue: 0,0:01:48.36,0:01:48.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(336,85)\fad(200,0)}
Dialogue: 0,0:01:48.81,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(282,85)\bord2\shad0\be0\}can
Dialogue: 0,0:01:53.41,0:01:53.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(251,85,251,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}c
Dialogue: 0,0:01:53.41,0:01:53.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(277,85,277,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}a
Dialogue: 0,0:01:53.41,0:01:53.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(309,85,309,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}n
Dialogue: 0,0:01:53.41,0:01:53.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(336,85,336,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:01:48.54,0:01:48.91,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(282,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,270,\fscx100\fscy100\bord0\blur0)}can
Dialogue: 2,0:01:48.54,0:01:48.91,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(282,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,270,\fscx100\fscy100\bord0\blur0)}can
Dialogue: 0,0:01:48.46,0:01:48.81,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(361,85)\fad(200,0)}b
Dialogue: 0,0:01:48.46,0:01:48.81,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(390,85)\fad(200,0)}e
Dialogue: 0,0:01:48.46,0:01:48.81,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(413,85)\fad(200,0)}
Dialogue: 0,0:01:49.03,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(375,85)\bord2\shad0\be0\}be
Dialogue: 0,0:01:53.41,0:01:53.56,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(361,85,361,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}b
Dialogue: 0,0:01:53.41,0:01:53.56,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(390,85,390,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:01:53.41,0:01:53.56,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(413,85,413,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:01:48.81,0:01:49.13,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(375,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,220,\fscx100\fscy100\bord0\blur0)}be
Dialogue: 2,0:01:48.81,0:01:49.13,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(375,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,220,\fscx100\fscy100\bord0\blur0)}be
Dialogue: 0,0:01:48.56,0:01:49.03,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(440,85)\fad(200,0)}s
Dialogue: 0,0:01:48.56,0:01:49.03,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(473,85)\fad(200,0)}u
Dialogue: 0,0:01:48.56,0:01:49.03,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(504,85)\fad(200,0)}r
Dialogue: 0,0:01:48.56,0:01:49.03,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(532,85)\fad(200,0)}e
Dialogue: 0,0:01:48.56,0:01:49.03,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(556,85)\fad(200,0)}
Dialogue: 0,0:01:49.59,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(485,85)\bord2\shad0\be0\}sure
Dialogue: 0,0:01:53.41,0:01:53.61,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(440,85,440,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}s
Dialogue: 0,0:01:53.41,0:01:53.61,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(473,85,473,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}u
Dialogue: 0,0:01:53.41,0:01:53.61,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(504,85,504,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}r
Dialogue: 0,0:01:53.41,0:01:53.61,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(532,85,532,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}e
Dialogue: 0,0:01:53.41,0:01:53.61,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(556,85,556,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:01:49.03,0:01:49.69,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(485,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,560,\fscx100\fscy100\bord0\blur0)}sure
Dialogue: 2,0:01:49.03,0:01:49.69,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(485,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,560,\fscx100\fscy100\bord0\blur0)}sure
Dialogue: 0,0:01:48.66,0:01:49.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(582,85)\fad(200,0)}o
Dialogue: 0,0:01:48.66,0:01:49.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(608,85)\fad(200,0)}f
Dialogue: 0,0:01:48.66,0:01:49.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(629,85)\fad(200,0)}
Dialogue: 0,0:01:49.98,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(592,85)\bord2\shad0\be0\}of
Dialogue: 0,0:01:53.41,0:01:53.66,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(582,85,582,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}o
Dialogue: 0,0:01:53.41,0:01:53.66,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(608,85,608,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}f
Dialogue: 0,0:01:53.41,0:01:53.66,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(629,85,629,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}
Dialogue: 2,0:01:49.59,0:01:50.08,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(592,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,390,\fscx100\fscy100\bord0\blur0)}of
Dialogue: 2,0:01:49.59,0:01:50.08,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(592,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,390,\fscx100\fscy100\bord0\blur0)}of
Dialogue: 0,0:01:48.76,0:01:49.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(654,85)\fad(200,0)}h
Dialogue: 0,0:01:48.76,0:01:49.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(684,85)\fad(200,0)}o
Dialogue: 0,0:01:48.76,0:01:49.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(722,85)\fad(200,0)}w
Dialogue: 0,0:01:48.76,0:01:49.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(755,85)\fad(200,0)}
Dialogue: 0,0:01:50.33,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(692,85)\bord2\shad0\be0\}how
Dialogue: 0,0:01:53.41,0:01:53.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(654,85,654,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}h
Dialogue: 0,0:01:53.41,0:01:53.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(684,85,684,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}o
Dialogue: 0,0:01:53.41,0:01:53.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(722,85,722,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}w
Dialogue: 0,0:01:53.41,0:01:53.71,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(755,85,755,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}
Dialogue: 2,0:01:49.98,0:01:50.43,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(692,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,350,\fscx100\fscy100\bord0\blur0)}how
Dialogue: 2,0:01:49.98,0:01:50.43,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(692,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,350,\fscx100\fscy100\bord0\blur0)}how
Dialogue: 0,0:01:48.86,0:01:50.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(776,85)\fad(200,0)}t
Dialogue: 0,0:01:48.86,0:01:50.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(802,85)\fad(200,0)}o
Dialogue: 0,0:01:48.86,0:01:50.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(828,85)\fad(200,0)}
Dialogue: 0,0:01:50.75,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(791,85)\bord2\shad0\be0\}to
Dialogue: 0,0:01:53.41,0:01:53.76,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(776,85,776,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}t
Dialogue: 0,0:01:53.41,0:01:53.76,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(802,85,802,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}o
Dialogue: 0,0:01:53.41,0:01:53.76,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(828,85,828,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}
Dialogue: 2,0:01:50.33,0:01:50.85,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(791,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,420,\fscx100\fscy100\bord0\blur0)}to
Dialogue: 2,0:01:50.33,0:01:50.85,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(791,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,420,\fscx100\fscy100\bord0\blur0)}to
Dialogue: 0,0:01:48.96,0:01:50.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(861,85)\fad(200,0)}m
Dialogue: 0,0:01:48.96,0:01:50.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(898,85)\fad(200,0)}a
Dialogue: 0,0:01:48.96,0:01:50.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(929,85)\fad(200,0)}k
Dialogue: 0,0:01:48.96,0:01:50.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(959,85)\fad(200,0)}e
Dialogue: 0,0:01:48.96,0:01:50.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(983,85)\fad(200,0)}
Dialogue: 0,0:01:51.15,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(905,85)\bord2\shad0\be0\}make
Dialogue: 0,0:01:53.41,0:01:53.81,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(861,85,861,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}m
Dialogue: 0,0:01:53.41,0:01:53.81,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(898,85,898,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}a
Dialogue: 0,0:01:53.41,0:01:53.81,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(929,85,929,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}k
Dialogue: 0,0:01:53.41,0:01:53.81,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(959,85,959,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}e
Dialogue: 0,0:01:53.41,0:01:53.81,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(983,85,983,85,-100,400)\bord2\shad0\\blur0\t(-100,400,\frx420)\}
Dialogue: 2,0:01:50.75,0:01:51.25,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(905,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,400,\fscx100\fscy100\bord0\blur0)}make
Dialogue: 2,0:01:50.75,0:01:51.25,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(905,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,400,\fscx100\fscy100\bord0\blur0)}make
Dialogue: 0,0:01:49.06,0:01:51.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1003,85)\fad(200,0)}i
Dialogue: 0,0:01:49.06,0:01:51.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1023,85)\fad(200,0)}t
Dialogue: 0,0:01:49.06,0:01:51.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1044,85)\fad(200,0)}
Dialogue: 0,0:01:51.38,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1013,85)\bord2\shad0\be0\}it
Dialogue: 0,0:01:53.41,0:01:53.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1003,85,1003,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}i
Dialogue: 0,0:01:53.41,0:01:53.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1023,85,1023,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}t
Dialogue: 0,0:01:53.41,0:01:53.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1044,85,1044,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}
Dialogue: 2,0:01:51.15,0:01:51.48,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1013,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,230,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 2,0:01:51.15,0:01:51.48,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1013,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,230,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 0,0:01:49.16,0:01:51.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1077,85)\fad(200,0)}w
Dialogue: 0,0:01:49.16,0:01:51.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1115,85)\fad(200,0)}o
Dialogue: 0,0:01:49.16,0:01:51.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1145,85)\fad(200,0)}r
Dialogue: 0,0:01:49.16,0:01:51.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1176,85)\fad(200,0)}k
Dialogue: 0,0:01:49.16,0:01:51.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1201,85)\fad(200,0)}.
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1132,85)\bord2\shad0\be0\}work.
Dialogue: 0,0:01:53.41,0:01:53.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1077,85,1077,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}w
Dialogue: 0,0:01:53.41,0:01:53.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1115,85,1115,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}o
Dialogue: 0,0:01:53.41,0:01:53.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1145,85,1145,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}r
Dialogue: 0,0:01:53.41,0:01:53.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1176,85,1176,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}k
Dialogue: 0,0:01:53.41,0:01:53.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1201,85,1201,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}.
Dialogue: 2,0:01:51.38,0:01:53.51,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1132,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,2030,\fscx100\fscy100\bord0\blur0)}work.
Dialogue: 2,0:01:51.38,0:01:53.51,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1132,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,2030,\fscx100\fscy100\bord0\blur0)}work.
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(114,85)\fad(200,0)}R
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(162,85)\fad(200,0)}e
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(188,85)\fad(200,0)}c
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(216,85)\fad(200,0)}o
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(247,85)\fad(200,0)}g
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(281,85)\fad(200,0)}n
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(308,85)\fad(200,0)}i
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(334,85)\fad(200,0)}z
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(363,85)\fad(200,0)}e
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(385,85)\fad(200,0)},
Dialogue: 0,0:01:53.41,0:01:53.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(403,85)\fad(200,0)}
Dialogue: 0,0:01:55.05,0:01:59.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(237,85)\bord2\shad0\be0\}Recognize,
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(114,85,114,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}R
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(162,85,162,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(188,85,188,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}c
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(216,85,216,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}o
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(247,85,247,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}g
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(281,85,281,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(308,85,308,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}i
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(334,85,334,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}z
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(363,85,363,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(385,85,385,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\},
Dialogue: 0,0:01:59.79,0:01:59.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(403,85,403,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:01:53.41,0:01:55.15,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(237,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,1640,\fscx100\fscy100\bord0\blur0)}Recognize,
Dialogue: 2,0:01:53.41,0:01:55.15,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(237,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,1640,\fscx100\fscy100\bord0\blur0)}Recognize,
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(423,85)\fad(200,0)}i
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(450,85)\fad(200,0)}n
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(485,85)\fad(200,0)}n
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(516,85)\fad(200,0)}e
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(544,85)\fad(200,0)}r
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(569,85)\fad(200,0)}
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(595,85)\fad(200,0)}s
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(621,85)\fad(200,0)}i
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(647,85)\fad(200,0)}g
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(678,85)\fad(200,0)}h
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(703,85)\fad(200,0)}t
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(722,85)\fad(200,0)},
Dialogue: 0,0:01:53.51,0:01:55.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(741,85)\fad(200,0)}
Dialogue: 0,0:01:56.60,0:01:59.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(572,85)\bord2\shad0\be0\}inner sight,
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(423,85,423,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}i
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(450,85,450,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}n
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(485,85,485,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}n
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(516,85,516,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}e
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(544,85,544,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}r
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(569,85,569,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(595,85,595,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}s
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(621,85,621,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}i
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(647,85,647,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}g
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(678,85,678,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}h
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(703,85,703,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(722,85,722,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\},
Dialogue: 0,0:01:59.79,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(741,85,741,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:01:55.05,0:01:56.70,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(572,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,1550,\fscx100\fscy100\bord0\blur0)}inner sight,
Dialogue: 2,0:01:55.05,0:01:56.70,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(572,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,1550,\fscx100\fscy100\bord0\blur0)}inner sight,
Dialogue: 0,0:01:53.61,0:01:56.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(767,85)\fad(200,0)}g
Dialogue: 0,0:01:53.61,0:01:56.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(799,85)\fad(200,0)}o
Dialogue: 0,0:01:53.61,0:01:56.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(825,85)\fad(200,0)}t
Dialogue: 0,0:01:53.61,0:01:56.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(846,85)\fad(200,0)}t
Dialogue: 0,0:01:53.61,0:01:56.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(871,85)\fad(200,0)}a
Dialogue: 0,0:01:53.61,0:01:56.60,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(895,85)\fad(200,0)}
Dialogue: 0,0:01:56.90,0:01:59.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(818,85)\bord2\shad0\be0\}gotta
Dialogue: 0,0:01:59.79,0:01:59.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(767,85,767,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}g
Dialogue: 0,0:01:59.79,0:01:59.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(799,85,799,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}o
Dialogue: 0,0:01:59.79,0:01:59.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(825,85,825,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}t
Dialogue: 0,0:01:59.79,0:01:59.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(846,85,846,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}t
Dialogue: 0,0:01:59.79,0:01:59.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(871,85,871,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}a
Dialogue: 0,0:01:59.79,0:01:59.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(895,85,895,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:01:56.60,0:01:57.00,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(818,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,300,\fscx100\fscy100\bord0\blur0)}gotta
Dialogue: 2,0:01:56.60,0:01:57.00,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(818,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,300,\fscx100\fscy100\bord0\blur0)}gotta
Dialogue: 0,0:01:53.71,0:01:56.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(922,85)\fad(200,0)}s
Dialogue: 0,0:01:53.71,0:01:56.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(948,85)\fad(200,0)}t
Dialogue: 0,0:01:53.71,0:01:56.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(973,85)\fad(200,0)}a
Dialogue: 0,0:01:53.71,0:01:56.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1004,85)\fad(200,0)}y
Dialogue: 0,0:01:53.71,0:01:56.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1032,85)\fad(200,0)}
Dialogue: 0,0:01:57.38,0:01:59.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(964,85)\bord2\shad0\be0\}stay
Dialogue: 0,0:01:59.79,0:01:59.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(922,85,922,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}s
Dialogue: 0,0:01:59.79,0:01:59.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(948,85,948,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}t
Dialogue: 0,0:01:59.79,0:01:59.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(973,85,973,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}a
Dialogue: 0,0:01:59.79,0:01:59.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1004,85,1004,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}y
Dialogue: 0,0:01:59.79,0:01:59.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1032,85,1032,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:01:56.90,0:01:57.48,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(964,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,480,\fscx100\fscy100\bord0\blur0)}stay
Dialogue: 2,0:01:56.90,0:01:57.48,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(964,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,480,\fscx100\fscy100\bord0\blur0)}stay
Dialogue: 0,0:01:53.81,0:01:57.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1056,85)\fad(200,0)}a
Dialogue: 0,0:01:53.81,0:01:57.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1081,85)\fad(200,0)}l
Dialogue: 0,0:01:53.81,0:01:57.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1101,85)\fad(200,0)}i
Dialogue: 0,0:01:53.81,0:01:57.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1126,85)\fad(200,0)}v
Dialogue: 0,0:01:53.81,0:01:57.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1155,85)\fad(200,0)}e
Dialogue: 0,0:01:53.81,0:01:57.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1177,85)\fad(200,0)}.
