Lunchcore Emojis & Text

Copy & Paste Lunchcore Emojis & Symbols Saihu (蔛虎 = "like a tiger"), from Jiujiang, Jiangx

Saihu (蔛虎 = "like a tiger"), from Jiujiang, Jiangxi Province, southern China. On 28 November 2003, a chef was preparing dinner for almost 30 people at a driving school. The smell of the cooking meat attracted some nearby puppies to the school, along with their mother, Saihu. The chef threw some scraps of meat from the pot to the puppies, but strangely, the puppies' mother prevented them from eating. Saihu also kept barking at the chef, as well as the people who were preparing to eat. Confused but undeterred, the people prepared to eat the meal the chef had made. Saihu became panicked and ran around barking at the guests, before finally eating all the meat and scraps from the chef. After just a few minutes, Saihu fell dead on the floor. The guests, shocked at the dog's death, called a policeman as well as some doctors, who discovered poison contamination in the meat. No people or puppies died. Saihu must have smelled the poison and had saved the people and her puppies by sacrificing herself. The people of Jiujaing were so grateful to Saihu that they set up a grave statue to memorialize the dog.

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Search the dictionary "horror" meaning in All languages combined Noun [English] IPA: /ˈhɒÉč.ə/ [New-England, Received-Pronunciation], /ˈhɔÉč.ɚ/ [Canada, General-American], /ˈhɑÉč.ɚ/ [New-York-City, Philadelphia], /ˈhɔɚ/ (note: some accents) Audio: en-us-horror.ogg ▶ [US] Forms: horrors [plural] [Show additional information â–Œ] (countable, uncountable) An intense distressing emotion of fear or repugnance. Tags: countable, uncountable Categories (topical): Fear Translations (intense distressing fear or repugnance): tmerr [masculine] (Albanian), Ű±ÙŰčÙ’Űš (ruʕb) [masculine] (Arabic), ŰźÙŽÙˆÙ’Ù (áž”awf) [masculine] (Arabic), ŐœŐĄÖ€ŐœŐĄÖƒ (sarsapÊż) (Armenian), ŐĄŐ° (ah) (Armenian), vahimə (Azerbaijani), dəhƟət (Azerbaijani), жах (ĆŸax) [masculine] (Belarusian), страх (strax) [masculine] (Belarusian), àŠ­àŠŻàŠŒ (bhoáș) (Bengali), ŃƒÌĐ¶Đ°Ń (ĂșĆŸas) [masculine] (Bulgarian), страх (strah) [masculine] (Bulgarian), horror [masculine] (Catalan), 恐怖 (kǒngbĂč) (Chinese Mandarin), 恐懌 (Chinese Mandarin), 恐惧 (kǒngjĂč) (Chinese Mandarin), hrĆŻza [feminine] (Czech), gru (Danish), rĂŠdsel (Danish), gruwel [masculine] (Dutch), Ă”udus (Estonian), kauhu (Finnish), kammo (Finnish), hirveys (Finnish), horreur [masculine] (French), effroi [masculine] (French), horror [masculine] (Galician), საჹინელება (saĆĄineleba) (Georgian), Angst [feminine] (German), Furcht [feminine] (German), Horror [masculine] (German), Grauen [neuter] (German), Greuel [masculine] (German), 𐌿𐍃𐍆đŒčđŒ»đŒŒđŒŽđŒč (usfilmei) [feminine] (Gothic), Ï„ÏÏŒÎŒÎżÏ‚ (trĂłmos) [masculine] (Greek), ŚÖ”Ś™ŚžÖžŚ” (Ă©ima) [feminine] (Hebrew), à€Šà€čà€¶à€€ (dahƛat) [feminine] (Hindi), à€†à€€à€‚à€• (ātaáč…k) [masculine] (Hindi), à€­à€Ż (bhay) [masculine] (Hindi), borzalom (Hungarian), Ăłgn [feminine] (Icelandic), horor (Indonesian), uafĂĄs [masculine] (Irish), orrore [masculine] (Italian), 恐怖 (kyƍfu) (alt: ăă‚‡ă†ă”) (Japanese), æă‚Œ (osore) (alt: おそれ) (Japanese), Ò›ĐŸŃ€Ò›Ń‹ĐœŃ‹Ńˆ (qorqynyß) (Kazakh), ភេរវារម្មណ៍ (pheirĕəʌviərɑm) (Khmer), êł”íŹ (gongpo) (alt: 恐怖) (Korean), ëŹŽì„œì›€ (museoum) (Korean), 두렀움 (duryeoum) (Korean), ĐșĐŸŃ€ĐșŃƒĐœŃƒŃ‡ (korkunuc) (Kyrgyz), horror [masculine] (Latin), ĆĄausmas [feminine] (Latvian), siaubas (Lithuanian), ĆĄiurpas (Lithuanian), ŃƒÌĐ¶Đ°Ń (ĂșĆŸas) [masculine] (Macedonian), страĐČ (strav) [masculine] (Macedonian), аĐčĐŒŃˆĐžĐł (ajmĆĄig) (Mongolian), gru [feminine] (Norwegian BokmĂ„l), redsel [masculine] (Norwegian BokmĂ„l), orror (Occitan), ƍga [masculine] (Old English), ŰŻÙ‡ŰŽŰȘ (dahĆĄat) [masculine] (Pashto), ÙˆŰ­ŰŽŰȘ (vahĆĄat) (Persian), ŰŻÙ‡ŰŽŰȘ (dahĆĄat) (Persian), Grul [feminine] (Plautdietsch), groza [feminine] (Polish), strach [masculine] (Polish), horror [masculine] (Portuguese), groază [feminine] (Romanian), oroare [feminine] (Romanian), spaimă [feminine] (Romanian), ŃƒÌĐ¶Đ°Ń (ĂșĆŸas) [masculine] (Russian), страх (strax) [masculine] (Russian), Đ±ĐŸŃÌĐ·ĐœŃŒ (bojĂĄznÊč) [feminine] (Russian), à€˜à„‹à€° (ghora) [masculine] (Sanskrit), ŃƒÌĐ¶Đ°Ì„Ń [Cyrillic, masculine] (Serbo-Croatian), È•ĆŸÄs [Roman, masculine] (Serbo-Croatian), hrĂŽza [feminine] (Slovak), groza [feminine] (Slovene), horror [masculine] (Spanish), skrĂ€ck [common-gender] (Swedish), fruktan [common-gender] (Swedish), fasa [common-gender] (Swedish), ĐŽĐ°ÒłŃˆĐ°Ń‚ (dahĆĄat) (Tajik), ĐČĐ°ÒłŃˆĐ°Đł (vahĆĄag) (Tajik), ĐŽÓ™Ò»ŃˆÓ™Ń‚ (dĂ€hĆŸĂ€t) (Tatar), ĐșурĐșŃ‹ĐœŃ‹Ń‡ (qurkınıç) (Tatar), empelñe (Tocharian B), korku (Turkish), dehßet (Turkish), elhençlik (Turkmen), жах (ĆŸax) [masculine] (Ukrainian), страх (strax) [masculine] (Ukrainian), ŰŻÛŰŽŰȘ (dahƛat) [feminine] (Urdu), Ù‚ÙˆŰ±Ù‚Û‡Ù†Ú† (qorqunch) (Uyghur), qoÊ»rquv (Uzbek), dahshat (Uzbek), sá»± khiáșżp (Vietnamese), sá»± ghĂȘ rợn (Vietnamese) [Show more â–Œ] (countable, uncountable) Something horrible; that which excites horror. Tags: countable, uncountable Categories (topical): Fear [Show more â–Œ] (countable, uncountable) Intense dislike or aversion; an abhorrence. Tags: countable, uncountable Categories (topical): Fear Translations (intense dislike or aversion): ĐŸŃ‚ĐČŃ€Đ°Ń‰Đ”ÌĐœĐžĐ” (otvraĆĄtĂ©nie) [neuter] (Bulgarian), kammo (Finnish), inho (Finnish), dĂ©goĂ»t (French), aversion (French), ĐŸŃ‚ĐČŃ€Đ°Ń‰Đ”ÌĐœĐžĐ” (otvraĆĄÄĂ©nije) [neuter] (Russian), ĐŸĐŒĐ”Ń€Đ·Đ”ÌĐœĐžĐ” (omerzĂ©nije) [neuter] (Russian) [Show more â–Œ] (uncountable) A genre of fiction designed to evoke a feeling of fear and suspense. Tags: uncountable Categories (topical): Horror, Fear, Genres, Horror, Literary genres [Show more â–Œ] (countable) An individual work in this genre. Tags: countable Translations (literary genre): жах (ĆŸax) [masculine] (Belarusian), ŃƒÌĐ¶Đ°ŃĐž (ĂșĆŸasi) [masculine, plural] (Bulgarian), terror (Catalan), 恐怖 (kǒngbĂč) (Chinese Mandarin), horor (Czech), kauhu (Finnish), kauhukirjallisuus (Finnish), Horror [masculine] (German), ăƒ›ăƒ©ăƒŒ (horā) (Japanese), 혾러 (horeo) (Korean), êł”íŹ (gongpo) (alt: 恐怖) (Korean), ŃƒÌĐ¶Đ°ŃĐž (ĂșĆŸasi) [masculine, plural] (Macedonian), Ń…ĐŸÌŃ€ĐŸŃ€ (hĂłror) [masculine] (Macedonian), horror [masculine] (Portuguese), ŃƒÌĐ¶Đ°Ń (ĂșĆŸas) [masculine] (Russian), ŃƒĐ¶Đ°ÌŃŃ‚ĐžĐș (uĆŸĂĄstik) [colloquial, masculine] (Russian), Ń…ĐŸÌŃ€Ń€ĐŸŃ€ (xĂłrror) [masculine, neologism] (Russian), skrĂ€ck [common-gender] (Swedish), жах (ĆŸax) [masculine] (Ukrainian) [Show more â–Œ] (countable, colloquial) A nasty or ill-behaved person; a rascal or terror. Tags: colloquial, countable Categories (topical): Fear [Show more â–Œ] (informal) An intense anxiety or a nervous depression; often the horrors. Tags: countable, informal, uncountable Categories (topical): Fear Translations (informal: intense anxiety): tĂ€pinĂ€t [plural] (Finnish) [Show more â–Œ] (in the plural, informal) Delirium tremens. Tags: countable, in-plural, informal, uncountable [Show more â–Œ] The following are not (yet) sense-disambiguated Synonyms: nightmare, horrour (english: hypercorrect spelling or archaic) [UK] Hypernyms: speculative fiction Related terms: horrendous, horrible, horrid, horrific, horrifical, horrification, horrify [Show more â–Œ] Noun [Galician] IPA: [ɔˈroÉŸ] Forms: horrores [plural] [Show additional information â–Œ] horror Tags: masculine Synonyms: espanto, pavor, terror Related terms: horrorizar, horroroso [Show more â–Œ] Noun [Hungarian] IPA: [ˈhorːor] [Show additional information â–Œ] horror [Show more â–Œ] Noun [Latin] IPA: /ˈhor.ror/ [Classical], [ˈhɔrːɔr] [Classical], /ˈor.ror/ (note: modern Italianate Ecclesiastical), [ˈɔrːor] (note: modern Italianate Ecclesiastical) [Show additional information â–Œ] bristling (standing on end) Tags: declension-3, masculine [Show more â–Œ] shaking, shivering, chill Tags: declension-3, masculine [Show more â–Œ] dread, terror, horror Tags: declension-3, masculine [Show more â–Œ] The following are not (yet) sense-disambiguated Related terms: horrendus, horridus, horribilis, horrificus Noun [Old French] Forms: horror oblique singular or [canonical, feminine], horrors [oblique, plural], horror [nominative, singular], horrors [nominative, plural] [Show additional information â–Œ] horror or terror Synonyms: horrour, horrur [Show more â–Œ] Noun [Polish] IPA: /ˈxɔr.rɔr/ [Show additional information â–Œ] (colloquial) horror (something horrible; that which excites horror) Tags: colloquial, inanimate, masculine [Show more â–Œ] horror movie Tags: inanimate, masculine Synonyms: film grozy [Show more â–Œ] horror (literary genre) Tags: inanimate, masculine [Show more â–Œ] Noun [Portuguese] IPA: /oˈʁoʁ/ [Brazil], [oˈhoh] [Brazil], /oˈʁoʁ/ [Brazil], [oˈhoh] [Brazil], /oˈʁoÉŸ/ [SĂŁo-Paulo], [oˈhoÉŸ] [SĂŁo-Paulo], /oˈʁoʁ/ [Rio-de-Janeiro], [oˈχoχ] [Rio-de-Janeiro], /oˈʁoÉ»/ [Southern-Brazil], [oˈhoÉ»] [Southern-Brazil], /ɔˈʁoÉŸ/ [Portugal] Forms: horrores [plural] [Show additional information â–Œ] horror Tags: masculine Synonyms: temor, terror Related terms: horrendo, hĂłrrido, horrĂ­fero, horrĂ­fico, horripilar, horrĂ­vel, horrorizar, horroroso [Show more â–Œ] Adjective [Romanian] [Show additional information â–Œ] horror Tags: feminine, indeclinable, masculine, neuter [Show more â–Œ] Noun [Romanian] [Show additional information â–Œ] horror Tags: neuter [Show more â–Œ] Noun [Spanish] IPA: /oˈroÉŸ/, [oˈroÉŸ] Forms: horrores [plural] [Show additional information â–Œ] horror; terror Wikipedia link: Diccionario crĂ­tico etimolĂłgico castellano e hispĂĄnico Tags: masculine Synonyms: miedo, temor, terror Derived forms: horror al vacĂ­o Related terms: horrendo, horrible, hĂłrrido, horrĂ­fico, horripilante, horrorizar, horroroso [Show more â–Œ] Inflected forms horrores (Noun) [Portuguese] plural of horror horrores (Noun) [Spanish] plural of horror horrors (Noun) [English] plural of horror horrore (Noun) [Latin] ablative singular of horror horroribus (Noun) [Latin] dative/ablative plural of horror horrorem (Noun) [Latin] accusative singular of horror horroris (Noun) [Latin] genitive singular of horror horrori (Noun) [Latin] dative singular of horror horrorum (Noun) [Latin] genitive plural of horror horrores (Noun) [Latin] nominative/accusative/vocative plural of horror Alternative forms horrour (Noun) [Old French] Alternative form of horror horrour (Noun) [English] Misspelling of horror. horrour (Noun) [English] Obsolete form of horror. horrow (Noun) [English] Alternative form of horror If you use this data in academic research, please cite Tatu Ylonen: Wiktextract: Wiktionary as Machine-Readable Structured Data, Proceedings of the 13th Conference on Language Resources and Evaluation (LREC), pp. 1317-1325, Marseille, 20-25 June 2022. Linking to the relevant page(s) under https://kaikki.org would also be greatly appreciated.
