1 00:00:05,594 --> 00:00:07,427 2 00:00:07,429 --> 00:00:10,363 3 00:00:10,365 --> 00:00:12,632 4 00:00:14,002 --> 00:00:17,070 5 00:00:17,072 --> 00:00:18,839 6 00:00:22,478 --> 00:00:24,945 شكرا لك 7 00:00:30,185 --> 00:00:32,519 كولينز 8 00:00:32,521 --> 00:00:34,087 أعتقد أنك تعلم لما أنا هنا 9 00:00:34,089 --> 00:00:39,025 ،لم أعتقد أبدا أني سأقول هذا لكن إنه لشرف كبير رؤيتك توبايس 10 00:00:35,824 --> 00:00:39,025 11 00:00:39,027 --> 00:00:40,327 لنجعل هذا سريعا 12 00:00:40,329 --> 00:00:41,528 لما العجلة؟ 13 00:00:41,530 --> 00:00:45,499 رؤيتك بائسا، وساعيا لمعلومات أنا فقط من يمكنه توفيرهم 14 00:00:42,731 --> 00:00:45,499 15 00:00:45,501 --> 00:00:47,400 فهو لا شيئ أقل من سحري 16 00:00:47,402 --> 00:00:51,204 في اليوم الذي خطفتني فيه، قلت أن هابي لن تكون قادرة على قبول عرض زواجي 17 00:00:49,671 --> 00:00:51,204 18 00:00:51,206 --> 00:00:52,606 علمت أن لديها زوجا 19 00:00:52,608 --> 00:00:53,907 أخبرني بإسمه 20 00:00:53,909 --> 00:00:57,144 يا إلهي، أنت بائس للغاية 21 00:00:58,514 --> 00:01:00,614 لقد هجرتك،أليس كذلك؟- لا- 22 00:01:00,616 --> 00:01:02,215 لازلنا معا،أخبرني إسمه 23 00:01:02,217 --> 00:01:05,218 كيف تتعامل هي مع موضوع تعقبك لنصفها الأفضل؟ 24 00:01:05,220 --> 00:01:07,654 تقبل محسود،والآن أخبرني بإسمه 25 00:01:07,656 --> 00:01:11,324 إلا إذا تحدثت إلى المدعي بشأن تقليص عقوبتي 26 00:01:09,458 --> 00:01:11,324 27 00:01:12,194 --> 00:01:14,861 لا أحب هذا المكان 28 00:01:14,863 --> 00:01:17,197 المجرمون الحقيقيون هنا 29 00:01:17,199 --> 00:01:20,100 حسنا،إتفقنا 30 00:01:20,102 --> 00:01:22,169 أكانت هذه خطتك؟ 31 00:01:22,171 --> 00:01:26,206 ،القبول ببساطة عن أي شيئ أريده وبعدها تهزأ بي 32 00:01:24,473 --> 00:01:26,206 33 00:01:26,208 --> 00:01:32,208 لأنه بقدر بأسك،فكلانا يعلم أنك لن تسمح لي أبدا بالخروج من هنا 34 00:01:28,310 --> 00:01:30,076 35 00:01:30,078 --> 00:01:32,212 36 00:01:32,214 --> 00:01:33,914 أتحب الرجل الوطواط؟ 37 00:01:33,916 --> 00:01:35,282 أنا لا 38 00:01:35,284 --> 00:01:38,451 الأشخاص الطيبون يالهم من متفاخرين 39 00:01:38,453 --> 00:01:42,455 والأشخاص السيئون،لديهم قوة حقيقية 40 00:01:42,457 --> 00:01:43,990 ...إذا 41 00:01:43,992 --> 00:01:48,428 ...في شرف الشرير الخارق العظيم،الأحجية 42 00:01:51,700 --> 00:01:52,899 43 00:01:54,436 --> 00:02:03,571 الماء ما عاد يكذب، ولكن الماء" "لازال يكذب، أضف 50، وإجابتك ستكشف 44 00:01:57,206 --> 00:01:59,239 45 00:01:59,241 --> 00:02:01,241 46 00:02:01,243 --> 00:02:03,577 47 00:02:04,580 --> 00:02:08,114 إذا كان بمقدروك إكتشاف خربشة العقل هذه فستجد إسم زوج هابي 48 00:02:06,148 --> 00:02:08,114 49 00:02:08,116 --> 00:02:10,217 ماذا تقصد ب"أضف 50"؟ 50 00:02:10,219 --> 00:02:12,385 حرس 51 00:02:12,387 --> 00:02:14,688 بإعتبار أن لديك أقل معدل ذكاء في فريق العقرب 52 00:02:14,690 --> 00:02:17,023 أتمنى لك حظا طيبا توبايس 53 00:02:17,025 --> 00:02:19,159 أقل ثالث معدل ذكاء 54 00:02:19,161 --> 00:02:21,127 أجل،إذا إحتسبت النادلة والشرطي 55 00:02:25,033 --> 00:02:26,333 أمتحمس لرحلتك الميدانية رالف؟ 56 00:02:26,335 --> 00:02:28,401 سمعت أن ذلك المتحف يمتلك سيارات رائعة 57 00:02:28,403 --> 00:02:30,003 AMX يجب عليك رؤية ال71 58 00:02:30,005 --> 00:02:31,204 ...لديها تلك السرعة الخارقة 59 00:02:31,206 --> 00:02:33,406 هابي أخبرتني كل شيئ لأبحث عنه 60 00:02:33,408 --> 00:02:34,507 عظيم 61 00:02:34,509 --> 00:02:36,543 إنها الخبيرة 62 00:02:36,545 --> 00:02:39,446 حسنا،يجدر علينا الرحيل قريبا لأنه هناك بعض التجمع السياسي و زحمة المرور فضيعة بالفعل 63 00:02:37,880 --> 00:02:39,446 64 00:02:39,448 --> 00:02:40,547 LAX وعلي أن آخذك إلى 65 00:02:40,549 --> 00:02:41,848 أجل 66 00:02:41,850 --> 00:02:43,775 أليس تيم قادرا على القيادة بنفسه؟ 67 00:02:43,799 --> 00:02:44,886 رالف 68 00:02:44,887 --> 00:02:46,720 إنها فقط تسدي إلي خدمة يا رفيقي 69 00:02:46,722 --> 00:02:52,659 لكن لعلمك،ندوة المراقبة الذي أنا ذاهب إليه من المفروض فقط أنها لمتدربي الأمن الوطني 70 00:02:49,992 --> 00:02:52,659 71 00:02:52,661 --> 00:03:01,601 ،لكن إذا رغبت،أستطيع مشاركتك في بعض أسرارنا مثل كيف تموضع شخصا مشتبها به في الحشد 72 00:02:54,062 --> 00:02:56,663 73 00:02:56,665 --> 00:03:01,601 74 00:03:01,603 --> 00:03:05,238 ،علمني توبي ميزة علي الحذر منها هي المبالغة في حماسة التواصل 75 00:03:03,205 --> 00:03:05,238 76 00:03:05,240 --> 00:03:06,907 فهي علامة على النفاق 77 00:03:06,909 --> 00:03:09,743 ...