Dialogue: 0,0:01:59.79,0:01:59.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1114,85)\bord2\shad0\be0\}alive.
Dialogue: 0,0:01:59.79,0:02:00.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1056,85,1056,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}a
Dialogue: 0,0:01:59.79,0:02:00.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1081,85,1081,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}l
Dialogue: 0,0:01:59.79,0:02:00.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1101,85,1101,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}i
Dialogue: 0,0:01:59.79,0:02:00.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1126,85,1126,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}v
Dialogue: 0,0:01:59.79,0:02:00.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1155,85,1155,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}e
Dialogue: 0,0:01:59.79,0:02:00.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1177,85,1177,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}.
Dialogue: 2,0:01:57.38,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1114,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,2410,\fscx100\fscy100\bord0\blur0)}alive.
Dialogue: 2,0:01:57.38,0:01:59.89,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1114,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,2410,\fscx100\fscy100\bord0\blur0)}alive.
Dialogue: 0,0:02:00.29,0:02:00.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(98,85)\fad(200,0)}I
Dialogue: 0,0:02:00.29,0:02:00.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(126,85)\fad(200,0)}
Dialogue: 0,0:02:00.70,0:02:02.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(98,85)\bord2\shad0\be0\}I
Dialogue: 0,0:02:02.87,0:02:02.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(98,85,98,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}I
Dialogue: 0,0:02:02.87,0:02:02.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(126,85,126,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:00.29,0:02:00.80,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(98,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,410,\fscx100\fscy100\bord0\blur0)}I
Dialogue: 2,0:02:00.29,0:02:00.80,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(98,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,410,\fscx100\fscy100\bord0\blur0)}I
Dialogue: 0,0:02:00.39,0:02:00.70,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(159,85)\fad(200,0)}w
Dialogue: 0,0:02:00.39,0:02:00.70,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(191,85)\fad(200,0)}i
Dialogue: 0,0:02:00.39,0:02:00.70,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(212,85)\fad(200,0)}l
Dialogue: 0,0:02:00.39,0:02:00.70,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(233,85)\fad(200,0)}l
Dialogue: 0,0:02:00.39,0:02:00.70,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(254,85)\fad(200,0)}
Dialogue: 0,0:02:01.06,0:02:02.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(190,85)\bord2\shad0\be0\}will
Dialogue: 0,0:02:02.87,0:02:02.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(159,85,159,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}w
Dialogue: 0,0:02:02.87,0:02:02.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(191,85,191,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}i
Dialogue: 0,0:02:02.87,0:02:02.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(212,85,212,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}l
Dialogue: 0,0:02:02.87,0:02:02.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(233,85,233,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}l
Dialogue: 0,0:02:02.87,0:02:02.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(254,85,254,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:00.70,0:02:01.16,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(190,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,360,\fscx100\fscy100\bord0\blur0)}will
Dialogue: 2,0:02:00.70,0:02:01.16,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(190,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,360,\fscx100\fscy100\bord0\blur0)}will
Dialogue: 0,0:02:00.49,0:02:01.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(281,85)\fad(200,0)}n
Dialogue: 0,0:02:00.49,0:02:01.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(312,85)\fad(200,0)}e
Dialogue: 0,0:02:00.49,0:02:01.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(341,85)\fad(200,0)}v
Dialogue: 0,0:02:00.49,0:02:01.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(369,85)\fad(200,0)}e
Dialogue: 0,0:02:00.49,0:02:01.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(397,85)\fad(200,0)}r
Dialogue: 0,0:02:00.49,0:02:01.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(422,85)\fad(200,0)}
Dialogue: 0,0:02:01.67,0:02:02.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(338,85)\bord2\shad0\be0\}never
Dialogue: 0,0:02:02.87,0:02:03.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(281,85,281,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}n
Dialogue: 0,0:02:02.87,0:02:03.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(312,85,312,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:02:02.87,0:02:03.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(341,85,341,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}v
Dialogue: 0,0:02:02.87,0:02:03.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(369,85,369,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:02:02.87,0:02:03.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(397,85,397,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}r
Dialogue: 0,0:02:02.87,0:02:03.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(422,85,422,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:01.06,0:02:01.77,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(338,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,610,\fscx100\fscy100\bord0\blur0)}never
Dialogue: 2,0:02:01.06,0:02:01.77,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(338,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,610,\fscx100\fscy100\bord0\blur0)}never
Dialogue: 0,0:02:00.59,0:02:01.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(447,85)\fad(200,0)}b
Dialogue: 0,0:02:00.59,0:02:01.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(475,85)\fad(200,0)}e
Dialogue: 0,0:02:00.59,0:02:01.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(499,85)\fad(200,0)}
Dialogue: 0,0:02:02.07,0:02:02.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(461,85)\bord2\shad0\be0\}be
Dialogue: 0,0:02:02.87,0:02:03.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(447,85,447,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}b
Dialogue: 0,0:02:02.87,0:02:03.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(475,85,475,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}e
Dialogue: 0,0:02:02.87,0:02:03.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(499,85,499,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:02:01.67,0:02:02.17,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(461,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,400,\fscx100\fscy100\bord0\blur0)}be
Dialogue: 2,0:02:01.67,0:02:02.17,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(461,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,400,\fscx100\fscy100\bord0\blur0)}be
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(525,85)\fad(200,0)}d
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(555,85)\fad(200,0)}e
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(581,85)\fad(200,0)}c
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(607,85)\fad(200,0)}e
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(631,85)\fad(200,0)}i
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(655,85)\fad(200,0)}v
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(684,85)\fad(200,0)}e
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(714,85)\fad(200,0)}d
Dialogue: 0,0:02:00.69,0:02:02.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(739,85)\fad(200,0)}.
Dialogue: 0,0:02:02.87,0:02:02.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(629,85)\bord2\shad0\be0\}deceived.
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(525,85,525,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}d
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(555,85,555,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}e
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(581,85,581,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}c
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(607,85,607,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}e
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(631,85,631,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}i
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(655,85,655,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}v
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(684,85,684,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}e
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(714,85,714,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}d
Dialogue: 0,0:02:02.87,0:02:03.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(739,85,739,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}.
Dialogue: 2,0:02:02.07,0:02:02.97,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(629,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,800,\fscx100\fscy100\bord0\blur0)}deceived.
Dialogue: 2,0:02:02.07,0:02:02.97,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(629,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,800,\fscx100\fscy100\bord0\blur0)}deceived.
Dialogue: 0,0:02:02.94,0:02:02.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(98,85)\fad(200,0)}I
Dialogue: 0,0:02:02.94,0:02:02.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(125,85)\fad(200,0)}'
Dialogue: 0,0:02:02.94,0:02:02.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(157,85)\fad(200,0)}m
Dialogue: 0,0:02:02.94,0:02:02.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(190,85)\fad(200,0)}
Dialogue: 0,0:02:03.21,0:02:05.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(130,85)\bord2\shad0\be0\}I'm
Dialogue: 0,0:02:05.94,0:02:05.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(98,85,98,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}I
Dialogue: 0,0:02:05.94,0:02:05.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(125,85,125,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}'
Dialogue: 0,0:02:05.94,0:02:05.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(157,85,157,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}m
Dialogue: 0,0:02:05.94,0:02:05.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(190,85,190,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:02.94,0:02:03.31,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(130,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,270,\fscx100\fscy100\bord0\blur0)}I'm
Dialogue: 2,0:02:02.94,0:02:03.31,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(130,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,270,\fscx100\fscy100\bord0\blur0)}I'm
Dialogue: 0,0:02:03.04,0:02:03.21,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(214,85)\fad(200,0)}a
Dialogue: 0,0:02:03.04,0:02:03.21,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(238,85)\fad(200,0)}
Dialogue: 0,0:02:03.40,0:02:05.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(214,85)\bord2\shad0\be0\}a
Dialogue: 0,0:02:05.94,0:02:06.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(214,85,214,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}a
Dialogue: 0,0:02:05.94,0:02:06.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(238,85,238,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:03.21,0:02:03.50,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(214,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,190,\fscx100\fscy100\bord0\blur0)}a
Dialogue: 2,0:02:03.21,0:02:03.50,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(214,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,190,\fscx100\fscy100\bord0\blur0)}a
Dialogue: 0,0:02:03.14,0:02:03.40,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(265,85)\fad(200,0)}g
Dialogue: 0,0:02:03.14,0:02:03.40,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(291,85)\fad(200,0)}i
Dialogue: 0,0:02:03.14,0:02:03.40,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(315,85)\fad(200,0)}r
Dialogue: 0,0:02:03.14,0:02:03.40,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(340,85)\fad(200,0)}l
Dialogue: 0,0:02:03.14,0:02:03.40,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(361,85)\fad(200,0)}
Dialogue: 0,0:02:03.73,0:02:05.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(300,85)\bord2\shad0\be0\}girl
Dialogue: 0,0:02:05.94,0:02:06.09,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(265,85,265,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}g
Dialogue: 0,0:02:05.94,0:02:06.09,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(291,85,291,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}i
Dialogue: 0,0:02:05.94,0:02:06.09,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(315,85,315,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}r
Dialogue: 0,0:02:05.94,0:02:06.09,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(340,85,340,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}l
Dialogue: 0,0:02:05.94,0:02:06.09,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(361,85,361,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:03.40,0:02:03.83,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(300,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,330,\fscx100\fscy100\bord0\blur0)}girl
Dialogue: 2,0:02:03.40,0:02:03.83,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(300,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,330,\fscx100\fscy100\bord0\blur0)}girl
Dialogue: 0,0:02:03.24,0:02:03.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(382,85)\fad(200,0)}t
Dialogue: 0,0:02:03.24,0:02:03.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(407,85)\fad(200,0)}h
Dialogue: 0,0:02:03.24,0:02:03.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(436,85)\fad(200,0)}a
Dialogue: 0,0:02:03.24,0:02:03.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(461,85)\fad(200,0)}t
Dialogue: 0,0:02:03.24,0:02:03.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(482,85)\fad(200,0)}
Dialogue: 0,0:02:03.90,0:02:05.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(421,85)\bord2\shad0\be0\}that
Dialogue: 0,0:02:05.94,0:02:06.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(382,85,382,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}t
Dialogue: 0,0:02:05.94,0:02:06.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(407,85,407,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}h
Dialogue: 0,0:02:05.94,0:02:06.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(436,85,436,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}a
Dialogue: 0,0:02:05.94,0:02:06.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(461,85,461,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}t
Dialogue: 0,0:02:05.94,0:02:06.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(482,85,482,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:02:03.73,0:02:04.00,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(421,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,170,\fscx100\fscy100\bord0\blur0)}that
Dialogue: 2,0:02:03.73,0:02:04.00,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(421,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,170,\fscx100\fscy100\bord0\blur0)}that
Dialogue: 0,0:02:03.34,0:02:03.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(508,85)\fad(200,0)}s
Dialogue: 0,0:02:03.34,0:02:03.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(538,85)\fad(200,0)}e
Dialogue: 0,0:02:03.34,0:02:03.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(565,85)\fad(200,0)}e
Dialogue: 0,0:02:03.34,0:02:03.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(595,85)\fad(200,0)}s
Dialogue: 0,0:02:03.34,0:02:03.90,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(621,85)\fad(200,0)}
Dialogue: 0,0:02:04.38,0:02:05.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(551,85)\bord2\shad0\be0\}sees
Dialogue: 0,0:02:05.94,0:02:06.19,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(508,85,508,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}s
Dialogue: 0,0:02:05.94,0:02:06.19,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(538,85,538,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}e
Dialogue: 0,0:02:05.94,0:02:06.19,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(565,85,565,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}e
Dialogue: 0,0:02:05.94,0:02:06.19,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(595,85,595,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}s
Dialogue: 0,0:02:05.94,0:02:06.19,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(621,85,621,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}
Dialogue: 2,0:02:03.90,0:02:04.48,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(551,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,480,\fscx100\fscy100\bord0\blur0)}sees
Dialogue: 2,0:02:03.90,0:02:04.48,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(551,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,480,\fscx100\fscy100\bord0\blur0)}sees
Dialogue: 0,0:02:03.44,0:02:04.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(642,85)\fad(200,0)}t
Dialogue: 0,0:02:03.44,0:02:04.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(667,85)\fad(200,0)}h
Dialogue: 0,0:02:03.44,0:02:04.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(696,85)\fad(200,0)}r
Dialogue: 0,0:02:03.44,0:02:04.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(727,85)\fad(200,0)}o
Dialogue: 0,0:02:03.44,0:02:04.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(759,85)\fad(200,0)}u
Dialogue: 0,0:02:03.44,0:02:04.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(792,85)\fad(200,0)}g
Dialogue: 0,0:02:03.44,0:02:04.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(823,85)\fad(200,0)}h
Dialogue: 0,0:02:03.44,0:02:04.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(848,85)\fad(200,0)}
Dialogue: 0,0:02:04.77,0:02:05.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(734,85)\bord2\shad0\be0\}through
Dialogue: 0,0:02:05.94,0:02:06.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(642,85,642,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}t
Dialogue: 0,0:02:05.94,0:02:06.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(667,85,667,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}h
Dialogue: 0,0:02:05.94,0:02:06.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(696,85,696,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}r
Dialogue: 0,0:02:05.94,0:02:06.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(727,85,727,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}o
Dialogue: 0,0:02:05.94,0:02:06.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(759,85,759,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}u
Dialogue: 0,0:02:05.94,0:02:06.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(792,85,792,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}g
Dialogue: 0,0:02:05.94,0:02:06.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(823,85,823,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}h
Dialogue: 0,0:02:05.94,0:02:06.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(848,85,848,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}
Dialogue: 2,0:02:04.38,0:02:04.87,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(734,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,390,\fscx100\fscy100\bord0\blur0)}through
Dialogue: 2,0:02:04.38,0:02:04.87,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(734,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,390,\fscx100\fscy100\bord0\blur0)}through
Dialogue: 0,0:02:03.54,0:02:04.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(869,85)\fad(200,0)}l
Dialogue: 0,0:02:03.54,0:02:04.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(890,85)\fad(200,0)}i
Dialogue: 0,0:02:03.54,0:02:04.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(913,85)\fad(200,0)}e
Dialogue: 0,0:02:03.54,0:02:04.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(943,85)\fad(200,0)}s
Dialogue: 0,0:02:03.54,0:02:04.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(968,85)\fad(200,0)}.