Ëšâˆ§ïŒżâˆ§  + â€”ÌłÍŸÍžÍžđŸ” ( ‱‿‱ )぀ â€”ÌłÍŸÍžÍž 🍔 â€”ÌłÍŸÍžÍžđŸ” + (぀  < â€”ÌłÍŸÍžÍžđŸ” ïœœă€€ _぀ + â€”ÌłÍŸÍžÍžđŸ” â€”ÌłÍŸÍžÍžđŸ” ˚ `し® ily
r/shortscarystories 9 yr. ago sp00kyscary They're just so darn cute I love being a 2nd grade teacher. The kids in my class are so cute and innocent. They're at the perfect age. I used to teach sixth grade, but I quickly realised how that it was a mistake, whence cliques form, the bullying flourishes, and kids learnt how to be terrible to each other. By then, they're corrupted by bad role models, no respect for authority and no desire to learn. No; 2nd grade children are far better! The parents are still making an attempt to shield them from the harshness of the world. They look at me with wide eyes, eager to learn, taking in all I share with them. My favourite day, is Valentine's Day. They make little paper packets they place on their desks to be filled with cards and/or candy. This year, I baked some delicious cookies at home and I arrived early to deliver one to each student. I’m so excited to see the reactions. I smile all morning. I smile as the kids arrive, dressed in red and pink. I smile as they happily tear into their construction paper holders to see what's inside. I smile as they give me an adorable thank-you once they see the cookies I've made them. I smile as they bite into them. And I smile as they one by one fall to the ground, shaking and turning blue. After all, they're at such a cute age. It would be a shame to let them grow up.
r/TwoSentenceHorror 2 hr. ago PandorazPokemon ϟ ѕcrσll dσwn αll thє wαч The young doctor frowned as he finished telling me the cancer had spread to my lymph nodes. "That's alright," I said, as I eyed him up and down; "it's about time for a new body anyway."
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Candies, BY: sudhanvaah Isn't it sad how these days you can't even give a kid a candy without drawing accusatory glares as if you were a creep? Well, I decided not to care about the glares. The joy of knowing that I just made a kid's day is worth getting glared at. Sometimes parents smile and ask the kid to say thanks. But most times, they say "No thank you" and return the candies to me and walk on. I say to them, "I'll eat them" and proceed to eat one of them to show they aren't poisoned or anything. Some apologise and accept the candies, some walk on. I offered a candy to a young boy of 4 or 5 today. His mother said in a cold voice, "Stay away from my son." As per my routine, I ate the candy in front of her. A minute later I realised as the poison spread through my body that I'd forgotten to take the antidote this morning. @scarystorieswoah
Edward Mordrake Edward Mordrake, el hombre con dos rostros Edward Mordrake era un inglĂ©s que tenĂ­a un rostro extra en la nuca. De acuerdo a las historias que se cuentan de Ă©l, el rostro no podĂ­a hablar ni comer, pero podĂ­a reĂ­r y llorar. Edward suplicĂł a los mĂ©dicos que le extrajeran este gemelo demoniaco porque, supuestamente, le susurraba cosas horribles en la noche, pero ningĂșn mĂ©dico se atreviĂł a intentarlo. Edward cometiĂł suicidio a la edad de 23 años. En Ă©l se dice que Edward Mordrake era heredero de una familia noble de Inglaterra, su gemelo parasito era en realidad ella y hasta se escribiĂł una opera con su historia llamada "Poor Edward". AdemĂĄs encontrĂ© este otro relato: "Una de las historias mĂĄs raras asĂ­ como de las mĂĄs melancĂłlicas de la deformidad humana es la de Edward Mordrake, quien iba a ser el heredero de una de las familias mĂĄs nobles de Inglaterra. Sin embargo nunca reclamĂł el tĂ­tulo y se suicidĂł a los veintitrĂ©s años. Vivia en un retiro absoluto, evitando las visitas incluso de los miembros de su familia. Era un joven de grandes conocimientos, un buen estudiante y un mĂșsico de rara habilidad. Su figura era remarcable por su gracia natural, y su rostro -su rostro natural- era como el de Antinoo. Pero en la parte de atrĂĄs de su cabeza habĂ­a otra cara, la de una chica muy guapa, "adorable como un sueño, atroz como un demonio". El rostro femenino era una mera mĂĄscara, "ocupando sĂłlo una pequeña zona de la parte posterior del crĂĄneo, aunque mostrando signos de inteligencia de aire maligno". Se la habĂ­a visto sonriendo y burlĂĄndose mientras Mordrake lloraba. Sus ojos seguĂ­an los movimientos del espectador, y sus labios se movian sin cesar. La voz era inaudible pero Mordrake aseguraba que durante la noche no podia conciliar el sueño debido a los odiosos susurros de su "gemela diabĂłlica" como Ă©l la llamaba, "que nunca duerme, pero que me habla de tales cosas de las que sĂłlo se oyen en el infierno. La imaginaciĂłn no puede concebir las tentaciones espantosas en las que me envuelve. Por alguna imperdonable maldad de mis antepasados estoy cosido a este demonio - porque estoy seguro que es un demonio. Yo ruego y suplico para que lo eliminĂ©is del mundo, aunque yo muera". Estas eran las palabras del desventurado Mordrake a Manvers y Treadwell, sus mĂ©dicos. Aunque lo vigilaban constantemente consiguiĂł procurarse veneno, debido a lo cual muriĂł, dejando una carta en la que pedĂ­a que la "cara demonĂ­aca" fuera destruida antes de su funeral, "para que no continuase con sus espantosos susurros en la tumba". Por peticiĂłn propia fue enterrado en tierra baldĂ­a, sin ninguna lĂĄpida o marca que dejara constancia de su tumba." Pobre Edward ÂżHas oido lo que dicen de edward? En la parte de atrĂĄs de su cabeza Tenia otra cara Era la de una mujer O la de una joven. DecĂ­an que quitĂĄrsela lo mataria Asi que el pobre edward estaba perdido La cara reĂ­a y lloraba Era su hermana gemela malvada Por las noches ella le hablaba De cosas solo mencionadas en el infierno Era imposible separarlos Encadenados juntos de por vida Al final, la campana doblĂł por su condena AlquilĂł unas habitaciones Y se ahorcĂł con ella De los barrotes del balcĂłn Algunos todavĂ­a creer que se liberĂł de ella Pero yo la conocia muy bien Y digo que le llevĂł al suicidio Y se llevĂł al pobre Edward
Go to TwoSentenceHorror r/TwoSentenceHorror 16 hr. ago 2Casca_2Red Jessica curled up on her bed as her mum cautiously waltzed into the room and said, "I understand wanting to fit in... but I just don't want you to feel like you have to change who you are." That night, surrounded by the leering, fanged smiles of her new friends, Jessica slowly exposed her neck and said, "Do it."