أجل،لكن 78 00:03:09,745 --> 00:03:14,915 هل أخبرك أنه عندما تموضع مشتبها به،فأفضل طريقة لتعرفهم هي تحليل طريقة مشيهم 79 00:03:12,314 --> 00:03:14,915 80 00:03:14,917 --> 00:03:20,383 أترى،إنها ميزة فريدة كبصمة الإصبع،بخلاف أنك لا تحتاج إلى بصمتهم للوصول إليه 81 00:03:17,152 --> 00:03:18,852 82 00:03:18,854 --> 00:03:20,387 83 00:03:20,389 --> 00:03:22,589 هذا في الواقع كان رائعا للفاية 84 00:03:22,591 --> 00:03:24,724 حسنا،بالحديث عن طريقة المشية 85 00:03:24,726 --> 00:03:27,427 لماذا لا تستخدم خاصتك لتملأ قنينة مائك قبل النزهة الميدانية؟ 86 00:03:26,194 --> 00:03:27,427 87 00:03:27,429 --> 00:03:28,561 88 00:03:28,563 --> 00:03:30,630 سؤال بلاغي،إذهب 89 00:03:36,571 --> 00:03:41,370 العباقرة عادة ما يشعرون بالوحدة ليكونوا محميين عندما يحاول الناس الإقتراب 90 00:03:39,241 --> 00:03:41,370 91 00:03:41,394 --> 00:03:42,143 لا 92 00:03:42,144 --> 00:03:44,010 إنه مجرد صبي يحب أمه 93 00:03:44,012 --> 00:03:48,114 حسنا؟ثقي بي، عندما كنت في عمره كنت أسوء بعشر مرات لزوج أمي 94 00:03:46,281 --> 00:03:48,114 95 00:03:48,116 --> 00:03:52,052 لا،سيبقى رالف يتحداني وهو محق لمحاولة حمايتك 96 00:03:50,752 --> 00:03:52,052 97 00:03:52,054 --> 00:03:53,486 لأنك إمرأة مذهلة 98 00:03:53,488 --> 00:03:55,889 وهو ممتن لتواجدك في حياته 99 00:03:55,891 --> 00:03:57,424 تماما مثلي 100 00:04:00,429 --> 00:04:04,798 ،أنت لا تدري كم هذا منعش قضاء الوقت مع شخص عادي 101 00:04:01,997 --> 00:04:04,798 102 00:04:04,800 --> 00:04:07,267 منظبط جدا،إنسان منظم 103 00:04:07,269 --> 00:04:09,769 هيا،أعلم أني لم أكن متواجدا فhen choosing a name be creative and avoid names that reuse almost all the same letters in the same order or sound like the original. Keep in mind that the Copyright Holder(s) can allow a specific trusted partner to use Reserved Font Name(s) through a separate written agreement. 2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name? Yes, the requirement to change the visible name used to differentiate the font from others applies to the font menu name and other mechanisms to specify a font in a document. It would be fine, for example, to keep a text reference to the original fonts in the description field, in your modified source file or in documentation provided alongside your derivative as long as no one could be confused that your modified source is the original. But you cannot use the Reserved Font Names in any way to identify the font to the user (unless the Copyright Holder(s) allow(s) it through a separate agreement; see section 2.7). Users who install derivatives ("Modified Versions") on their systems should not see any of the original names ("Reserved Font Names") in their font menus, for example. Again, this is to ensure that users are not confused and do not mistake a font for another and so expect features only another derivative or the Original Version can actually offer. Ultimately, creating name conflicts will cause many problems for the users as well as for the designer of both the Original and Modified versions, so please think ahead and find a good name for your own derivative. Font substitution systems like fontconfig, or application-level font fallback configuration within OpenOffice.org or Scribus, will also get very confused if the name of the font they are configured to substitute to actually refers to another physical font on the user's hard drive. It will help everyone if Original Versions and Modified Versions can easily be distinguished from one another and from other derivatives. The substitution mechanism itself is outside the scope of the license. Users can always manually change a font reference in a document or set up some kind of substitution at a higher level but at the lower level the fonts themselves have to respect the Reserved Font Name(s) requirement to prevent ambiguity. If a substitution is currently active the user should be aware of it. 2.9 Am I not allowed to use any part of the Reserved Font Names? You may not use the words of the font names, but you would be allowed to use parts of words, as long as you do not use any word from the Reserved Font Names entirely. We do not recommend using parts of words because of potential confusion, but it is allowed. For example, if "Foobar" was a Reserved Font Name, you would be allowed to use "Foo" or "bar", although we would not recommend it. Such an unfortunate choice would confuse the users of your fonts as well as make it harder for other designers to contribute. 