Dialogue: 0,0:02:05.94,0:02:06.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(869,85,869,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}l
Dialogue: 0,0:02:05.94,0:02:06.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(890,85,890,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}i
Dialogue: 0,0:02:05.94,0:02:06.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(913,85,913,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}e
Dialogue: 0,0:02:05.94,0:02:06.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(943,85,943,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}s
Dialogue: 0,0:02:05.94,0:02:06.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(968,85,968,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}.
Dialogue: 2,0:02:04.77,0:02:06.07,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(918,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,1200,\fscx100\fscy100\bord0\blur0)}lies.
Dialogue: 2,0:02:04.77,0:02:06.07,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(918,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,1200,\fscx100\fscy100\bord0\blur0)}lies.
Dialogue: 0,0:02:05.95,0:02:05.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(89,85)\fad(200,0)}'
Dialogue: 0,0:02:05.95,0:02:05.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(124,85)\fad(200,0)}C
Dialogue: 0,0:02:05.95,0:02:05.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(167,85)\fad(200,0)}u
Dialogue: 0,0:02:05.95,0:02:05.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(200,85)\fad(200,0)}z
Dialogue: 0,0:02:05.95,0:02:05.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(226,85)\fad(200,0)}
Dialogue: 0,0:02:06.21,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(148,85)\bord2\shad0\be0\}'Cuz
Dialogue: 0,0:02:08.99,0:02:09.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(89,85,89,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}'
Dialogue: 0,0:02:08.99,0:02:09.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(124,85,124,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}C
Dialogue: 0,0:02:08.99,0:02:09.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(167,85,167,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}u
Dialogue: 0,0:02:08.99,0:02:09.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(200,85,200,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}z
Dialogue: 0,0:02:08.99,0:02:09.04,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(226,85,226,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:05.95,0:02:06.31,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(148,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,260,\fscx100\fscy100\bord0\blur0)}'Cuz
Dialogue: 2,0:02:05.95,0:02:06.31,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(148,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,260,\fscx100\fscy100\bord0\blur0)}'Cuz
Dialogue: 0,0:02:06.05,0:02:06.21,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(254,85)\fad(200,0)}I
Dialogue: 0,0:02:06.05,0:02:06.21,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(282,85)\fad(200,0)}
Dialogue: 0,0:02:06.35,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(254,85)\bord2\shad0\be0\}I
Dialogue: 0,0:02:08.99,0:02:09.09,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(254,85,254,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}I
Dialogue: 0,0:02:08.99,0:02:09.09,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(282,85,282,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:06.21,0:02:06.45,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(254,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,140,\fscx100\fscy100\bord0\blur0)}I
Dialogue: 2,0:02:06.21,0:02:06.45,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(254,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,140,\fscx100\fscy100\bord0\blur0)}I
Dialogue: 0,0:02:06.15,0:02:06.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(309,85)\fad(200,0)}k
Dialogue: 0,0:02:06.15,0:02:06.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(343,85)\fad(200,0)}n
Dialogue: 0,0:02:06.15,0:02:06.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(376,85)\fad(200,0)}o
Dialogue: 0,0:02:06.15,0:02:06.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(414,85)\fad(200,0)}w
Dialogue: 0,0:02:06.15,0:02:06.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(444,85)\fad(200,0)},
Dialogue: 0,0:02:06.15,0:02:06.35,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(463,85)\fad(200,0)}
Dialogue: 0,0:02:06.98,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(372,85)\bord2\shad0\be0\}know,
Dialogue: 0,0:02:08.99,0:02:09.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(309,85,309,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}k
Dialogue: 0,0:02:08.99,0:02:09.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(343,85,343,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}n
Dialogue: 0,0:02:08.99,0:02:09.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(376,85,376,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}o
Dialogue: 0,0:02:08.99,0:02:09.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(414,85,414,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}w
Dialogue: 0,0:02:08.99,0:02:09.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(444,85,444,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\},
Dialogue: 0,0:02:08.99,0:02:09.14,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(463,85,463,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:06.35,0:02:07.08,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(372,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,630,\fscx100\fscy100\bord0\blur0)}know,
Dialogue: 2,0:02:06.35,0:02:07.08,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(372,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,630,\fscx100\fscy100\bord0\blur0)}know,
Dialogue: 0,0:02:06.35,0:02:07.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(489,85)\fad(200,0)}k
Dialogue: 0,0:02:06.35,0:02:07.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(523,85)\fad(200,0)}n
Dialogue: 0,0:02:06.35,0:02:07.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(556,85)\fad(200,0)}o
Dialogue: 0,0:02:06.35,0:02:07.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(594,85)\fad(200,0)}w
Dialogue: 0,0:02:06.35,0:02:07.51,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(627,85)\fad(200,0)}
Dialogue: 0,0:02:07.75,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(545,85)\bord2\shad0\be0\}know
Dialogue: 0,0:02:08.99,0:02:09.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(489,85,489,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}k
Dialogue: 0,0:02:08.99,0:02:09.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(523,85,523,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}n
Dialogue: 0,0:02:08.99,0:02:09.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(556,85,556,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}o
Dialogue: 0,0:02:08.99,0:02:09.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(594,85,594,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}w
Dialogue: 0,0:02:08.99,0:02:09.24,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(627,85,627,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}
Dialogue: 2,0:02:07.51,0:02:07.85,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(545,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,240,\fscx100\fscy100\bord0\blur0)}know
Dialogue: 2,0:02:07.51,0:02:07.85,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(545,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,240,\fscx100\fscy100\bord0\blur0)}know
Dialogue: 0,0:02:06.45,0:02:07.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(647,85)\fad(200,0)}i
Dialogue: 0,0:02:06.45,0:02:07.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(667,85)\fad(200,0)}t
Dialogue: 0,0:02:06.45,0:02:07.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(688,85)\fad(200,0)}
Dialogue: 0,0:02:07.97,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(657,85)\bord2\shad0\be0\}it
Dialogue: 0,0:02:08.99,0:02:09.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(647,85,647,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}i
Dialogue: 0,0:02:08.99,0:02:09.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(667,85,667,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}t
Dialogue: 0,0:02:08.99,0:02:09.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(688,85,688,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}
Dialogue: 2,0:02:07.75,0:02:08.07,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(657,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,220,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 2,0:02:07.75,0:02:08.07,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(657,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,220,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 0,0:02:06.55,0:02:07.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(712,85)\fad(200,0)}a
Dialogue: 0,0:02:06.55,0:02:07.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(737,85)\fad(200,0)}l
Dialogue: 0,0:02:06.55,0:02:07.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(758,85)\fad(200,0)}l
Dialogue: 0,0:02:06.55,0:02:07.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(778,85)\fad(200,0)}.
Dialogue: 0,0:02:08.99,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(743,85)\bord2\shad0\be0\}all.
Dialogue: 0,0:02:08.99,0:02:09.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(712,85,712,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}a
Dialogue: 0,0:02:08.99,0:02:09.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(737,85,737,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}l
Dialogue: 0,0:02:08.99,0:02:09.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(758,85,758,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}l
Dialogue: 0,0:02:08.99,0:02:09.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(778,85,778,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}.
Dialogue: 2,0:02:07.97,0:02:09.09,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(743,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,1020,\fscx100\fscy100\bord0\blur0)}all.
Dialogue: 2,0:02:07.97,0:02:09.09,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(743,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,1020,\fscx100\fscy100\bord0\blur0)}all.
Dialogue: 0,0:02:08.99,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(110,85)\fad(200,0)}G
Dialogue: 0,0:02:08.99,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(155,85)\fad(200,0)}o
Dialogue: 0,0:02:08.99,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(188,85)\fad(200,0)}n
Dialogue: 0,0:02:08.99,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(223,85)\fad(200,0)}n
Dialogue: 0,0:02:08.99,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(255,85)\fad(200,0)}a
Dialogue: 0,0:02:08.99,0:02:08.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(279,85)\fad(200,0)}
Dialogue: 0,0:02:09.34,0:02:13.47,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(174,85)\bord2\shad0\be0\}Gonna
Dialogue: 0,0:02:13.47,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(110,85,110,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}G
Dialogue: 0,0:02:13.47,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(155,85,155,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}o
Dialogue: 0,0:02:13.47,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(188,85,188,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:02:13.47,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(223,85,223,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:02:13.47,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(255,85,255,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}a
Dialogue: 0,0:02:13.47,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(279,85,279,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:08.99,0:02:09.44,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(174,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,350,\fscx100\fscy100\bord0\blur0)}Gonna
Dialogue: 2,0:02:08.99,0:02:09.44,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(174,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,350,\fscx100\fscy100\bord0\blur0)}Gonna
Dialogue: 0,0:02:09.09,0:02:09.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(299,85)\fad(200,0)}f
Dialogue: 0,0:02:09.09,0:02:09.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(321,85)\fad(200,0)}l
Dialogue: 0,0:02:09.09,0:02:09.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(349,85)\fad(200,0)}y
Dialogue: 0,0:02:09.09,0:02:09.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(376,85)\fad(200,0)}
Dialogue: 0,0:02:10.57,0:02:13.47,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(328,85)\bord2\shad0\be0\}fly
Dialogue: 0,0:02:13.47,0:02:13.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(299,85,299,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}f
Dialogue: 0,0:02:13.47,0:02:13.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(321,85,321,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}l
Dialogue: 0,0:02:13.47,0:02:13.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(349,85,349,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}y
Dialogue: 0,0:02:13.47,0:02:13.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(376,85,376,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:09.34,0:02:10.67,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(328,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,1230,\fscx100\fscy100\bord0\blur0)}fly
Dialogue: 2,0:02:09.34,0:02:10.67,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(328,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,1230,\fscx100\fscy100\bord0\blur0)}fly
Dialogue: 0,0:02:09.19,0:02:10.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(403,85)\fad(200,0)}s
Dialogue: 0,0:02:09.19,0:02:10.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(434,85)\fad(200,0)}o
Dialogue: 0,0:02:09.19,0:02:10.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(460,85)\fad(200,0)}
Dialogue: 0,0:02:11.01,0:02:13.47,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(418,85)\bord2\shad0\be0\}so
Dialogue: 0,0:02:13.47,0:02:13.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(403,85,403,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}s
Dialogue: 0,0:02:13.47,0:02:13.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(434,85,434,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}o
Dialogue: 0,0:02:13.47,0:02:13.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(460,85,460,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:10.57,0:02:11.11,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(418,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,440,\fscx100\fscy100\bord0\blur0)}so
Dialogue: 2,0:02:10.57,0:02:11.11,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(418,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,440,\fscx100\fscy100\bord0\blur0)}so
Dialogue: 0,0:02:09.29,0:02:11.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(485,85)\fad(200,0)}h
Dialogue: 0,0:02:09.29,0:02:11.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(510,85)\fad(200,0)}i
Dialogue: 0,0:02:09.29,0:02:11.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(536,85)\fad(200,0)}g
Dialogue: 0,0:02:09.29,0:02:11.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(567,85)\fad(200,0)}h
Dialogue: 0,0:02:09.29,0:02:11.01,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(591,85)\fad(200,0)}.
Dialogue: 0,0:02:13.47,0:02:13.47,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(535,85)\bord2\shad0\be0\}high.
Dialogue: 0,0:02:13.47,0:02:13.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(485,85,485,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}h
Dialogue: 0,0:02:13.47,0:02:13.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(510,85,510,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}i
Dialogue: 0,0:02:13.47,0:02:13.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(536,85,536,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}g
Dialogue: 0,0:02:13.47,0:02:13.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(567,85,567,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}h
Dialogue: 0,0:02:13.47,0:02:13.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(591,85,591,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 2,0:02:11.01,0:02:13.57,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(535,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,2460,\fscx100\fscy100\bord0\blur0)}high.
Dialogue: 2,0:02:11.01,0:02:13.57,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(535,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,2460,\fscx100\fscy100\bord0\blur0)}high.