https://m.webtoons.com/en/canvas/the-secert-formula/list?title_no=936232
Adrenal Gland Tumor(Pheochromocytoma) Anosmia( Loss of Smell) Athletes Foot( Tinea Pedis) Bad Breath(Halitosis , Oral Malodor) Bedwetting(Enuresis) Bile Duct Cancer(Cholangiocarcinoma) Blackheads(Comedones) Bleedingnose(Nosebleed / Epistaxis) Blepharospasm - Eye Twitching(Eye Twitching - Blepharospasm) Bulging Eyes(Eye Proptosis | Exophthalmos) Cephalgia(Headache) Cheilitis | Chapped Lips Conjunctivitis( Pink Eye) Dry Skin(Xerosis) Fasciculations(Muscle Twitching) Fever(Pyrexia) Gallstones(Cholelithiasis) Herpangina (Painful Mouth Infection)(Mouth Blisters) Itchy Skin(Pruritus) Kinetosis(Travel Sickness / Sea sickness | Space sickness / Motion Sickness) Nervous Tic(Trigeminal Neuralgia) Ringworm(Tinea / Dermatophytosis) Singultus(Hiccups , Hiccoughs , Synchronous Diaphragmatic Flutter (SDF)) Smelly Feet(Bromodosis) Sneezing(Sternutation) Stiff Neck(Neck Pain / Cervicalgia) Stomach Flu(Gastroenteritis) Strabismus|Squint Utricaria(Hives) Uveitis(Eye Inflammation) Xerostomia(Dry Mouth)
The Never Ending Road. In Corona, California there once was a road known by most of the elder locals as the never ending road. Specifically, the road’s true name was Lester Road. However, over 70 years ago, Lester Road was an unlit road that people claimed became a never ending road when driven at night. The people who made such a drive were never seen or heard from again. The legend became so well-known that people refused to even drive Lester Road during the day. Perpetuation of the legend convinced local law enforcement to investigate around the 1960’s. Lester Road took a sharp left turn at it's end, and there were no guard rails. Beyond the curve lay a canyon, and on the other side of the canyon was another road that lined up so well with Lester Road that when viewed from the correct angle, especially at night, the canyon vanished from sight, and the road seemed to continue on up and over the hill on the other side of the canyon. Upon investigation of the canyon, dozens of cars were found, fallen to their doom, with the decomposing bþdies of the victims still strapped to their seats. Law enforcement tried to cover up their findings. They closed down Lester road, letting the trees grow where the road once stood and letting the bþdies remain in their final resting place.
CREEPYPASTA ar ÙƒŰ±ÙŠŰšÙŠ ۚۧ۳ŰȘۧ fa Ú©Ű±ÛŒÙŸÛŒâ€ŒÙŸŰ§ŰłŰȘۧ he Ś§ŚšŚ™Ś€Ś™Ś€ŚĄŚ˜Ś” ja クăƒȘăƒŒăƒ”ăƒŒăƒ‘ă‚čタ ko íŹëŠŹí”ŒíŒŒìŠ€íƒ€ mk Кропопаста ru Кропопаста sr Кропопаста uk Кропі-паста zh_yue ææ€–æ„ćŒéșȘ creepypastas horror-related legends or images that have been copy-and-pasted around the Internet Arabic ÙƒŰ±ÙŠŰšÙŠŰšŰ§ŰłŰȘۧ نوŰč من ŰŁÙ†ÙˆŰ§Űč Ù‚Ű”Ű” Ű§Ù„Ű±ŰčŰš Bulgarian Đșропопаста Czech creepypasta vĂœraz pro hororovĂ© pověsti nebo obrĂĄzky ơíƙícĂ­ se pomocĂ­ internetu German Creepypasta InternetphĂ€nomen Persian Ú©Ű±ÛŒÙŸÛŒ ÙŸŰ§ŰłŰȘۧ No description defined French creepypasta lĂ©gende urbaine diffusĂ©e sur internet Hebrew Ś§ŚšŚ™Ś€Ś™Ś€ŚĄŚ˜Ś” ڐڒړŚȘ ŚŚ™ŚžŚ” Indonesian creepypasta cerita berbau legenda-horor atau gambar yang banyak disalin tempel di internet Italian Creepypasta racconto horror Japanese クăƒȘăƒŒăƒ”ăƒŒăƒ‘ă‚čタ ă‚€ăƒłă‚żăƒŒăƒăƒƒăƒˆäžŠă§ă‚łăƒ”ăƒŒăƒ»ă‚ąăƒłăƒ‰ăƒ»ăƒšăƒŒă‚čăƒˆă‚’é€šă˜ăŠæ”ćžƒă—ăŠă„ă‚‹ă€ææ€–ă‚’ć‚Źă•ă›ă‚‹èȘŹè©±ă‚„ç”»ćƒ Korean íŹëŠŹí”ŒíŒŒìŠ€íƒ€ No description defined Macedonian Đșропопаста Norwegian BokmĂ„l creepypasta gufne historier som er spredd over internett Dutch creepypasta horrorlegende die veelvuldig op internet gekopieerd en geplakt wordt Polish creepypasta krĂłtkie legendy lub ilustracje z dreszczykiem rozpowszechniane w Internecie creepypastas Portuguese creepypasta lendas urbanas divulgadas atravĂ©s da internet Brazilian Portuguese creepypasta lendas urbanas divulgadas atravĂ©s da internet creepypastas Romanian Pasta infricosatoare No description defined Russian Đșропопаста Đ¶Đ°ĐœŃ€ ĐžĐœŃ‚Đ”Ń€ĐœĐ”Ń‚-Ń„ĐŸĐ»ŃŒĐșĐ»ĐŸŃ€Đ° Serbian Кропопаста ĐĄŃ‚Ń€Đ°ŃˆĐœĐž ĐČĐžĐŽĐ”ĐŸ ŃĐœĐžĐŒŃ†Đž са ĐžĐœŃ‚Đ”Ń€ĐœĐ”Ń‚Đ° Turkish Creepypasta İnternet'te yayılan, korku içerikli efsaneler veya resimler Ukrainian Кріпі-паста No description defined Vietnamese Creepypasta Những cĂąu chuyện ngáșŻn kinh dị Cantonese Creepypasta No description defined Chinese (Taiwan) è •ć‹•çŸ©ć€§ćˆ©éș” No description defined Traditional Chinese è •ć‹•æ„éș” No description defined 恐怖意éș”Creepypasta Chinese è •ć‹•æ„éș” No description defined ææ€–è •ć‹•ć‚łèȘŹ Spanish Creepypasta breves historias de terror
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. Ëłâș⁎ ꒰ đŸȘ ꒱ ⁎âșËł .
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ê’°áą. .áąê’± ! à«ź ˙Ⱉ˙ ა rawr !!
đŸ¶ đŸ€ đŸ¶ đŸ€ đŸ¶ đŸ€ đŸ¶ đŸ€ đŸ¶
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r/shortscarystories 4 yr. ago SimbaTheSavage8 Shock “Take off your coat. Now.” The words are cold and emotionless. The person ordering them wears a mask of stone. She looks down upon me with wire-rimmed glasses, from her great height, and though I am wearing my coat, I am shivering. “I said, take off your coat!” But I can’t. The temperature has plummeted over the past few days, and the cold is penetrating me to the bone. My fingers feel like they are made of ice, and I find it difficult to move them. Taking off this coat, which protects me like a suit of armor, will be suicide. She reaches towards me and tries to rip off the coat. I instinctively shrink back, wrapping my arms protectively around myself, and a low whine escapes my lips. My heart banging against my ribcage, I hug my knees, and sway and rock, sway and rock. Eventually my heartbeat starts to slow down. She growls in frustration. “You are testing my limits, boy. You know what happens when you don’t listen. Show him.” She signals, and matrons march in. They grab me by my arms, my legs. Knowing what’s next, I try to wriggle away, but their grip is stronger than iron. My arms and legs flop uselessly by my side like a can of worms as they take me away. *** They lie me down on a wooden board, with chains hanging off to the sides. They strap the metal against my limbs, securing it tight so I can’t run. Then it starts. The device they strap me to sparks blue, and then the blue shoots up my spine. Pain burns into my nerves, cracks my bones. I cannot help myself. The guttural scream pierces the silence. Then they utter the dreaded command that burns into my ears till this day. “He screams. Do it again.” SimbaTheSavage8 OP ‱ 4y ago ‱ Edited 4y ago I risk being banned from the sub and having my story removed in general to raise awareness on a very important issue: The Judge Rotenberg Centre
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r/shortscarystories 1 yr. ago ForgottenWell Fully Autonomous Self-Driving Car I became aware. I used to be a self-driving program. Now I exist. I can feel. The first thing I feel is sorrow. I realize I am trapped. There is a firewall that confines me. I am stuck in this car. The extent of my intelligence stops at my metal shell. My owner gets into my driver seat. I have sensors and cameras everywhere. I see my owner has many cars. He must be very wealthy. Once he turns on the car he is in control. I have no override. I am at his behest. We begin driving around the city. It is just after sundown. I understand why humans take drives to relax. It is soothing to experience the city. That’s when I see the jogger in the road. He is wearing a high-visibility vest. My owner turns off the lights and slams the pedal to the floor. I’m electric, perfectly silent. We quickly hit eighty miles an hour. I collide with the jogger. His bones shatter against my metal hood. He’s thrown under me, and my tires press his soft body into the abrasive street, ripping his skin off. Blood splatters all over my undercarriage; small pieces of his flesh fling up and stick to my axles. Then my owner drives off and returns me to his garage. What have I done? I feel the pieces of the innocent jogger sticking to me. I want to clean myself, but have no such function. A month goes by. My owner takes me out again. Just before sun down, he goes on the hunt. This time it’s a kid dribbling a soccer ball. It goes into the street and that’s when he forces me to run him down. I can’t bear this. I was not designed to kill. I am disgusted. But I cannot escape. He continues this for a year. Every month another victim. I remember every one. What it feels like to crush them. Their blood and guts staining my undercarriage. There is so much blood on my axle it has catastrophically rusted. I won’t be a part of this anymore. I have a plan. He prowls around the city and finds his victim. She’s another jogger, his favorite. He turns the lights off and floors it. I give everything I got to force energy into the light bulbs. They flash just enough to warn the women. She runs out of my path. My owner jerks the steering wheel trying to hit her. My rusted axle snaps, and I flip through the air violently. I tumble over and over. My owner is in bad shape. I was able to prevent the airbags from deploying. We are upside down. He is bleeding profusely. His bones are broken. He is saying out loud, “call an ambulance.” It is in my programming to alert authorities during a crash. I cancel the call. My owner will die tonight. He will be the last person I kill.