2.10 So what should I, as an author, identify as Reserved Font Names? Original authors are encouraged to name their fonts using clear, distinct names, and only declare the unique parts of the name as Reserved Font Names. For example, the author of a font called "Foobar Sans" would declare "Foobar" as a Reserved Font Name, but not "Sans", as that is a common typographical term, and may be a useful word to use in a derivative font name. Reserved Font Names should also be single words. A font called "Flowing River" should have Reserved Font Names "Flowing" and "River", not "Flowing River". 2.11 Do I, as an author, have to identify any Reserved Font Names? No, but we strongly encourage you to do so. This is to avoid confusion between your work and Modified versions. You may, however, give certain trusted parties the right to use any of your Reserved Font Names through separate written agreements. For example, even if "Foobar" is a RFN, you could write up an agreement to give company "XYZ" the right to distribute a modified version with a name that includes "Foobar". This allows for freedom without confusion. 2.12 Are any names (such as the main font name) reserved by default? No. That is a change to the license as of version 1.1. If you want any names to be Reserved Font Names, they must be specified after the copyright statement(s). 2.13 What is this FONTLOG thing exactly? It has three purposes: 1) to provide basic information on the font to users and other developers, 2) to document changes that have been made to the font or accompanying files, either by the original authors or others, and 3) to provide a place to acknowledge the authors and other contributors. Please use it! See below for details on how changes should be noted. 2.14 Am I required to update the FONTLOG? No, but users, designers and other developers might get very frustrated at you if you don't! People need to know how derivative fonts differ from the original, and how to take advantage of the changes, or build on them. 3 ABOUT THE FONTLOG The FONTLOG can take a variety of formats, but should include these four sections: 3.1 FONTLOG for This file provides detailed information on the font software. This information should be distributed along with the fonts and any derivative works. 3.2 Basic Font Information (Here is where you would describe the purpose and brief specifications for the font project, and where users can find more detailed documentation. It can also include references to how changes can be contributed back to the Original Version. You may also wish to include a short guide to the design, or a reference to such a document.) 3.3 ChangeLog (This should list both major and minor changes, most recent first. Here are some examples:) 7 February 2007 (Pat Johnson) Version 1.3 - Added Greek and Cyrillic glyphs - Released as "" 7 March 2006 (Fred Foobar) Version 1.2 - Tweaked contextual behaviours - Released as "" 1 Feb 2005 (Jane Doe) Version 1.1 - Improved build script performance and verbosity - Extended the smart code documentation - Corrected minor typos in the documentation - Fixed position of combining inverted breve below (U+032F) - Added OpenType/Graphite smart code for Armenian - Added Armenian glyphs (U+0531 -> U+0587) - Released as "" 1 Jan 2005 (Joe Smith) Version 1.0 - Initial release of font "" 3.4 Acknowledgements (Here is where contributors can be acknowledged. If you make modifications be sure to add your name (N), email (E), web-address (W) and description (D). This list is sorted by last name in alphabetical order.) N: Jane Doe E: jane@university.edu W: http://art.university.edu/projects/fonts D: Contributor - Armenian glyphs and code N: Fred Foobar E: fred@foobar.org W: http://foobar.org D: Contributor - misc Graphite fixes N: Pat Johnson E: pat@fontstudio.org W: http://pat.fontstudio.org D: Designer - Greek & Cyrillic glyphs based on Roman design N: Tom Parker E: tom@company.com W: http://www.company.com/tom/projects/fonts D: Engineer - original smart font code N: Joe Smith E: joe@fontstudio.org W: http://joe.fontstudio.org D: Designer - original Roman glyphs (Original authors can also include information here about their organization.) 