Dialogue: 0,0:02:13.52,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(110,85)\fad(200,0)}G
Dialogue: 0,0:02:13.52,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(153,85)\fad(200,0)}e
Dialogue: 0,0:02:13.52,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(178,85)\fad(200,0)}t
Dialogue: 0,0:02:13.52,0:02:13.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(198,85)\fad(200,0)}
Dialogue: 0,0:02:13.88,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(134,85)\bord2\shad0\be0\}Get
Dialogue: 0,0:02:16.34,0:02:16.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(110,85,110,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}G
Dialogue: 0,0:02:16.34,0:02:16.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(153,85,153,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:02:16.34,0:02:16.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(178,85,178,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}t
Dialogue: 0,0:02:16.34,0:02:16.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(198,85,198,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:13.52,0:02:13.98,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(134,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,360,\fscx100\fscy100\bord0\blur0)}Get
Dialogue: 2,0:02:13.52,0:02:13.98,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(134,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,360,\fscx100\fscy100\bord0\blur0)}Get
Dialogue: 0,0:02:13.62,0:02:13.88,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(223,85)\fad(200,0)}a
Dialogue: 0,0:02:13.62,0:02:13.88,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(249,85)\fad(200,0)}c
Dialogue: 0,0:02:13.62,0:02:13.88,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(276,85)\fad(200,0)}r
Dialogue: 0,0:02:13.62,0:02:13.88,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(306,85)\fad(200,0)}o
Dialogue: 0,0:02:13.62,0:02:13.88,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(338,85)\fad(200,0)}s
Dialogue: 0,0:02:13.62,0:02:13.88,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(370,85)\fad(200,0)}s
Dialogue: 0,0:02:13.62,0:02:13.88,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(396,85)\fad(200,0)}
Dialogue: 0,0:02:14.12,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(297,85)\bord2\shad0\be0\}across
Dialogue: 0,0:02:16.34,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(223,85,223,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}a
Dialogue: 0,0:02:16.34,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(249,85,249,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}c
Dialogue: 0,0:02:16.34,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(276,85,276,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}r
Dialogue: 0,0:02:16.34,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(306,85,306,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}o
Dialogue: 0,0:02:16.34,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(338,85,338,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}s
Dialogue: 0,0:02:16.34,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(370,85,370,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}s
Dialogue: 0,0:02:16.34,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(396,85,396,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:13.88,0:02:14.22,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(297,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,240,\fscx100\fscy100\bord0\blur0)}across
Dialogue: 2,0:02:13.88,0:02:14.22,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(297,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,240,\fscx100\fscy100\bord0\blur0)}across
Dialogue: 0,0:02:13.72,0:02:14.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(417,85)\fad(200,0)}t
Dialogue: 0,0:02:13.72,0:02:14.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(443,85)\fad(200,0)}h
Dialogue: 0,0:02:13.72,0:02:14.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(471,85)\fad(200,0)}e
Dialogue: 0,0:02:13.72,0:02:14.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(495,85)\fad(200,0)}
Dialogue: 0,0:02:14.32,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(445,85)\bord2\shad0\be0\}the
Dialogue: 0,0:02:16.34,0:02:16.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(417,85,417,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}t
Dialogue: 0,0:02:16.34,0:02:16.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(443,85,443,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}h
Dialogue: 0,0:02:16.34,0:02:16.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(471,85,471,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:02:16.34,0:02:16.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(495,85,495,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:14.12,0:02:14.42,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(445,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,200,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 2,0:02:14.12,0:02:14.42,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(445,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,200,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 0,0:02:13.82,0:02:14.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(527,85)\fad(200,0)}w
Dialogue: 0,0:02:13.82,0:02:14.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(564,85)\fad(200,0)}a
Dialogue: 0,0:02:13.82,0:02:14.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(588,85)\fad(200,0)}l
Dialogue: 0,0:02:13.82,0:02:14.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(610,85)\fad(200,0)}l
Dialogue: 0,0:02:13.82,0:02:14.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(629,85)\fad(200,0)}.
Dialogue: 0,0:02:13.82,0:02:14.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(648,85)\fad(200,0)}.
Dialogue: 0,0:02:13.82,0:02:14.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(666,85)\fad(200,0)}.
Dialogue: 0,0:02:13.82,0:02:14.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(685,85)\fad(200,0)}
Dialogue: 0,0:02:15.05,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(590,85)\bord2\shad0\be0\}wall...
Dialogue: 0,0:02:16.34,0:02:16.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(527,85,527,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}w
Dialogue: 0,0:02:16.34,0:02:16.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(564,85,564,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}a
Dialogue: 0,0:02:16.34,0:02:16.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(588,85,588,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}l
Dialogue: 0,0:02:16.34,0:02:16.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(610,85,610,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}l
Dialogue: 0,0:02:16.34,0:02:16.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(629,85,629,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 0,0:02:16.34,0:02:16.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(648,85,648,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 0,0:02:16.34,0:02:16.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(666,85,666,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 0,0:02:16.34,0:02:16.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(685,85,685,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:02:14.32,0:02:15.15,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(590,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,730,\fscx100\fscy100\bord0\blur0)}wall...
Dialogue: 2,0:02:14.32,0:02:15.15,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(590,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,730,\fscx100\fscy100\bord0\blur0)}wall...
Dialogue: 0,0:02:14.02,0:02:15.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(733,85)\fad(200,0)}W
Dialogue: 0,0:02:14.02,0:02:15.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(787,85)\fad(200,0)}h
Dialogue: 0,0:02:14.02,0:02:15.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(816,85)\fad(200,0)}a
Dialogue: 0,0:02:14.02,0:02:15.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(840,85)\fad(200,0)}t
Dialogue: 0,0:02:14.02,0:02:15.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(861,85)\fad(200,0)}
Dialogue: 0,0:02:15.50,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(773,85)\bord2\shad0\be0\}What
Dialogue: 0,0:02:16.34,0:02:16.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(733,85,733,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}W
Dialogue: 0,0:02:16.34,0:02:16.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(787,85,787,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}h
Dialogue: 0,0:02:16.34,0:02:16.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(816,85,816,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}a
Dialogue: 0,0:02:16.34,0:02:16.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(840,85,840,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}t
Dialogue: 0,0:02:16.34,0:02:16.64,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(861,85,861,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}
Dialogue: 2,0:02:15.30,0:02:15.60,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(773,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,200,\fscx100\fscy100\bord0\blur0)}What
Dialogue: 2,0:02:15.30,0:02:15.60,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(773,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,200,\fscx100\fscy100\bord0\blur0)}What
Dialogue: 0,0:02:14.12,0:02:15.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(885,85)\fad(200,0)}a
Dialogue: 0,0:02:14.12,0:02:15.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(922,85)\fad(200,0)}w
Dialogue: 0,0:02:14.12,0:02:15.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(958,85)\fad(200,0)}a
Dialogue: 0,0:02:14.12,0:02:15.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(982,85)\fad(200,0)}i
Dialogue: 0,0:02:14.12,0:02:15.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1003,85)\fad(200,0)}t
Dialogue: 0,0:02:14.12,0:02:15.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1029,85)\fad(200,0)}s
Dialogue: 0,0:02:14.12,0:02:15.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1056,85)\fad(200,0)}!
Dialogue: 0,0:02:16.34,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(969,85)\bord2\shad0\be0\}awaits!
Dialogue: 0,0:02:16.34,0:02:16.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(885,85,885,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}a
Dialogue: 0,0:02:16.34,0:02:16.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(922,85,922,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}w
Dialogue: 0,0:02:16.34,0:02:16.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(958,85,958,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}a
Dialogue: 0,0:02:16.34,0:02:16.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(982,85,982,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}i
Dialogue: 0,0:02:16.34,0:02:16.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1003,85,1003,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}t
Dialogue: 0,0:02:16.34,0:02:16.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1029,85,1029,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}s
Dialogue: 0,0:02:16.34,0:02:16.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1056,85,1056,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}!
Dialogue: 2,0:02:15.50,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(969,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,840,\fscx100\fscy100\bord0\blur0)}awaits!
Dialogue: 2,0:02:15.50,0:02:16.44,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(969,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,840,\fscx100\fscy100\bord0\blur0)}awaits!
Dialogue: 0,0:02:16.34,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(113,85)\fad(200,0)}A
Dialogue: 0,0:02:16.34,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(163,85)\fad(200,0)}n
Dialogue: 0,0:02:16.34,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(196,85)\fad(200,0)}d
Dialogue: 0,0:02:16.34,0:02:16.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(223,85)\fad(200,0)}
Dialogue: 0,0:02:16.62,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(146,85)\bord2\shad0\be0\}And
Dialogue: 0,0:02:19.77,0:02:19.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(113,85,113,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}A
Dialogue: 0,0:02:19.77,0:02:19.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(163,85,163,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:02:19.77,0:02:19.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(196,85,196,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}d
Dialogue: 0,0:02:19.77,0:02:19.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(223,85,223,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:16.34,0:02:16.72,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(146,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,280,\fscx100\fscy100\bord0\blur0)}And
Dialogue: 2,0:02:16.34,0:02:16.72,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(146,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,280,\fscx100\fscy100\bord0\blur0)}And
Dialogue: 0,0:02:16.44,0:02:16.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(255,85)\fad(200,0)}w
Dialogue: 0,0:02:16.44,0:02:16.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(292,85)\fad(200,0)}h
Dialogue: 0,0:02:16.44,0:02:16.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(321,85)\fad(200,0)}a
Dialogue: 0,0:02:16.44,0:02:16.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(346,85)\fad(200,0)}t
Dialogue: 0,0:02:16.44,0:02:16.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(367,85)\fad(200,0)}
Dialogue: 0,0:02:16.79,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(295,85)\bord2\shad0\be0\}what
Dialogue: 0,0:02:19.77,0:02:19.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(255,85,255,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}w
Dialogue: 0,0:02:19.77,0:02:19.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(292,85,292,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}h
Dialogue: 0,0:02:19.77,0:02:19.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(321,85,321,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}a
Dialogue: 0,0:02:19.77,0:02:19.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(346,85,346,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:02:19.77,0:02:19.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(367,85,367,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:16.62,0:02:16.89,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(295,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,170,\fscx100\fscy100\bord0\blur0)}what
Dialogue: 2,0:02:16.62,0:02:16.89,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(295,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,170,\fscx100\fscy100\bord0\blur0)}what
Dialogue: 0,0:02:16.54,0:02:16.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(389,85)\fad(200,0)}c
Dialogue: 0,0:02:16.54,0:02:16.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(416,85)\fad(200,0)}a
Dialogue: 0,0:02:16.54,0:02:16.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(447,85)\fad(200,0)}n
Dialogue: 0,0:02:16.54,0:02:16.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(474,85)\fad(200,0)}
Dialogue: 0,0:02:17.05,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(421,85)\bord2\shad0\be0\}can
Dialogue: 0,0:02:19.77,0:02:19.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(389,85,389,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}c
Dialogue: 0,0:02:19.77,0:02:19.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(416,85,416,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}a
Dialogue: 0,0:02:19.77,0:02:19.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(447,85,447,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}n
Dialogue: 0,0:02:19.77,0:02:19.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(474,85,474,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:16.79,0:02:17.15,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(421,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,260,\fscx100\fscy100\bord0\blur0)}can
Dialogue: 2,0:02:16.79,0:02:17.15,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(421,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,260,\fscx100\fscy100\bord0\blur0)}can
Dialogue: 0,0:02:16.64,0:02:17.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(494,85)\fad(200,0)}i
Dialogue: 0,0:02:16.64,0:02:17.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(515,85)\fad(200,0)}t
Dialogue: 0,0:02:16.64,0:02:17.05,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(536,85)\fad(200,0)}
Dialogue: 0,0:02:17.15,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(505,85)\bord2\shad0\be0\}it
Dialogue: 0,0:02:19.77,0:02:19.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(494,85,494,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}i
Dialogue: 0,0:02:19.77,0:02:19.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(515,85,515,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}t
Dialogue: 0,0:02:19.77,0:02:19.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(536,85,536,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:02:17.05,0:02:17.25,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(505,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,100,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 2,0:02:17.05,0:02:17.25,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(505,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,100,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 0,0:02:16.74,0:02:17.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(562,85)\fad(200,0)}s
Dialogue: 0,0:02:16.74,0:02:17.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(593,85)\fad(200,0)}h
Dialogue: 0,0:02:16.74,0:02:17.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(624,85)\fad(200,0)}o
Dialogue: 0,0:02:16.74,0:02:17.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(662,85)\fad(200,0)}w
Dialogue: 0,0:02:16.74,0:02:17.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(694,85)\fad(200,0)}
Dialogue: 0,0:02:17.67,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(615,85)\bord2\shad0\be0\}show
Dialogue: 0,0:02:19.77,0:02:20.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(562,85,562,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}s
Dialogue: 0,0:02:19.77,0:02:20.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(593,85,593,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}h
Dialogue: 0,0:02:19.77,0:02:20.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(624,85,624,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}o
Dialogue: 0,0:02:19.77,0:02:20.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(662,85,662,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}w
Dialogue: 0,0:02:19.77,0:02:20.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(694,85,694,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}
Dialogue: 2,0:02:17.15,0:02:17.77,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(615,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,520,\fscx100\fscy100\bord0\blur0)}show
Dialogue: 2,0:02:17.15,0:02:17.77,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(615,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,520,\fscx100\fscy100\bord0\blur0)}show
Dialogue: 0,0:02:16.84,0:02:17.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(727,85)\fad(200,0)}m
Dialogue: 0,0:02:16.84,0:02:17.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(764,85)\fad(200,0)}e
Dialogue: 0,0:02:16.84,0:02:17.67,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(788,85)\fad(200,0)}
Dialogue: 0,0:02:17.83,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(741,85)\bord2\shad0\be0\}me
Dialogue: 0,0:02:19.77,0:02:20.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(727,85,727,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}m
Dialogue: 0,0:02:19.77,0:02:20.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(764,85,764,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}e
Dialogue: 0,0:02:19.77,0:02:20.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(788,85,788,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}
Dialogue: 2,0:02:17.67,0:02:17.93,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(741,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,160,\fscx100\fscy100\bord0\blur0)}me
Dialogue: 2,0:02:17.67,0:02:17.93,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(741,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,160,\fscx100\fscy100\bord0\blur0)}me
Dialogue: 0,0:02:16.94,0:02:17.83,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(815,85)\fad(200,0)}n
Dialogue: 0,0:02:16.94,0:02:17.83,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(848,85)\fad(200,0)}o
Dialogue: 0,0:02:16.94,0:02:17.83,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(886,85)\fad(200,0)}w
Dialogue: 0,0:02:16.94,0:02:17.83,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(924,85)\fad(200,0)}?