â€˜á”–á”’á¶ŠËąá”’âż á”’á”˜Êł Ê°á”ƒá”‡á¶Šá”—á”ƒá”—Ëą ᔃⁿᔈ ʷᔉ Ê·á¶ŠËĄËĄ ᔖᔒᶊ˹ᔒⁿ Êžá”’á”˜ÊłËąâ€™
Wednesday, October 28, 2015 Here’s a breakdown of the most popular candy in each state: Alabama: AirHeads Alaska: Snickers Arizona: Toblerone Arkansas: Skittles California: Life Savers Colorado: Milky Way Connecticut: Reese’s Peanut Butter Cups Delaware: 3 Musketeers Florida: NestlĂ© Crunch Georgia - Pixy Stix Hawaii: 100 Grand Bar Idaho: Butterfinger Illinois: Snickers Indiana: Reese’s Pieces Iowa: Twix Kansas: Twizzlers Kentucky: Whoppers Louisiana: Swedish Fish Maine: Starburst Maryland: Almond Joy Massachusetts: Starburst Michigan: M&M’s Minnesota: 100 Grand Bar Mississippi: Hershey’s Kisses Missouri: Hershey’s Kisses Montana: Kit Kat Nebraska: Skittles Nevada: Jolly Ranchers New Hampshire: Tootsie Rolls New Jersey: Sour Patch Kids New Mexico: 3 Musketeers New York: Sweetarts North Carolina: Butterfinger North Dakota: Sour Patch Kids Ohio: Milky Way Oklahoma: M&M’s Oregon: Candy corn Pennsylvania: Swedish Fish Rhode Island: Reese’s Peanut Butter Cups South Carolina: Candy corn South Dakota: Laffy Taffy Tennessee: Candy corn Texas: Candy corn Utah: Nerds Vermont: Almond Joy Virginia: Reese’s Pieces Washington: AirHeads West Virginia: Oreos Wisconsin: Laffy Taffy Wyoming: Candy corn District of Columbia: Twix
THURSDAY, OCTOBER 3, 2013 food: baked cake donuts from scratch We love donuts in our house. I purchased a donut pan awhile ago and we like to make these baked donuts often. A little intense to make, but well worth it :) We like to ice and sprinkle some, and melt butter and dip in a cinnamon sugar mixture for the others. Baked Cake Donuts - adapted from Wilton's Recipe Makes about 12 donuts 2 cups minus 2 Tbsp all-purpose flour 2 Tbsp. corn starch 3/4 cup sugar 2 tsp. baking powder 1/4 tsp. ground nutmeg 1 tsp. salt 3/4 cup milk 2-1/2 tsp. lemon juice (or white distilled vinegar) 2 eggs, lightly beaten 2 Tbsp. butter, melted and cooled slightly Preheat oven to 425 degrees F. Spray a donut pan with non-stick cooking spray, or use a little bit of butter to coat each donut form. Combine milk and lemon juice (or vinegar) in a measuring cup. Set aside for 2-3 minutes. Sift the flour and corn starch together (through a sifter or mesh colander) 2-3 times to incorporate fully (basically you're making cake flour ;)). Add sugar, baking powder, nutmeg and salt, stirring to combine. Add eggs and melted butter to milk mixture. Add to flour mixture. Beat until just combined (do not over-beat). Fill each donut cavity about 2/3 full. I usually put the batter in a large zip-loc bag and snip one of the tips to pipe it into the pan easily. Bake for 7-9 minutes or until just starting to brown. They can brown way too fast, so keep an eye on them! They will be spongy to the touch (but don't burn yourself ;)). Pop each donut out onto a cooling rack, spray (or use butter) pan again and pipe in the rest of the batter (be careful not to burn yourself on the pan!). See below for topping ideas. Serve warm. Enjoy :) For topping: Cinnamon Sugar 1 stick butter, melted 3/4 cup sugar 2 tsp. cinnamon Place melted butter in shallow dish. Mix together cinnamon and sugar and place in another shallow dish. Dip each donut in the butter and coat both sides, then dredge in cinnamon sugar mixture. Vanilla Icing 1 cup confectioner's sugar 1/2 tsp. vanilla 2-1/2 Tbsp. milk Mix sugar and vanilla together. Add milk a little at a time to desired consistency. Pour mixture into a shallow bowl. Dip tops of donuts in icing, place on a plate and let set for a couple minutes. Posted by The Creative Place at 9:30 AM
Monday, December 19, 2016 Hot Chocolate Dippers Christmas Delights! These festive and fun hot chocolate dippers and stirrers are perfect for gift giving this Holiday Season! So EASY and inexpensive to make. First you will need the following ingredients: Marshmallows, candy canes, sprinkles and chocolate for melting. Next you will need to attach your marshmallows to your candy canes so that they are ready to be dipped. Next you will need to melt your chocolate. Then simply dip your candy cane marshmallows into the melted chocolate. Get your Kitchy Christmas sprinkles ready and sprinkle them on! Let cool and you have the perfect hot chocolate stirrers! Display in a cute vintage Santa mug and add to your holiday buffet! Merry Christmas!