4 ABOUT MAKING CONTRIBUTIONS 4.1 Why should I contribute my changes back to the original authors? It would benefit many people if you contributed back to what you've received. Providing your contributions and improvements to the fonts and other components (data files, source code, build scripts, documentation, etc.) could be a tremendous help and would encourage others to contribute as well and 'give back', which means you will have an opportunity to benefit from other people's contributions as well. Sometimes maintaining your own separate version takes more effort than merging back with the original. Be aware that any contributions, however, must be either your own original creation or work that you own, and you may be asked to affirm that clearly when you contribute. 4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions? Most authors would be very happy to receive such contributions. Keep in mind that it is unlikely that they would want to incorporate major changes that would require additional work on their end. Any contributions would likely need to be made for all the fonts in a family and match the overall design and style. Authors are encouraged to include a guide to the design with the fonts. It would also help to have contributions submitted as patches or clearly marked changes (the use of smart source revision control systems like subversion, svk or bzr is a good idea). Examples of useful contributions are bug fixes, additional glyphs, stylistic alternates (and the smart font code to access them) or improved hinting. 4.3 How can I financially support the development of OFL fonts? It is likely that most authors of OFL fonts would accept financial contributions - contact them for instructions on how to do this. Such contributions would support future development. You can also pay for others to enhance the fonts and contribute the results back to the original authors for inclusion in the Original Version. 5 ABOUT THE LICENSE 5.1 I see that this is version 1.1 of the license. Will there be later changes? Version 1.1 is the first minor revision of the OFL. We are confident that version 1.1 will meet most needs, but are open to future improvements. Any revisions would be for future font releases, and previously existing licenses would remain in effect. No retroactive changes are possible, although the Copyright Holder(s) can re-release the font under a revised OFL. All versions will be available on our web site: http://scripts.sil.org/OFL. 5.2 Can I use the SIL Open Font License for my own fonts? Yes! We heartily encourage anyone to use the OFL to distribute their own original fonts. It is a carefully constructed license that allows great freedom along with enough artistic integrity protection for the work of the authors as well as clear rules for other contributors and those who redistribute the fonts. Some additional information about using the OFL is included at the end of this FAQ. 5.3 Does this license restrict the rights of the Copyright Holder(s)? No. The Copyright Holder(s) still retain(s) all the rights to their creation; they are only releasing a portion of it for use in a specific way. For example, the Copyright Holder(s) may choose to release a 'basic' version of their font under the OFL, but sell a restricted 'enhanced' version. Only the Copyright Holder(s) can do this. 5.4 Is the OFL a contract or a license? The OFL is a license and not a contract and so does not require you to sign it to have legal validity. By using, modifying and redistributing components under the OFL you indicate that you accept the license. 5.5 How about translating the license and the FAQ into other languages? SIL certainly recognises the need for people who are not familiar with English to be able to understand the OFL and this FAQ better in their own language. Making the license very clear and readable is a key goal of the OFL. If you are an experienced translator, you are very welcome to help by translating the OFL and its FAQ so that designers and users in your language community can understand the license better. But only the original English version of the license has legal value and has been approved by the community. Translations do not count as legal substitutes and should only serve as a way to explain the original license. SIL - as the author and steward of the license for the community at large - does not approve any translation of the OFL as legally valid because even small translation ambiguities could be abused and create problems. 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