Dialogue: 0,0:02:16.94,0:02:17.83,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(950,85)\fad(200,0)}
Dialogue: 0,0:02:18.61,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(869,85)\bord2\shad0\be0\}now?
Dialogue: 0,0:02:19.77,0:02:20.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(815,85,815,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}n
Dialogue: 0,0:02:19.77,0:02:20.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(848,85,848,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}o
Dialogue: 0,0:02:19.77,0:02:20.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(886,85,886,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}w
Dialogue: 0,0:02:19.77,0:02:20.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(924,85,924,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}?
Dialogue: 0,0:02:19.77,0:02:20.12,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(950,85,950,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}
Dialogue: 2,0:02:17.83,0:02:18.71,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(869,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,780,\fscx100\fscy100\bord0\blur0)}now?
Dialogue: 2,0:02:17.83,0:02:18.71,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(869,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,780,\fscx100\fscy100\bord0\blur0)}now?
Dialogue: 0,0:02:17.14,0:02:18.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(987,85)\fad(200,0)}S
Dialogue: 0,0:02:17.14,0:02:18.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1037,85)\fad(200,0)}m
Dialogue: 0,0:02:17.14,0:02:18.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1074,85)\fad(200,0)}a
Dialogue: 0,0:02:17.14,0:02:18.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1100,85)\fad(200,0)}c
Dialogue: 0,0:02:17.14,0:02:18.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1129,85)\fad(200,0)}k
Dialogue: 0,0:02:17.14,0:02:18.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1156,85)\fad(200,0)}
Dialogue: 0,0:02:19.19,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1053,85)\bord2\shad0\be0\}Smack
Dialogue: 0,0:02:19.77,0:02:20.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(987,85,987,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}S
Dialogue: 0,0:02:19.77,0:02:20.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1037,85,1037,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}m
Dialogue: 0,0:02:19.77,0:02:20.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1074,85,1074,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}a
Dialogue: 0,0:02:19.77,0:02:20.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1100,85,1100,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}c
Dialogue: 0,0:02:19.77,0:02:20.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1129,85,1129,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}k
Dialogue: 0,0:02:19.77,0:02:20.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1156,85,1156,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}
Dialogue: 2,0:02:18.73,0:02:19.29,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1053,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,460,\fscx100\fscy100\bord0\blur0)}Smack
Dialogue: 2,0:02:18.73,0:02:19.29,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1053,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,460,\fscx100\fscy100\bord0\blur0)}Smack
Dialogue: 0,0:02:17.24,0:02:19.19,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1176,85)\fad(200,0)}i
Dialogue: 0,0:02:17.24,0:02:19.19,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1196,85)\fad(200,0)}t
Dialogue: 0,0:02:17.24,0:02:19.19,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1217,85)\fad(200,0)}
Dialogue: 0,0:02:19.36,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1186,85)\bord2\shad0\be0\}it
Dialogue: 0,0:02:19.77,0:02:20.27,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1176,85,1176,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}i
Dialogue: 0,0:02:19.77,0:02:20.27,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1196,85,1196,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}t
Dialogue: 0,0:02:19.77,0:02:20.27,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1217,85,1217,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}
Dialogue: 2,0:02:19.19,0:02:19.46,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1186,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,170,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 2,0:02:19.19,0:02:19.46,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1186,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,170,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 0,0:02:17.34,0:02:19.36,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1243,85)\fad(200,0)}d
Dialogue: 0,0:02:17.34,0:02:19.36,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1275,85)\fad(200,0)}o
Dialogue: 0,0:02:17.34,0:02:19.36,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1313,85)\fad(200,0)}w
Dialogue: 0,0:02:17.34,0:02:19.36,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1353,85)\fad(200,0)}n
Dialogue: 0,0:02:17.34,0:02:19.36,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1381,85)\fad(200,0)}!
Dialogue: 0,0:02:19.77,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1309,85)\bord2\shad0\be0\}down!
Dialogue: 0,0:02:19.77,0:02:20.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1243,85,1243,85,50,550)\bord2\shad0\\blur0\t(50,550,\frx420)\}d
Dialogue: 0,0:02:19.77,0:02:20.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1275,85,1275,85,50,550)\bord2\shad0\\blur0\t(50,550,\frx420)\}o
Dialogue: 0,0:02:19.77,0:02:20.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1313,85,1313,85,50,550)\bord2\shad0\\blur0\t(50,550,\frx420)\}w
Dialogue: 0,0:02:19.77,0:02:20.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1353,85,1353,85,50,550)\bord2\shad0\\blur0\t(50,550,\frx420)\}n
Dialogue: 0,0:02:19.77,0:02:20.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1381,85,1381,85,50,550)\bord2\shad0\\blur0\t(50,550,\frx420)\}!
Dialogue: 2,0:02:19.36,0:02:19.87,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1309,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,410,\fscx100\fscy100\bord0\blur0)}down!
Dialogue: 2,0:02:19.36,0:02:19.87,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1309,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,410,\fscx100\fscy100\bord0\blur0)}down!
Dialogue: 0,0:02:19.77,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(110,85)\fad(200,0)}G
Dialogue: 0,0:02:19.77,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(153,85)\fad(200,0)}e
Dialogue: 0,0:02:19.77,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(178,85)\fad(200,0)}t
Dialogue: 0,0:02:19.77,0:02:19.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(198,85)\fad(200,0)}
Dialogue: 0,0:02:20.13,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(134,85)\bord2\shad0\be0\}Get
Dialogue: 0,0:02:22.69,0:02:22.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(110,85,110,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}G
Dialogue: 0,0:02:22.69,0:02:22.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(153,85,153,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:02:22.69,0:02:22.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(178,85,178,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}t
Dialogue: 0,0:02:22.69,0:02:22.74,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(198,85,198,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:19.77,0:02:20.23,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(134,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,360,\fscx100\fscy100\bord0\blur0)}Get
Dialogue: 2,0:02:19.77,0:02:20.23,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(134,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,360,\fscx100\fscy100\bord0\blur0)}Get
Dialogue: 0,0:02:19.87,0:02:20.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(223,85)\fad(200,0)}a
Dialogue: 0,0:02:19.87,0:02:20.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(249,85)\fad(200,0)}c
Dialogue: 0,0:02:19.87,0:02:20.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(276,85)\fad(200,0)}r
Dialogue: 0,0:02:19.87,0:02:20.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(306,85)\fad(200,0)}o
Dialogue: 0,0:02:19.87,0:02:20.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(338,85)\fad(200,0)}s
Dialogue: 0,0:02:19.87,0:02:20.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(370,85)\fad(200,0)}s
Dialogue: 0,0:02:19.87,0:02:20.13,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(396,85)\fad(200,0)}
Dialogue: 0,0:02:20.42,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(297,85)\bord2\shad0\be0\}across
Dialogue: 0,0:02:22.69,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(223,85,223,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}a
Dialogue: 0,0:02:22.69,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(249,85,249,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}c
Dialogue: 0,0:02:22.69,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(276,85,276,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}r
Dialogue: 0,0:02:22.69,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(306,85,306,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}o
Dialogue: 0,0:02:22.69,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(338,85,338,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}s
Dialogue: 0,0:02:22.69,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(370,85,370,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}s
Dialogue: 0,0:02:22.69,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(396,85,396,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:20.13,0:02:20.52,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(297,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,290,\fscx100\fscy100\bord0\blur0)}across
Dialogue: 2,0:02:20.13,0:02:20.52,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(297,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,290,\fscx100\fscy100\bord0\blur0)}across
Dialogue: 0,0:02:19.97,0:02:20.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(417,85)\fad(200,0)}t
Dialogue: 0,0:02:19.97,0:02:20.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(443,85)\fad(200,0)}h
Dialogue: 0,0:02:19.97,0:02:20.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(471,85)\fad(200,0)}e
Dialogue: 0,0:02:19.97,0:02:20.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(495,85)\fad(200,0)}
Dialogue: 0,0:02:20.50,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(445,85)\bord2\shad0\be0\}the
Dialogue: 0,0:02:22.69,0:02:22.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(417,85,417,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}t
Dialogue: 0,0:02:22.69,0:02:22.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(443,85,443,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}h
Dialogue: 0,0:02:22.69,0:02:22.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(471,85,471,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:02:22.69,0:02:22.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(495,85,495,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:20.42,0:02:20.60,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(445,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,80,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 2,0:02:20.42,0:02:20.60,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(445,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,80,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 0,0:02:20.07,0:02:20.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(527,85)\fad(200,0)}w
Dialogue: 0,0:02:20.07,0:02:20.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(564,85)\fad(200,0)}a
Dialogue: 0,0:02:20.07,0:02:20.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(588,85)\fad(200,0)}l
Dialogue: 0,0:02:20.07,0:02:20.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(610,85)\fad(200,0)}l
Dialogue: 0,0:02:20.07,0:02:20.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(629,85)\fad(200,0)}.
Dialogue: 0,0:02:20.07,0:02:20.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(648,85)\fad(200,0)}.
Dialogue: 0,0:02:20.07,0:02:20.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(666,85)\fad(200,0)}.
Dialogue: 0,0:02:20.07,0:02:20.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(685,85)\fad(200,0)}
Dialogue: 0,0:02:21.50,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(590,85)\bord2\shad0\be0\}wall...
Dialogue: 0,0:02:22.69,0:02:22.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(527,85,527,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}w
Dialogue: 0,0:02:22.69,0:02:22.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(564,85,564,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}a
Dialogue: 0,0:02:22.69,0:02:22.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(588,85,588,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}l
Dialogue: 0,0:02:22.69,0:02:22.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(610,85,610,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}l
Dialogue: 0,0:02:22.69,0:02:22.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(629,85,629,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 0,0:02:22.69,0:02:22.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(648,85,648,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 0,0:02:22.69,0:02:22.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(666,85,666,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 0,0:02:22.69,0:02:22.89,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(685,85,685,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:02:20.50,0:02:21.60,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(590,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,1000,\fscx100\fscy100\bord0\blur0)}wall...
Dialogue: 2,0:02:20.50,0:02:21.60,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(590,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,1000,\fscx100\fscy100\bord0\blur0)}wall...
Dialogue: 0,0:02:20.17,0:02:21.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(726,85)\fad(200,0)}B
Dialogue: 0,0:02:20.17,0:02:21.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(771,85)\fad(200,0)}r
Dialogue: 0,0:02:20.17,0:02:21.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(800,85)\fad(200,0)}e
Dialogue: 0,0:02:20.17,0:02:21.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(827,85)\fad(200,0)}a
Dialogue: 0,0:02:20.17,0:02:21.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(858,85)\fad(200,0)}k
Dialogue: 0,0:02:20.17,0:02:21.50,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(884,85)\fad(200,0)}
Dialogue: 0,0:02:21.73,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(785,85)\bord2\shad0\be0\}Break
Dialogue: 0,0:02:22.69,0:02:22.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(726,85,726,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}B
Dialogue: 0,0:02:22.69,0:02:22.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(771,85,771,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}r
Dialogue: 0,0:02:22.69,0:02:22.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(800,85,800,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}e
Dialogue: 0,0:02:22.69,0:02:22.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(827,85,827,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}a
Dialogue: 0,0:02:22.69,0:02:22.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(858,85,858,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}k
Dialogue: 0,0:02:22.69,0:02:22.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(884,85,884,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}
Dialogue: 2,0:02:21.50,0:02:21.83,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(785,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,230,\fscx100\fscy100\bord0\blur0)}Break
Dialogue: 2,0:02:21.50,0:02:21.83,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(785,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,230,\fscx100\fscy100\bord0\blur0)}Break
Dialogue: 0,0:02:20.27,0:02:21.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(908,85)\fad(200,0)}a
Dialogue: 0,0:02:20.27,0:02:21.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(945,85)\fad(200,0)}w
Dialogue: 0,0:02:20.27,0:02:21.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(981,85)\fad(200,0)}a
Dialogue: 0,0:02:20.27,0:02:21.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1013,85)\fad(200,0)}y
Dialogue: 0,0:02:20.27,0:02:21.73,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1040,85)\fad(200,0)}!
Dialogue: 0,0:02:22.69,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(973,85)\bord2\shad0\be0\}away!
Dialogue: 0,0:02:22.69,0:02:22.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(908,85,908,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}a
Dialogue: 0,0:02:22.69,0:02:22.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(945,85,945,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}w
Dialogue: 0,0:02:22.69,0:02:22.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(981,85,981,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}a
Dialogue: 0,0:02:22.69,0:02:22.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1013,85,1013,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}y
Dialogue: 0,0:02:22.69,0:02:22.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1040,85,1040,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}!
Dialogue: 2,0:02:21.73,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(973,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,960,\fscx100\fscy100\bord0\blur0)}away!
Dialogue: 2,0:02:21.73,0:02:22.79,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(973,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,960,\fscx100\fscy100\bord0\blur0)}away!