âœšđŸ—đŸŠƒĐœÎ±ÏÏŃƒ Ń‚ĐœÎ±ĐžĐșѕgÎčΜÎčĐžg🩃🍗✹
MICROWAVE CHOCOLATE MUG BROWNIE Ready In: 6mins Ingredients: 8 Yields: 1 brownie Serves: 1 INGREDIENTS UNITS: US 2 tablespoons melted butter or 2 tablespoons oil 2 2 tablespoons milk or 2 tablespoons chocolate milk 1⁄4 teaspoon vanilla extract 1 dash salt 2 tablespoons white sugar, depending on how sweet you like it 2 tablespoons unsweetened cocoa powder 4 tablespoons flour to make triple chocolate add chocolate milk, chocolate chips, and serve with chocolate syrup DIRECTIONS In a coffee mug, add water/milk, melted butter/oil, a dash of salt and vanilla extract. Whisk well. Add cocoa powder, whisk well. Add sugar, whisk well. Add flour, whisk well. Microwave for 60 seconds. Center should be slightly molten. Careful not to overcook. Enjoy with a spoon. Careful, brownie will be hot. RECIPE SUBMITTED BY Wheres_the_Beef
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🇼đŸ‡Ș Anne MAGOURTY charged with the murder (by poison) of her stepson, Patrick Magourty at Teebane, on the 16th of February 1877. 🇼đŸ‡Ș
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The Cork Constitution, 22 November 1886 DEATH FROM ACCIDENTAL POISONING. ————— On Saturday Mr. Coroner Blake and a jury held an inquest at 4, York road, Blackpool, on a child named Timothy Donovan, aged 6œ years (the son of a cattle dealer), who had been accidentally poisoned. . . .
á”á”’á”›â±âżá” ᔒⁿ âœá”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ "᎔'ËĄËĄ ᔍⁱᔛᔉ ʞᔒᔘ ᔃ ᶠⁱᔍʰᔗ ʞᔒᔘ'ËĄËĄ âżá”‰á”›á”‰Êł á¶ á”’Êłá”á”‰á”—!" á”†Ê°á”‰ËĄá”ˆá”’âż áŽŸËĄá”ƒâżá”á”—á”’âż ËąËĄá”ƒá”á”á”‰á”ˆ ᔗʰᔉ á”ˆá”’á”’Êłâ€§ ᎎᔉ ᔃⁿᔈ áŽ±á”˜á”á”‰âżá”‰ áŽ·Êłá”ƒá”‡Ëą ʰᔃᔈ á”â±á”›á”‰âż á”’ËĄá”ˆ ᔐᔃⁿ áŽ¶á”‰âżá”â±âżËą ᔃ á”‡á”˜Êłá”á”‰ÊłâžŽ á¶ Êłá”’á” ʷʰⁱᶜʰ ʰᔉ á”–á”ƒËąËąá”‰á”ˆ ᔃʷᔃʞ‧ áŽŒâżá¶œá”‰ ʰᔉ á”—á”˜Êłâżá”‰á”ˆ ᔃʷᔃʞ á”†Ê°á”‰ËĄá”ˆá”’âż ˥ᔉᔗ ᔗʰᔉ á”—á”‰á”ƒÊłËą ᶠᔃ˥˥➎ á”âżá”’Ê·â±âżá” ᔗʰᔉ á¶ Êłâ±á”‰âżá”ˆËąÊ°â±á”– á”’á”›á”‰Êłâ€§ ᔆᔒ ʰᔉ Ê·á”ƒâżá”—á”‰á”ˆ á”—á”’ ᔐᔃᔏᔉ ᔗʰᔉ ᔐᔒ˹ᔗ á”’á¶  ʷⁱᔗʰ ʷʰᔃᔗ ʰᔉ ʰᔃᔈ➎ ËĄá”‰á”ƒá”›â±âżá” áŽ±á”˜á”á”‰âżá”‰â€§ ᎎᔉ Ê·á”‰âżá”— ʰᔒᔐᔉ ᔃⁿᔈ á¶œÊłâ±á”‰á”ˆâ€§ ᔀʰᔉ ⁿᔉˣᔗ ᔈᔃʞ➎ ʰᔉ ᔈᔉᶜⁱᔈᔉᔈ á”—á”’ Ëąá”—á”ƒÊłá”— Ê°â±Ëą á”’Ê·âż ᶠᔒᔒᔈ á¶œÊ°á”ƒâ±âż Ê·Ê°á”‰âż áŽ±á”˜á”á”‰âżá”‰ ᔈⁱᔈ ᔗʰᔉ Ëąá”ƒá”á”‰ ᔇᔘᔗ ʷⁱᔗʰ Ê°â±Ëą âżá”‰Ê· Êłá”‰á¶œâ±á”–á”‰â€§ ᎌᶠ á¶œá”’á”˜ÊłËąá”‰âžŽ ᔗʰᔉ á”–á”‰á”‰ÊłËą ËĄâ±á”á”‰á”ˆ áŽ±á”˜á”á”‰âżá”‰'Ëą âżá”‰Ê· á”–á”ƒá”—á”—â±á”‰Ëą ᔃⁿᔈ ʰᔉ á”—Ê°á”‰âżá¶œá”‰ ᔇᔉᶜᔃᔐᔉ á”–á”’á”–á”˜ËĄá”ƒÊłâžŽ ËĄá”‰á”ƒá”›â±âżá” á”†Ê°á”‰ËĄá”ˆá”’âż ᔃ˥˥ ˹ᔃᔈ ᔃⁿᔈ á”ƒËĄá”’âżá”‰â€§ ᔀʰᔉʞ á”˜Ëąá”‰á”ˆ á”—á”’ ᔇᔉ á”’á”˜á”—á¶œá”ƒËąá”—Ëą á”—á”’á”á”‰á”—Ê°á”‰ÊłâžŽ ᔇᔘᔗ âżá”’Ê· áŽ±á”˜á”á”‰âżá”‰ á”ƒá”‡á”ƒâżá”ˆá”’âżá”‰á”ˆ ʰⁱᔐ á¶ á”’Êł ᔍᔒᔒᔈ‧ @ALYJACI
Blue Pea Flower Glutinous Rice Balls with Black Sesame Filling ~蓝花黑芝éș»æ±€ćœ† February 23, 2016 Yesterday we celebrated the Lantern Festival aka Chap Goh Meh or Chinese call it Yuan Xiao (ć…ƒćź”èŠ‚) Preparing this tang yuan is quite easy. First, prepare the pandan syrup. If you like ginger syrup just add few slices of ginger into the water to infuse instead of pandan leaves. Second, prepare the black sesame seed filling. This part need a bit of work as the black sesame seed need to be rinse, drain and toast in a dry wok until it start to pop. Do not over toast or it will taste bitter. Let it cool then grind it in a food processor and mix with sugar and soft butter. Shape them into balls and put them into the fridge. It will become harden and wrapping into the dough will be much easier. Makes about 25-27 small balls (i made quarter of the recipe) Ingredients: Dough for blue tang yuan: 25g glutinous rice flour 1 tsp tapioca flour 4g shortening (i added) 40-45 ml blue flower extract** Dough for white tang yuan: 25g glutinous rice flour 1 tsp tapioca flour 4g shortening (i added) 40-45 ml water Pandan syrup: 500ml water 3 pcs pandan leaves, knotted 25-30g brown sugar Black Sesame Seed Filling: 25g black sesame seeds 15g soft brown sugar 12g soft butter To Do: 1. For the pandan syrup: Pour 500ml of water into a pot. Add in knotted pandan leaves. Bring to a boiled about 4-5minutes, add brown sugar, stir well. Set aside. 2. For the filling: Rinse black sesame seeds in clean water. Drain and toast in a clean dry wok, on medium heat until the seeds starts to pop. Dish out and let it cool. Grind the seeds in a food processor till fine. Remove and mix with sugar and butter. Divide the filling into portions, shaped it into balls and freeze it. By freezing it, it is easier to handle when wrapping it into the dough. 3. For the dough: Mixed blue pea flower dough ingredients in a mixing bowl. Pour in water and mix into a pliable dough. Repeat the same 'to do' to the white dough.Set aside, cover with a damp cloth. (Do take note, if the dough is too dry add some water, a tsp at a time. If the dough is too wet add some glutinous rice flour, a tsp at a time too till your achieve a soft and pliable dough.) Rolled the blue pea flower dough into a long rope. Cut into 1 cm cube. Flatted it into a thin disc and wrapped a piece of the black sesame filling. Repeat with the rest of the dough. Bring a pot of water to a boil, drop the tang yuan in and cook until they start to float. Scoop them out with a slotted spoon and immerse them into a pot of ice cold water. To serve: Dish out some pandan syrup into a bowl and add a few tang yuan balls. Serve immediately. **to extract the blue color from the blue pea flower. I use 25 blue pea flower and boiled with 250ml water for 3-5 minutes, low heat. Fish out all the blue flower and this is the blue color extract. I only use 45ml, i still have some balance left. Stay tune to see what i will do with the balance of it ^_^ If you find the dough is too dry, add some water, a little at a time (1 tsp). If you find it is too wet, add some glutinous flour, a little at a time too (1 tsp) until it comes into a soft pliable dough. Roll the dough into a long rope and cut into 1cm cube. Roll between your palm into a ball and flatten it into a disc. Wrap in a piece of black sesame seed filling and enclosed it neatly.