Dialogue: 0,0:02:22.69,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(113,85)\fad(200,0)}A
Dialogue: 0,0:02:22.69,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(163,85)\fad(200,0)}n
Dialogue: 0,0:02:22.69,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(196,85)\fad(200,0)}d
Dialogue: 0,0:02:22.69,0:02:22.69,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(223,85)\fad(200,0)}
Dialogue: 0,0:02:22.86,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(146,85)\bord2\shad0\be0\}And
Dialogue: 0,0:02:26.72,0:02:26.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(113,85,113,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}A
Dialogue: 0,0:02:26.72,0:02:26.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(163,85,163,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:02:26.72,0:02:26.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(196,85,196,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}d
Dialogue: 0,0:02:26.72,0:02:26.77,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(223,85,223,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:22.69,0:02:22.96,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(146,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,170,\fscx100\fscy100\bord0\blur0)}And
Dialogue: 2,0:02:22.69,0:02:22.96,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(146,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,170,\fscx100\fscy100\bord0\blur0)}And
Dialogue: 0,0:02:22.79,0:02:22.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(249,85)\fad(200,0)}d
Dialogue: 0,0:02:22.79,0:02:22.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(281,85)\fad(200,0)}o
Dialogue: 0,0:02:22.79,0:02:22.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(314,85)\fad(200,0)}n
Dialogue: 0,0:02:22.79,0:02:22.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(340,85)\fad(200,0)}'
Dialogue: 0,0:02:22.79,0:02:22.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(359,85)\fad(200,0)}t
Dialogue: 0,0:02:22.79,0:02:22.86,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(380,85)\fad(200,0)}
Dialogue: 0,0:02:23.11,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(301,85)\bord2\shad0\be0\}don't
Dialogue: 0,0:02:26.72,0:02:26.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(249,85,249,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}d
Dialogue: 0,0:02:26.72,0:02:26.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(281,85,281,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}o
Dialogue: 0,0:02:26.72,0:02:26.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(314,85,314,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}n
Dialogue: 0,0:02:26.72,0:02:26.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(340,85,340,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}'
Dialogue: 0,0:02:26.72,0:02:26.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(359,85,359,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:02:26.72,0:02:26.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(380,85,380,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:22.86,0:02:23.21,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(301,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,250,\fscx100\fscy100\bord0\blur0)}don't
Dialogue: 2,0:02:22.86,0:02:23.21,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(301,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,250,\fscx100\fscy100\bord0\blur0)}don't
Dialogue: 0,0:02:22.89,0:02:23.11,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(401,85)\fad(200,0)}l
Dialogue: 0,0:02:22.89,0:02:23.11,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(425,85)\fad(200,0)}e
Dialogue: 0,0:02:22.89,0:02:23.11,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(449,85)\fad(200,0)}t
Dialogue: 0,0:02:22.89,0:02:23.11,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(470,85)\fad(200,0)}
Dialogue: 0,0:02:23.33,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(425,85)\bord2\shad0\be0\}let
Dialogue: 0,0:02:26.72,0:02:26.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(401,85,401,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}l
Dialogue: 0,0:02:26.72,0:02:26.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(425,85,425,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}e
Dialogue: 0,0:02:26.72,0:02:26.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(449,85,449,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}t
Dialogue: 0,0:02:26.72,0:02:26.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(470,85,470,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:23.11,0:02:23.43,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(425,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,220,\fscx100\fscy100\bord0\blur0)}let
Dialogue: 2,0:02:23.11,0:02:23.43,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(425,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,220,\fscx100\fscy100\bord0\blur0)}let
Dialogue: 0,0:02:22.99,0:02:23.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(489,85)\fad(200,0)}'
Dialogue: 0,0:02:22.99,0:02:23.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(511,85)\fad(200,0)}e
Dialogue: 0,0:02:22.99,0:02:23.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(548,85)\fad(200,0)}m
Dialogue: 0,0:02:22.99,0:02:23.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(581,85)\fad(200,0)}
Dialogue: 0,0:02:23.45,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(526,85)\bord2\shad0\be0\}'em
Dialogue: 0,0:02:26.72,0:02:26.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(489,85,489,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}'
Dialogue: 0,0:02:26.72,0:02:26.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(511,85,511,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}e
Dialogue: 0,0:02:26.72,0:02:26.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(548,85,548,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}m
Dialogue: 0,0:02:26.72,0:02:26.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(581,85,581,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:02:23.33,0:02:23.55,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(526,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,120,\fscx100\fscy100\bord0\blur0)}'em
Dialogue: 2,0:02:23.33,0:02:23.55,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(526,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,120,\fscx100\fscy100\bord0\blur0)}'em
Dialogue: 0,0:02:23.09,0:02:23.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(604,85)\fad(200,0)}c
Dialogue: 0,0:02:23.09,0:02:23.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(630,85)\fad(200,0)}a
Dialogue: 0,0:02:23.09,0:02:23.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(655,85)\fad(200,0)}t
Dialogue: 0,0:02:23.09,0:02:23.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(678,85)\fad(200,0)}c
Dialogue: 0,0:02:23.09,0:02:23.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(705,85)\fad(200,0)}h
Dialogue: 0,0:02:23.09,0:02:23.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(730,85)\fad(200,0)}
Dialogue: 0,0:02:23.87,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(656,85)\bord2\shad0\be0\}catch
Dialogue: 0,0:02:26.72,0:02:26.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(604,85,604,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}c
Dialogue: 0,0:02:26.72,0:02:26.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(630,85,630,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}a
Dialogue: 0,0:02:26.72,0:02:26.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(655,85,655,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}t
Dialogue: 0,0:02:26.72,0:02:26.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(678,85,678,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}c
Dialogue: 0,0:02:26.72,0:02:26.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(705,85,705,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}h
Dialogue: 0,0:02:26.72,0:02:26.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(730,85,730,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}
Dialogue: 2,0:02:23.45,0:02:23.97,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(656,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,420,\fscx100\fscy100\bord0\blur0)}catch
Dialogue: 2,0:02:23.45,0:02:23.97,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(656,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,420,\fscx100\fscy100\bord0\blur0)}catch
Dialogue: 0,0:02:23.19,0:02:23.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(763,85)\fad(200,0)}m
Dialogue: 0,0:02:23.19,0:02:23.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(800,85)\fad(200,0)}e
Dialogue: 0,0:02:23.19,0:02:23.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(824,85)\fad(200,0)}
Dialogue: 0,0:02:23.95,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(777,85)\bord2\shad0\be0\}me
Dialogue: 0,0:02:26.72,0:02:27.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(763,85,763,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}m
Dialogue: 0,0:02:26.72,0:02:27.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(800,85,800,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}e
Dialogue: 0,0:02:26.72,0:02:27.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(824,85,824,85,-200,300)\bord2\shad0\\blur0\t(-200,300,\frx420)\}
Dialogue: 2,0:02:23.87,0:02:24.05,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(777,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,80,\fscx100\fscy100\bord0\blur0)}me
Dialogue: 2,0:02:23.87,0:02:24.05,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(777,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,80,\fscx100\fscy100\bord0\blur0)}me
Dialogue: 0,0:02:23.29,0:02:23.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(850,85)\fad(200,0)}s
Dialogue: 0,0:02:23.29,0:02:23.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(880,85)\fad(200,0)}a
Dialogue: 0,0:02:23.29,0:02:23.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(912,85)\fad(200,0)}y
Dialogue: 0,0:02:23.29,0:02:23.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(937,85)\fad(200,0)},
Dialogue: 0,0:02:23.29,0:02:23.95,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(955,85)\fad(200,0)}
Dialogue: 0,0:02:24.59,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(890,85)\bord2\shad0\be0\}say,
Dialogue: 0,0:02:26.72,0:02:27.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(850,85,850,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}s
Dialogue: 0,0:02:26.72,0:02:27.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(880,85,880,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}a
Dialogue: 0,0:02:26.72,0:02:27.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(912,85,912,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}y
Dialogue: 0,0:02:26.72,0:02:27.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(937,85,937,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\},
Dialogue: 0,0:02:26.72,0:02:27.07,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(955,85,955,85,-150,350)\bord2\shad0\\blur0\t(-150,350,\frx420)\}
Dialogue: 2,0:02:23.95,0:02:24.69,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(890,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,640,\fscx100\fscy100\bord0\blur0)}say,
Dialogue: 2,0:02:23.95,0:02:24.69,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(890,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,640,\fscx100\fscy100\bord0\blur0)}say,
Dialogue: 0,0:02:23.49,0:02:24.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(980,85)\fad(200,0)}"
Dialogue: 0,0:02:23.49,0:02:24.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1024,85)\fad(200,0)}D
Dialogue: 0,0:02:23.49,0:02:24.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1069,85)\fad(200,0)}o
Dialogue: 0,0:02:23.49,0:02:24.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1102,85)\fad(200,0)}n
Dialogue: 0,0:02:23.49,0:02:24.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1128,85)\fad(200,0)}'
Dialogue: 0,0:02:23.49,0:02:24.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1147,85)\fad(200,0)}t
Dialogue: 0,0:02:23.49,0:02:24.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1168,85)\fad(200,0)}
Dialogue: 0,0:02:25.02,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1062,85)\bord2\shad0\be0\}"Don't
Dialogue: 0,0:02:26.72,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(980,85,980,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}"
Dialogue: 0,0:02:26.72,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1024,85,1024,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}D
Dialogue: 0,0:02:26.72,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1069,85,1069,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}o
Dialogue: 0,0:02:26.72,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1102,85,1102,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}n
Dialogue: 0,0:02:26.72,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1128,85,1128,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}'
Dialogue: 0,0:02:26.72,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1147,85,1147,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}t
Dialogue: 0,0:02:26.72,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1168,85,1168,85,-50,450)\bord2\shad0\\blur0\t(-50,450,\frx420)\}
Dialogue: 2,0:02:24.78,0:02:25.12,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1062,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,240,\fscx100\fscy100\bord0\blur0)}"Don't
Dialogue: 2,0:02:24.78,0:02:25.12,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1062,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,240,\fscx100\fscy100\bord0\blur0)}"Don't
Dialogue: 0,0:02:23.59,0:02:25.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1189,85)\fad(200,0)}l
Dialogue: 0,0:02:23.59,0:02:25.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1213,85)\fad(200,0)}e
Dialogue: 0,0:02:23.59,0:02:25.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1238,85)\fad(200,0)}t
Dialogue: 0,0:02:23.59,0:02:25.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1258,85)\fad(200,0)}
Dialogue: 0,0:02:25.41,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1213,85)\bord2\shad0\be0\}let
Dialogue: 0,0:02:26.72,0:02:27.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1189,85,1189,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}l
Dialogue: 0,0:02:26.72,0:02:27.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1213,85,1213,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}e
Dialogue: 0,0:02:26.72,0:02:27.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1238,85,1238,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}t
Dialogue: 0,0:02:26.72,0:02:27.22,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1258,85,1258,85,0,500)\bord2\shad0\\blur0\t(0,500,\frx420)\}
Dialogue: 2,0:02:25.02,0:02:25.51,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1213,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,390,\fscx100\fscy100\bord0\blur0)}let
Dialogue: 2,0:02:25.02,0:02:25.51,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1213,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,390,\fscx100\fscy100\bord0\blur0)}let
Dialogue: 0,0:02:23.69,0:02:25.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1292,85)\fad(200,0)}m
Dialogue: 0,0:02:23.69,0:02:25.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1328,85)\fad(200,0)}e
Dialogue: 0,0:02:23.69,0:02:25.41,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1352,85)\fad(200,0)}
Dialogue: 0,0:02:25.57,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1305,85)\bord2\shad0\be0\}me
Dialogue: 0,0:02:26.72,0:02:27.27,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1292,85,1292,85,50,550)\bord2\shad0\\blur0\t(50,550,\frx420)\}m
Dialogue: 0,0:02:26.72,0:02:27.27,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1328,85,1328,85,50,550)\bord2\shad0\\blur0\t(50,550,\frx420)\}e
Dialogue: 0,0:02:26.72,0:02:27.27,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1352,85,1352,85,50,550)\bord2\shad0\\blur0\t(50,550,\frx420)\}
Dialogue: 2,0:02:25.41,0:02:25.67,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1305,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,160,\fscx100\fscy100\bord0\blur0)}me
Dialogue: 2,0:02:25.41,0:02:25.67,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1305,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,160,\fscx100\fscy100\bord0\blur0)}me
Dialogue: 0,0:02:23.79,0:02:25.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1378,85)\fad(200,0)}d
Dialogue: 0,0:02:23.79,0:02:25.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1410,85)\fad(200,0)}o
Dialogue: 0,0:02:23.79,0:02:25.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1448,85)\fad(200,0)}w
Dialogue: 0,0:02:23.79,0:02:25.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1488,85)\fad(200,0)}n
Dialogue: 0,0:02:23.79,0:02:25.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1520,85)\fad(200,0)}"
Dialogue: 0,0:02:26.72,0:02:26.72,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(1449,85)\bord2\shad0\be0\}down"
Dialogue: 0,0:02:26.72,0:02:27.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1378,85,1378,85,100,600)\bord2\shad0\\blur0\t(100,600,\frx420)\}d
Dialogue: 0,0:02:26.72,0:02:27.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1410,85,1410,85,100,600)\bord2\shad0\\blur0\t(100,600,\frx420)\}o
Dialogue: 0,0:02:26.72,0:02:27.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1448,85,1448,85,100,600)\bord2\shad0\\blur0\t(100,600,\frx420)\}w
Dialogue: 0,0:02:26.72,0:02:27.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1488,85,1488,85,100,600)\bord2\shad0\\blur0\t(100,600,\frx420)\}n
Dialogue: 0,0:02:26.72,0:02:27.32,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(1520,85,1520,85,100,600)\bord2\shad0\\blur0\t(100,600,\frx420)\}"
Dialogue: 2,0:02:25.57,0:02:26.82,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1449,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,1150,\fscx100\fscy100\bord0\blur0)}down"
Dialogue: 2,0:02:25.57,0:02:26.82,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(1449,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,1150,\fscx100\fscy100\bord0\blur0)}down"
Dialogue: 0,0:02:26.78,0:02:26.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(110,85)\fad(200,0)}O
Dialogue: 0,0:02:26.78,0:02:26.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(155,85)\fad(200,0)}h
Dialogue: 0,0:02:26.78,0:02:26.78,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(180,85)\fad(200,0)}
Dialogue: 0,0:02:27.17,0:02:27.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(125,85)\bord2\shad0\be0\}Oh
Dialogue: 0,0:02:27.82,0:02:27.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(110,85,110,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}O
Dialogue: 0,0:02:27.82,0:02:27.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(155,85,155,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}h
Dialogue: 0,0:02:27.82,0:02:27.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(180,85,180,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:26.78,0:02:27.27,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(125,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,390,\fscx100\fscy100\bord0\blur0)}Oh
Dialogue: 2,0:02:26.78,0:02:27.27,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(125,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,390,\fscx100\fscy100\bord0\blur0)}Oh
Dialogue: 0,0:02:26.88,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(208,85)\fad(200,0)}y
Dialogue: 0,0:02:26.88,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(239,85)\fad(200,0)}e
Dialogue: 0,0:02:26.88,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(266,85)\fad(200,0)}a
Dialogue: 0,0:02:26.88,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(295,85)\fad(200,0)}h
Dialogue: 0,0:02:26.88,0:02:27.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(321,85)\fad(200,0)}!
Dialogue: 0,0:02:27.82,0:02:27.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(261,85)\bord2\shad0\be0\}yeah!
Dialogue: 0,0:02:27.82,0:02:27.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(208,85,208,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}y
Dialogue: 0,0:02:27.82,0:02:27.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(239,85,239,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}e
Dialogue: 0,0:02:27.82,0:02:27.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(266,85,266,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}a
Dialogue: 0,0:02:27.82,0:02:27.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(295,85,295,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}h
Dialogue: 0,0:02:27.82,0:02:27.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(321,85,321,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}!
Dialogue: 2,0:02:27.17,0:02:27.92,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(261,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,650,\fscx100\fscy100\bord0\blur0)}yeah!
Dialogue: 2,0:02:27.17,0:02:27.92,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(261,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,650,\fscx100\fscy100\bord0\blur0)}yeah!
Dialogue: 0,0:02:27.82,0:02:27.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(119,85)\fad(200,0)}W
Dialogue: 0,0:02:27.82,0:02:27.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(172,85)\fad(200,0)}h
Dialogue: 0,0:02:27.82,0:02:27.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(201,85)\fad(200,0)}e
Dialogue: 0,0:02:27.82,0:02:27.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(232,85)\fad(200,0)}n
Dialogue: 0,0:02:27.82,0:02:27.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(259,85)\fad(200,0)}
Dialogue: 0,0:02:28.00,0:02:29.37,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(164,85)\bord2\shad0\be0\}When
Dialogue: 0,0:02:29.37,0:02:29.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(119,85,119,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}W
Dialogue: 0,0:02:29.37,0:02:29.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(172,85,172,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}h
Dialogue: 0,0:02:29.37,0:02:29.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(201,85,201,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:02:29.37,0:02:29.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(232,85,232,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:02:29.37,0:02:29.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(259,85,259,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:27.82,0:02:28.10,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(164,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,180,\fscx100\fscy100\bord0\blur0)}When
Dialogue: 2,0:02:27.82,0:02:28.10,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(164,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,180,\fscx100\fscy100\bord0\blur0)}When
Dialogue: 0,0:02:27.92,0:02:28.00,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(280,85)\fad(200,0)}t
Dialogue: 0,0:02:27.92,0:02:28.00,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(305,85)\fad(200,0)}h
Dialogue: 0,0:02:27.92,0:02:28.00,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(334,85)\fad(200,0)}e
Dialogue: 0,0:02:27.92,0:02:28.00,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(358,85)\fad(200,0)}
Dialogue: 0,0:02:28.15,0:02:29.37,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(308,85)\bord2\shad0\be0\}the
Dialogue: 0,0:02:29.37,0:02:29.47,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(280,85,280,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:02:29.37,0:02:29.47,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(305,85,305,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}h
Dialogue: 0,0:02:29.37,0:02:29.47,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(334,85,334,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}e
Dialogue: 0,0:02:29.37,0:02:29.47,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(358,85,358,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:28.00,0:02:28.25,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(308,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,150,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 2,0:02:28.00,0:02:28.25,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(308,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,150,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(380,85)\fad(200,0)}c
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(403,85)\fad(200,0)}l
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(429,85)\fad(200,0)}o
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(458,85)\fad(200,0)}c
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(486,85)\fad(200,0)}k
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(525,85)\fad(200,0)}w
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(563,85)\fad(200,0)}o
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(594,85)\fad(200,0)}r
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(624,85)\fad(200,0)}k
Dialogue: 0,0:02:28.02,0:02:28.15,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(651,85)\fad(200,0)}
Dialogue: 0,0:02:28.93,0:02:29.37,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(504,85)\bord2\shad0\be0\}clockwork
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(380,85,380,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}c
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(403,85,403,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}l
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(429,85,429,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}o
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(458,85,458,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}c
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(486,85,486,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}k
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(525,85,525,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}w
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(563,85,563,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}o
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(594,85,594,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}r
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(624,85,624,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}k
Dialogue: 0,0:02:29.37,0:02:29.52,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(651,85,651,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:28.15,0:02:29.03,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(504,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,780,\fscx100\fscy100\bord0\blur0)}clockwork
Dialogue: 2,0:02:28.15,0:02:29.03,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(504,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,780,\fscx100\fscy100\bord0\blur0)}clockwork
Dialogue: 0,0:02:28.12,0:02:28.93,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(684,85)\fad(200,0)}m
Dialogue: 0,0:02:28.12,0:02:28.93,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(723,85)\fad(200,0)}o
Dialogue: 0,0:02:28.12,0:02:28.93,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(754,85)\fad(200,0)}v
Dialogue: 0,0:02:28.12,0:02:28.93,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(782,85)\fad(200,0)}e
Dialogue: 0,0:02:28.12,0:02:28.93,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(812,85)\fad(200,0)}s
Dialogue: 0,0:02:29.37,0:02:29.37,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(745,85)\bord2\shad0\be0\}moves
Dialogue: 0,0:02:29.37,0:02:29.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(684,85,684,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}m
Dialogue: 0,0:02:29.37,0:02:29.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(723,85,723,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}o
Dialogue: 0,0:02:29.37,0:02:29.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(754,85,754,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}v
Dialogue: 0,0:02:29.37,0:02:29.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(782,85,782,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}e
Dialogue: 0,0:02:29.37,0:02:29.57,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(812,85,812,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}s
Dialogue: 2,0:02:28.93,0:02:29.47,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(745,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,440,\fscx100\fscy100\bord0\blur0)}moves
Dialogue: 2,0:02:28.93,0:02:29.47,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(745,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,440,\fscx100\fscy100\bord0\blur0)}moves
Dialogue: 0,0:02:29.38,0:02:29.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(113,85)\fad(200,0)}A
Dialogue: 0,0:02:29.38,0:02:29.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(163,85)\fad(200,0)}n
Dialogue: 0,0:02:29.38,0:02:29.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(196,85)\fad(200,0)}d
Dialogue: 0,0:02:29.38,0:02:29.38,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(223,85)\fad(200,0)}
Dialogue: 0,0:02:29.62,0:02:31.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(146,85)\bord2\shad0\be0\}And
Dialogue: 0,0:02:31.82,0:02:31.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(113,85,113,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}A
Dialogue: 0,0:02:31.82,0:02:31.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(163,85,163,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:02:31.82,0:02:31.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(196,85,196,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}d
Dialogue: 0,0:02:31.82,0:02:31.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(223,85,223,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:29.38,0:02:29.72,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(146,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,240,\fscx100\fscy100\bord0\blur0)}And
Dialogue: 2,0:02:29.38,0:02:29.72,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(146,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,240,\fscx100\fscy100\bord0\blur0)}And
Dialogue: 0,0:02:29.48,0:02:29.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(249,85)\fad(200,0)}s
Dialogue: 0,0:02:29.48,0:02:29.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(276,85)\fad(200,0)}t
Dialogue: 0,0:02:29.48,0:02:29.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(300,85)\fad(200,0)}a
Dialogue: 0,0:02:29.48,0:02:29.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(329,85)\fad(200,0)}r
Dialogue: 0,0:02:29.48,0:02:29.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(354,85)\fad(200,0)}t
Dialogue: 0,0:02:29.48,0:02:29.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(381,85)\fad(200,0)}s
Dialogue: 0,0:02:29.48,0:02:29.62,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(407,85)\fad(200,0)}
Dialogue: 0,0:02:30.06,0:02:31.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(315,85)\bord2\shad0\be0\}starts
Dialogue: 0,0:02:31.82,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(249,85,249,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}s
Dialogue: 0,0:02:31.82,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(276,85,276,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:02:31.82,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(300,85,300,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}a
Dialogue: 0,0:02:31.82,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(329,85,329,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}r
Dialogue: 0,0:02:31.82,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(354,85,354,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:02:31.82,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(381,85,381,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}s
Dialogue: 0,0:02:31.82,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(407,85,407,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:29.62,0:02:30.16,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(315,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,440,\fscx100\fscy100\bord0\blur0)}starts
Dialogue: 2,0:02:29.62,0:02:30.16,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(315,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,440,\fscx100\fscy100\bord0\blur0)}starts
Dialogue: 0,0:02:29.58,0:02:30.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(428,85)\fad(200,0)}t
Dialogue: 0,0:02:29.58,0:02:30.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(454,85)\fad(200,0)}o
Dialogue: 0,0:02:29.58,0:02:30.06,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(480,85)\fad(200,0)}
Dialogue: 0,0:02:30.17,0:02:31.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(443,85)\bord2\shad0\be0\}to
Dialogue: 0,0:02:31.82,0:02:31.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(428,85,428,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}t
Dialogue: 0,0:02:31.82,0:02:31.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(454,85,454,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}o
Dialogue: 0,0:02:31.82,0:02:31.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(480,85,480,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:30.06,0:02:30.27,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(443,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,110,\fscx100\fscy100\bord0\blur0)}to
Dialogue: 2,0:02:30.06,0:02:30.27,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(443,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,110,\fscx100\fscy100\bord0\blur0)}to
Dialogue: 0,0:02:29.68,0:02:30.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(506,85)\fad(200,0)}s
Dialogue: 0,0:02:29.68,0:02:30.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(537,85)\fad(200,0)}h
Dialogue: 0,0:02:29.68,0:02:30.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(562,85)\fad(200,0)}i
Dialogue: 0,0:02:29.68,0:02:30.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(589,85)\fad(200,0)}n
Dialogue: 0,0:02:29.68,0:02:30.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(620,85)\fad(200,0)}e
Dialogue: 0,0:02:29.68,0:02:30.17,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(643,85)\fad(200,0)}.
Dialogue: 0,0:02:31.82,0:02:31.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(571,85)\bord2\shad0\be0\}shine.
Dialogue: 0,0:02:31.82,0:02:32.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(506,85,506,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}s
Dialogue: 0,0:02:31.82,0:02:32.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(537,85,537,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}h
Dialogue: 0,0:02:31.82,0:02:32.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(562,85,562,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}i
Dialogue: 0,0:02:31.82,0:02:32.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(589,85,589,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}n
Dialogue: 0,0:02:31.82,0:02:32.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(620,85,620,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}e
Dialogue: 0,0:02:31.82,0:02:32.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(643,85,643,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 2,0:02:30.17,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(571,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,1650,\fscx100\fscy100\bord0\blur0)}shine.
Dialogue: 2,0:02:30.17,0:02:31.92,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(571,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,1650,\fscx100\fscy100\bord0\blur0)}shine.
Dialogue: 0,0:02:31.98,0:02:31.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(109,85)\fad(200,0)}F
Dialogue: 0,0:02:31.98,0:02:31.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(155,85)\fad(200,0)}o
Dialogue: 0,0:02:31.98,0:02:31.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(185,85)\fad(200,0)}r
Dialogue: 0,0:02:31.98,0:02:31.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(213,85)\fad(200,0)}e
Dialogue: 0,0:02:31.98,0:02:31.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(241,85)\fad(200,0)}v
Dialogue: 0,0:02:31.98,0:02:31.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(270,85)\fad(200,0)}e
Dialogue: 0,0:02:31.98,0:02:31.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(298,85)\fad(200,0)}r
Dialogue: 0,0:02:31.98,0:02:31.98,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(322,85)\fad(200,0)}
Dialogue: 0,0:02:32.63,0:02:33.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(196,85)\bord2\shad0\be0\}Forever
Dialogue: 0,0:02:33.82,0:02:33.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(109,85,109,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}F
Dialogue: 0,0:02:33.82,0:02:33.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(155,85,155,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}o
Dialogue: 0,0:02:33.82,0:02:33.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(185,85,185,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}r
Dialogue: 0,0:02:33.82,0:02:33.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(213,85,213,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:02:33.82,0:02:33.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(241,85,241,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}v
Dialogue: 0,0:02:33.82,0:02:33.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(270,85,270,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}e
Dialogue: 0,0:02:33.82,0:02:33.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(298,85,298,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}r
Dialogue: 0,0:02:33.82,0:02:33.87,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(322,85,322,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:31.98,0:02:32.73,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(196,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,650,\fscx100\fscy100\bord0\blur0)}Forever
Dialogue: 2,0:02:31.98,0:02:32.73,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(196,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,650,\fscx100\fscy100\bord0\blur0)}Forever
Dialogue: 0,0:02:32.08,0:02:32.63,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(343,85)\fad(200,0)}l
Dialogue: 0,0:02:32.08,0:02:32.63,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(367,85)\fad(200,0)}e
Dialogue: 0,0:02:32.08,0:02:32.63,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(392,85)\fad(200,0)}t
Dialogue: 0,0:02:32.08,0:02:32.63,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(413,85)\fad(200,0)}
Dialogue: 0,0:02:32.84,0:02:33.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(367,85)\bord2\shad0\be0\}let
Dialogue: 0,0:02:33.82,0:02:33.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(343,85,343,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}l
Dialogue: 0,0:02:33.82,0:02:33.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(367,85,367,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}e
Dialogue: 0,0:02:33.82,0:02:33.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(392,85,392,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:02:33.82,0:02:33.92,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(413,85,413,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:32.63,0:02:32.94,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(367,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,210,\fscx100\fscy100\bord0\blur0)}let
Dialogue: 2,0:02:32.63,0:02:32.94,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(367,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,210,\fscx100\fscy100\bord0\blur0)}let
Dialogue: 0,0:02:32.18,0:02:32.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(433,85)\fad(200,0)}i
Dialogue: 0,0:02:32.18,0:02:32.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(453,85)\fad(200,0)}t
Dialogue: 0,0:02:32.18,0:02:32.84,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(474,85)\fad(200,0)}
Dialogue: 0,0:02:32.99,0:02:33.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(443,85)\bord2\shad0\be0\}it
Dialogue: 0,0:02:33.82,0:02:33.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(433,85,433,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}i
Dialogue: 0,0:02:33.82,0:02:33.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(453,85,453,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}t
Dialogue: 0,0:02:33.82,0:02:33.97,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(474,85,474,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:32.84,0:02:33.09,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(443,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,150,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 2,0:02:32.84,0:02:33.09,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(443,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,150,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 0,0:02:32.28,0:02:32.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(500,85)\fad(200,0)}g
Dialogue: 0,0:02:32.28,0:02:32.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(532,85)\fad(200,0)}o
Dialogue: 0,0:02:32.28,0:02:32.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(557,85)\fad(200,0)}.