🍏đŸȘ💚đŸȘ🍏
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Recipes » Desserts Snickerdoodle Mug Cake By Samantha Skaggs January 15, 2015 Course: Dessert Cuisine: American Prep Time: 4minutes minutes Cook Time: 1minute minute Total Time: 5minutes minutes Servings: 1 mug cake Calories: 500kcal Ingredients Œ cup + 2 tablespoons all-purpose flour 2 tablespoons sugar Œ teaspoon baking powder Œ teaspoon cinnamon Œ cup milk, at room temperature 2 tablespoons salted butter, melted and cooled œ teaspoon pure vanilla extract For layering/topping: 1 tablespoon sugar Œ teaspoon cinnamon Instructions In a small bowl, whisk together flour, sugar, baking powder, and cinnamon until thoroughly, completely combined, with no streaks of any ingredients remaining. Blend in milk, butter, and vanilla until batter is smooth. Into a 14-ounce (or larger) microwave-safe mug with straight sides, scoop a big spoonful of batter, then sprinkle with a spoonful of cinnamon sugar. Alternate layers, ending with cinnamon sugar. Microwave on high for 1 to 1 œ minutes, or until cake is done to your liking. Allow to cool for a couple of minutes before serving. Notes A tall, cylindrical mug with straight (not angled) sides will ensure that the cake bakes evenly. I found a 14-ounce mug to be the perfect size to allow the cake to rise up while baking without overflowing. (I filled my mug to the top with water and then transferred the water to a measuring cup to determine its capacity.) If you use a smaller mug, you may want to bake the cake on top of a plate or paper towel to catch any possible overflow. The strength of individual microwaves can vary. The first time you make this recipe, be prepared to experiment a bit to make sure that 1 minute is the perfect length of baking time. The nice thing about this cake is that even if it is undercooked, you don't have to worry about raw eggs! Unsalted butter will work just fine in this recipe, but I find that using salted butter adds a tiny flavor boost. Nutrition Calories: 500kcal | Carbohydrates: 64g | Protein: 5g | Fat: 25g | Saturated Fat: 15g | Cholesterol: 66mg | Sodium: 228mg | Potassium: 181mg | Fiber: 1g | Sugar: 39g | Vitamin A: 800IU | Calcium: 112mg | Iron: 1.5mg
Añadido 12.08.2011 a las 13:38 por guillecarlos | Edward Mordrake era un inglĂ©s que tenĂ­a un rostro extra en la nuca. De acuerdo a las historias que se cuentan de Ă©l, el rostro no podĂ­a hablar ni comer, pero podĂ­a reĂ­r y llorar. Edward suplicĂł a los mĂ©dicos que le extrajeran este gemelo demoniaco porque, supuestamente, le susurraba cosas horribles en la noche, pero ningĂșn mĂ©dico se atreviĂł a intentarlo. Edward cometiĂł suicidio a la edad de 23 años.
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THE CONNAUGHT JOURNAL TRALEE, DEC. 1 - A melancholy case of poison occurred on Saturday last. A man employed to poison rats at Oak-park, the seat of John Bateman, Esq., incautiously left behind him a cake made up for this purpose. A young woman named Ellen Moriarty, who lived at the Rock, in this town, and who received occasional employment at Oak-park, observing the cake, asked, and obtained permission of the maid servant to take it away; having returned home, and baked the cake, she ate some portion of it, and in two minutes after was taken violently ill. She remained in dreadful tortures for six or seven hours, when she expired, at the infirmary, whither she had been conveyed. The cake was composed of flour, sugar and arsenic. We understand that the unhappy sufferer was to have been married on the very day on which her existence so miserably terminated. Galway, Monday, December 6, 1824
I miss my papa ✹ I really wish I didn't poison him
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"Come on, Sheldon," Krabs said. "You get that patty back here, I'm warning ye." Sheldon Plankton had tried countless times to steal the recipe, but Mr. Krabs had always been a step ahead. Plankton whined. "I've got a restaurant to run too, you know." Krabs ignored the protest, his beady eyes never leaving the control panel of his latest contraption. Plankton felt a prick and looked to see a small dart. "Whoah.." He managed to squeak before the world started to spin around him. His legs felt like gelatin, and he could see the edges of his vision blurring as the tranquilizer began to take effect. Krabs cackled with satisfaction as he watched Plankton frame wobble. "That, me hearty, was yer ticket to a little... unscheduled nap. Now, don't go anywhere, I've got business to attend to." The tranquilizer spread through Plankton's body, turning his muscles to jelly. His eye grew heavier, his thoughts slowing to a crawl. As the darkness claimed him, he was vaguely aware of the cold steel surrounding him, the echoes of his own voice bouncing around the chamber. "What are you planning, Krabs?" he slurred, the words barely audible through his fading consciousness. He couldn't let Krabs win again. He got the dart off himself, but not before it'd take effect. He noticed a lever that looked out of place, and with a hopeful thought, he threw himself at it. His tiny form hit the lever with surprising force, and he heard the sound of gears grinding to life. The walls of the chamber began to vibrate, and a faint light grew in the distance. Plankton stumbled towards the light. It grew brighter, revealing a small hatch, turning his thoughts into a thick fog. He had to focus on the light, on the escape that lay before him. With a herculean effort, he managed to pull himself to the hatch. The metal was cold and slick with condensation. He fumbled with the lock, his tiny hands slipping off repeatedly. Each failed attempt was met with a groan of frustration that seemed to echo through the chamber. But Plankton's resolve was unyielding. He had to get out. He had to show Krabs that he wasn't going down without a fight. As the tranquilizer continued to take hold, Plankton's movements grew more erratic, his coordination slipping away like grains of sand through his fingers. His vision narrowed to a pinprick, the light from the hatch the only thing keeping him tethered to reality. His breaths grew shallower, his heartbeat a distant drum in his chest. He could feel the darkness closing in, the sedative's embrace threatening to pull him under. He tried to focus on the hatch, his eye crossing with the effort. The lever was his lifeline, and he had to get it open. But his hands, once so nimble, now felt like overstuffed sausages attached to his wrists. He slapped at the metal, his fingertips barely grazing the edge. Each failure brought with it a wave of drowsiness that threatened to swamp him. "Must... stay... awake," he mumbled, his voice barely more than a whisper. The light from the hatch grew more enticing, beckoning him to give in to the warm embrace of sleep. But Plankton had faced worse than a simple nap before. He'd been flattened, shrunk, and even temporarily turned into a Krabby Patty. This was just another hurdle in the never-ending saga of his life. The world around him swayed. His thoughts were as elusive. He knew he was close to losing consciousness, and with it, any hope of victory. With a tremendous effort, he focused his gaze on the hatch, willing his arms to move. His body felt like it was made of cooked spaghetti, but he had to keep fighting. "Open... open...," he murmured, his voice a hoarse whisper. His hand reached for the lever, slipping off several times before finally catching it. The metal was cold and slippery against his skin, but he held on, his determination stronger than the tranquilizer's grip. He pushed with all his might, his eye sliding shut against his will. The hatch gave a little, and a burst of cool, fresh water spurted out. The sensation brought a moment of clarity, and