Dialogue: 0,0:02:33.82,0:02:33.82,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(525,85)\bord2\shad0\be0\}go.
Dialogue: 0,0:02:33.82,0:02:34.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(500,85,500,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}g
Dialogue: 0,0:02:33.82,0:02:34.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(532,85,532,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}o
Dialogue: 0,0:02:33.82,0:02:34.02,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(557,85,557,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 2,0:02:32.99,0:02:33.92,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(525,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,830,\fscx100\fscy100\bord0\blur0)}go.
Dialogue: 2,0:02:32.99,0:02:33.92,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(525,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,830,\fscx100\fscy100\bord0\blur0)}go.
Dialogue: 0,0:02:33.99,0:02:33.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(107,85)\fad(200,0)}C
Dialogue: 0,0:02:33.99,0:02:33.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(147,85)\fad(200,0)}a
Dialogue: 0,0:02:33.99,0:02:33.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(176,85)\fad(200,0)}r
Dialogue: 0,0:02:33.99,0:02:33.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(204,85)\fad(200,0)}r
Dialogue: 0,0:02:33.99,0:02:33.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(236,85)\fad(200,0)}y
Dialogue: 0,0:02:33.99,0:02:33.99,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(264,85)\fad(200,0)}
Dialogue: 0,0:02:34.46,0:02:38.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(167,85)\bord2\shad0\be0\}Carry
Dialogue: 0,0:02:38.29,0:02:38.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(107,85,107,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}C
Dialogue: 0,0:02:38.29,0:02:38.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(147,85,147,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}a
Dialogue: 0,0:02:38.29,0:02:38.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(176,85,176,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}r
Dialogue: 0,0:02:38.29,0:02:38.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(204,85,204,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}r
Dialogue: 0,0:02:38.29,0:02:38.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(236,85,236,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}y
Dialogue: 0,0:02:38.29,0:02:38.34,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(264,85,264,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:33.99,0:02:34.56,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(167,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,470,\fscx100\fscy100\bord0\blur0)}Carry
Dialogue: 2,0:02:33.99,0:02:34.56,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(167,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,470,\fscx100\fscy100\bord0\blur0)}Carry
Dialogue: 0,0:02:34.09,0:02:34.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(289,85)\fad(200,0)}o
Dialogue: 0,0:02:34.09,0:02:34.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(322,85)\fad(200,0)}u
Dialogue: 0,0:02:34.09,0:02:34.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(350,85)\fad(200,0)}t
Dialogue: 0,0:02:34.09,0:02:34.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(369,85)\fad(200,0)},
Dialogue: 0,0:02:34.09,0:02:34.46,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(387,85)\fad(200,0)}
Dialogue: 0,0:02:35.45,0:02:38.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(325,85)\bord2\shad0\be0\}out,
Dialogue: 0,0:02:38.29,0:02:38.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(289,85,289,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}o
Dialogue: 0,0:02:38.29,0:02:38.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(322,85,322,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}u
Dialogue: 0,0:02:38.29,0:02:38.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(350,85,350,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:02:38.29,0:02:38.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(369,85,369,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\},
Dialogue: 0,0:02:38.29,0:02:38.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(387,85,387,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:34.46,0:02:35.55,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(325,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,990,\fscx100\fscy100\bord0\blur0)}out,
Dialogue: 2,0:02:34.46,0:02:35.55,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(325,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,990,\fscx100\fscy100\bord0\blur0)}out,
Dialogue: 0,0:02:34.19,0:02:35.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(424,85)\fad(200,0)}S
Dialogue: 0,0:02:34.19,0:02:35.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(465,85)\fad(200,0)}h
Dialogue: 0,0:02:34.19,0:02:35.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(495,85)\fad(200,0)}o
Dialogue: 0,0:02:34.19,0:02:35.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(534,85)\fad(200,0)}w
Dialogue: 0,0:02:34.19,0:02:35.45,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(566,85)\fad(200,0)}
Dialogue: 0,0:02:35.80,0:02:38.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(476,85)\bord2\shad0\be0\}Show
Dialogue: 0,0:02:38.29,0:02:38.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(424,85,424,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}S
Dialogue: 0,0:02:38.29,0:02:38.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(465,85,465,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}h
Dialogue: 0,0:02:38.29,0:02:38.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(495,85,495,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}o
Dialogue: 0,0:02:38.29,0:02:38.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(534,85,534,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}w
Dialogue: 0,0:02:38.29,0:02:38.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(566,85,566,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:35.45,0:02:35.90,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(476,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,350,\fscx100\fscy100\bord0\blur0)}Show
Dialogue: 2,0:02:35.45,0:02:35.90,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(476,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,350,\fscx100\fscy100\bord0\blur0)}Show
Dialogue: 0,0:02:34.29,0:02:35.80,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(587,85)\fad(200,0)}t
Dialogue: 0,0:02:34.29,0:02:35.80,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(612,85)\fad(200,0)}h
Dialogue: 0,0:02:34.29,0:02:35.80,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(641,85)\fad(200,0)}e
Dialogue: 0,0:02:34.29,0:02:35.80,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(665,85)\fad(200,0)}
Dialogue: 0,0:02:35.94,0:02:38.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(615,85)\bord2\shad0\be0\}the
Dialogue: 0,0:02:38.29,0:02:38.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(587,85,587,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}t
Dialogue: 0,0:02:38.29,0:02:38.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(612,85,612,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}h
Dialogue: 0,0:02:38.29,0:02:38.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(641,85,641,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}e
Dialogue: 0,0:02:38.29,0:02:38.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(665,85,665,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}
Dialogue: 2,0:02:35.80,0:02:36.04,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(615,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,140,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 2,0:02:35.80,0:02:36.04,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(615,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,140,\fscx100\fscy100\bord0\blur0)}the
Dialogue: 0,0:02:34.39,0:02:35.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(697,85)\fad(200,0)}w
Dialogue: 0,0:02:34.39,0:02:35.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(733,85)\fad(200,0)}a
Dialogue: 0,0:02:34.39,0:02:35.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(765,85)\fad(200,0)}y
Dialogue: 0,0:02:34.39,0:02:35.94,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(792,85)\fad(200,0)}!
Dialogue: 0,0:02:38.29,0:02:38.29,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(739,85)\bord2\shad0\be0\}way!
Dialogue: 0,0:02:38.29,0:02:38.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(697,85,697,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}w
Dialogue: 0,0:02:38.29,0:02:38.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(733,85,733,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}a
Dialogue: 0,0:02:38.29,0:02:38.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(765,85,765,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}y
Dialogue: 0,0:02:38.29,0:02:38.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(792,85,792,85,-250,250)\bord2\shad0\\blur0\t(-250,250,\frx420)\}!
Dialogue: 2,0:02:35.94,0:02:38.39,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(739,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,2350,\fscx100\fscy100\bord0\blur0)}way!
Dialogue: 2,0:02:35.94,0:02:38.39,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(739,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,2350,\fscx100\fscy100\bord0\blur0)}way!
Dialogue: 0,0:02:38.30,0:02:38.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(111,85)\fad(200,0)}B
Dialogue: 0,0:02:38.30,0:02:38.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(153,85)\fad(200,0)}l
Dialogue: 0,0:02:38.30,0:02:38.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(178,85)\fad(200,0)}a
Dialogue: 0,0:02:38.30,0:02:38.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(208,85)\fad(200,0)}s
Dialogue: 0,0:02:38.30,0:02:38.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(235,85)\fad(200,0)}t
Dialogue: 0,0:02:38.30,0:02:38.30,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(255,85)\fad(200,0)}
Dialogue: 0,0:02:38.75,0:02:41.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(163,85)\bord2\shad0\be0\}Blast
Dialogue: 0,0:02:41.39,0:02:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(111,85,111,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}B
Dialogue: 0,0:02:41.39,0:02:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(153,85,153,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}l
Dialogue: 0,0:02:41.39,0:02:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(178,85,178,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}a
Dialogue: 0,0:02:41.39,0:02:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(208,85,208,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}s
Dialogue: 0,0:02:41.39,0:02:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(235,85,235,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}t
Dialogue: 0,0:02:41.39,0:02:41.44,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(255,85,255,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 2,0:02:38.30,0:02:38.85,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(163,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,450,\fscx100\fscy100\bord0\blur0)}Blast
Dialogue: 2,0:02:38.30,0:02:38.85,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(163,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,450,\fscx100\fscy100\bord0\blur0)}Blast
Dialogue: 0,0:02:38.40,0:02:38.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(275,85)\fad(200,0)}i
Dialogue: 0,0:02:38.40,0:02:38.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(296,85)\fad(200,0)}t
Dialogue: 0,0:02:38.40,0:02:38.75,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(317,85)\fad(200,0)}
Dialogue: 0,0:02:38.91,0:02:41.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(286,85)\bord2\shad0\be0\}it
Dialogue: 0,0:02:41.39,0:02:41.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(275,85,275,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}i
Dialogue: 0,0:02:41.39,0:02:41.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(296,85,296,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}t
Dialogue: 0,0:02:41.39,0:02:41.49,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(317,85,317,85,-400,100)\bord2\shad0\\blur0\t(-400,100,\frx420)\}
Dialogue: 2,0:02:38.75,0:02:39.01,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(286,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,160,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 2,0:02:38.75,0:02:39.01,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(286,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,160,\fscx100\fscy100\bord0\blur0)}it
Dialogue: 0,0:02:38.50,0:02:38.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(343,85)\fad(200,0)}o
Dialogue: 0,0:02:38.50,0:02:38.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(369,85)\fad(200,0)}f
Dialogue: 0,0:02:38.50,0:02:38.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(390,85)\fad(200,0)}f
Dialogue: 0,0:02:38.50,0:02:38.91,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(411,85)\fad(200,0)}
Dialogue: 0,0:02:39.33,0:02:41.39,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(364,85)\bord2\shad0\be0\}off
Dialogue: 0,0:02:41.39,0:02:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(343,85,343,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}o
Dialogue: 0,0:02:41.39,0:02:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(369,85,369,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}f
Dialogue: 0,0:02:41.39,0:02:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(390,85,390,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}f
Dialogue: 0,0:02:41.39,0:02:41.54,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(411,85,411,85,-350,150)\bord2\shad0\\blur0\t(-350,150,\frx420)\}
Dialogue: 2,0:02:38.91,0:02:39.43,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(364,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,420,\fscx100\fscy100\bord0\blur0)}off
Dialogue: 2,0:02:38.91,0:02:39.43,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(364,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,420,\fscx100\fscy100\bord0\blur0)}off
Dialogue: 0,0:02:38.60,0:02:39.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(436,85)\fad(200,0)}r
Dialogue: 0,0:02:38.60,0:02:39.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(460,85)\fad(200,0)}i
Dialogue: 0,0:02:38.60,0:02:39.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(486,85)\fad(200,0)}g
Dialogue: 0,0:02:38.60,0:02:39.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(517,85)\fad(200,0)}h
Dialogue: 0,0:02:38.60,0:02:39.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(543,85)\fad(200,0)}t
Dialogue: 0,0:02:38.60,0:02:39.33,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(562,85)\fad(200,0)}.
Dialogue: 0,0:02:41.39,0:02:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(436,85,436,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}r
Dialogue: 0,0:02:41.39,0:02:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(460,85,460,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}i
Dialogue: 0,0:02:41.39,0:02:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(486,85,486,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}g
Dialogue: 0,0:02:41.39,0:02:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(517,85,517,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}h
Dialogue: 0,0:02:41.39,0:02:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(543,85,543,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}t
Dialogue: 0,0:02:41.39,0:02:41.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(562,85,562,85,-300,200)\bord2\shad0\\blur0\t(-300,200,\frx420)\}.
Dialogue: 2,0:02:39.33,0:02:42.22,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(496,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx125\fscy125)\t(100,2790,\fscx100\fscy100\bord0\blur0)}right.
Dialogue: 2,0:02:39.33,0:02:42.22,OP - The Other Side of the Wall,,0,0,0,fx,{\galovejiro\an5\blur0\bord4.0909\pos(496,85)\fad(0,200)\t(0,100,\blur8\3c&HFFFFFF&\fscx100\fscy100)\t(100,2790,\fscx100\fscy100\bord0\blur0)}right.
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(112,85)\fad(200,0)}(
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(161,85)\fad(200,0)}y
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(194,85)\fad(200,0)}o
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(227,85)\fad(200,0)}u
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(254,85)\fad(200,0)}
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(280,85)\fad(200,0)}g
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(312,85)\fad(200,0)}o
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(338,85)\fad(200,0)}t
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(359,85)\fad(200,0)}
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(380,85)\fad(200,0)}t
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(406,85)\fad(200,0)}o
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(432,85)\fad(200,0)}
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(453,85)\fad(200,0)}f
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(473,85)\fad(200,0)}i
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(501,85)\fad(200,0)}n
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(534,85)\fad(200,0)}d
Dialogue: 0,0:02:29.59,0:02:29.59,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\pos(582,85)\fad(200,0)})
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(112,85,112,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}(
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(161,85,161,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}y
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(194,85,194,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}o
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(227,85,227,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}u
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(254,85,254,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(280,85,280,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}g
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(312,85,312,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}o
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(338,85,338,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}t
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(359,85,359,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(380,85,380,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}t
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(406,85,406,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}o
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(432,85,432,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(453,85,453,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}f
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(473,85,473,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}i
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(501,85,501,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}n
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(534,85,534,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\}d
Dialogue: 0,0:02:32.37,0:02:32.42,OP - The Other Side of the Wall,,0,0,0,fx,{\an5\move(582,85,582,85,-450,50)\bord2\shad0\\blur0\t(-450,50,\frx420)\})