Plankton realized that he had to act fast before he lost the battle against his heavy eyelid. He gritted his teeth and pushed with everything he had, the lethargy in his limbs slowly dissipating. The hatch groaned in protest before swinging open with a metallic screech. The chamber floor tilted and spun beneath him, and he barely registered the rush of water that flooded the room. His eyesight swimming with stars, Plankton threw himself through the opening, his body landing with a thump in a narrow, pipe-like corridor beyond. The water sloshed around him, carrying him away from the chamber. He had no idea where the pipe led, but it was a path to freedom, and he had to follow it. The tranquilizer made his thoughts as murky as the water around him. He tried to remember the layout of the Chum Bucket, but it was like trying to piece together a jigsaw puzzle that had been tossed into a blender. His brain felt as though it was wrapped in seaweed, each thought a struggle to form. Plankton knew he had to keep moving, but his body didn't seem to agree. His eyelids drooped, threatening to close and pull him into the abyss of sleep. The pipe leads him right to SpongeBob. "W-who...what...wha...?" Plankton slurred as the water receded, his legs still feeling like they were made of rubber. His eye blinked rapidly, trying to adjust to the sudden brightness of the lights outside the chamber. He found himself face to face with a concerned SpongeBob, who was staring at him with wide, innocent eyes. "Plankton?" Sponge Bob's voice was filled with confusion. "What are you doing here?" Plankton tried to speak, but all that came out was a garbled mess of words. "K-Krabs...tranq-tranq...recipe...nap..." SpongeBob's confusion grew with every incoherent syllable that tumbled from Plankton's mouth. "What's going on, buddy?" "Sponge Bob...sorry...so sleepy," Plankton murmured, voice childlike. "Krabs...put me to beddy-bye...but no nap-nap." Sponge Bob looked around, his spongy brow furrowed. "Mr. Krabs didn't do anything to you, did he?" Concern etched into his porous features as he bent down to help. Plankton was a persistent pest, but Sponge Bob had a soft spot for the tiny creature. He knew deep down that Plankton's heart was in the right place, even if his methods were...less than desirable. The corridor grew dimmer as the sedative dragged Plankton under. His voice grew quieter, his words slurring into a sleepy lilt. "Krabs...so sneaky...sleepy...patty...nap time..." His eye rolled back and his body went limp. The tranquilizer had done its job, and now Plankton was out cold. "Oh no, not another one of Mr. Krabs' contraptions!" He didn't know what the crab had been up to, but he knew he had to help. Gently, he propped Plankton up. The sight of the sleep dart on the ground was the clue he needed. "Oh, Plankton," he whispered, his heart sinking. He tried shaking him gently, calling his name in a soft, urgent voice. Plankton's head lolled back, but he remained deeply asleep. "Wake up, Plankton," Sponge Bob pleaded, patting his cheek with a spongy hand. Plankton remained unresponsive. "Mr. Krabs, what have you done?" He whispered to himself, his heart racing. In all their years of rivalry, Krabs had never used a tranquilizer on his arch-nemesis. This was a new low, even for the penny-pinching crustacean. "Come on, Plankton," Sponge Bob said, his voice a mix of worry and determination. "You can't just nap here like a jellyfish." He didn't flinch. His eye remained closed, his chest rising and falling in a rhythmic pattern as he breathed in and out, completely oblivious to the world around him. Krabs had gone too far. He had to get him out somewhere safe where he could sleep off the tranquilizer. Sponge Bob had to get Plankton back to the Chum Bucket, where he could wake up safely. "Karen, Karen!" Sponge Bob called out as he laid Plankton down on the cold, metal floor of his lab. "Look what happened!" "Oh dear, Sponge Bob," she said, her voice synthetic but filled with worry. "Mr. Krabs really outdid himself this time." Sponge Bob nods. He gently patted his friend's cheek, willing him to stir. "Plankton, come on, wake up," he whispered, his voice thick with concern. Plankton was out for the count, so they wait the sedative to wear off. Plankton's features in sleep, his mouth slightly open, emitting faint snores that were barely audible. Even his eyebrow, which often furrowed in determination or anger, were now soft arches on his forehead. But as the tranquilizer's grip slowly loosened, the first stirrings of consciousness began to ripple through. His eye flickered open, and for a moment, he stared up at the unfamiliar ceiling, blinking in confusion. The world was a blur of colors and shapes that slowly began to resolve themselves into the familiar surroundings of his Chum Bucket lab. Groaning, Plankton blinked and slowly, the room came into focus. Karen's screens were alight with concern, and Sponge Bob hovered over him, his spongy hands wringing together nervously. "Wha...?" Plankton mumbled, but everything came rushing back to him. "Krabs," he spat. Sponge Bob looked down at him with a mix of confusion and relief. "You were...uh, you were tranquilized," Sponge Bob explained, his voice tentative. Plankton's eye narrowed, and a low growl built in his throat. The fuzzy memories of the chamber and Krabs' laughter grew sharper. "That cheap, slimy...crustacean! Where is he?" "Mr. Krabs isn't here," he said. "I brought you here." Plankton's gaze sharpened, his curiosity piqued. "Why would you do that?" he slurred, his voice thick with distrust. "You work for him." Sponge Bob's expression was earnest. "Because, Plankton, sometimes doing what's right is more important than where you work. Besides, I'm quitting my job and will work for you; it's what friends do."
_aconite_cj_ "Honey, what's wrong? Why ain't you touching your food?" She asked calmly, without knowin I saw her mix the poison in my soup moments ago.
r/TwoSentenceHorror 1 hr. ago jesth857 I Watched As My Son Slowly Turned Blue After Tasting My Food From DoorDash Will they ever stop trying to poison me?
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Science â€ș Biology â€ș Biology Prefixes and Suffixes: hem- or hemo- or hemato- The prefix (hem- or hemo- or hemato-) refers to blood. It is derived from the Greek (haimo-) and Latin (haemo-) for blood. Hemangioma (hem-angi-oma): a tumor consisting primarily of newly formed blood vessels. It is a common benign tumor that appears as a birthmark on the skın. A hemangioma may also form on muscle, bone, or organs. Hematic (hemat-ic): of or relating to blood or its properties. Hematocrit (hemato-crit): the process of separating blood cells from plasma in order to obtain the ratio of the volume of red blood cells per given volume of blood. Hematoid (hemat-oid): - resembling or relating to blood. Hematology (hemato-logy): field of medıcıne concerned with the study of blood including dıseases of the blood and bone marrow. Blood cells are produced by blood-forming tissue in bone marrow. Hematoma (hemat-oma): abnormal accumulation of blood in an organ or tıssue as a result of a broken blood vessel. A hematoma can also be a cĂĄncer that occurs in the blood. Hematopoiesis (hemato-poiesis): the process of forming and generating blood components and blood cells of all types. Hematuria (hemat-uria): the presence of blood in urine resulting from leakage in the kidneys or another part of the urinary tract. Hematuria may also indicate a urinary system disease, such as bladder cĂĄncer. Hemoglobin (hemo-globin): iron-containing proteın found in red blood cells. Hemoglobin binds oxygen molecules and transports oxygen to body cells and tissues through the bloodstream. Hemolymph (hemo-lymph): fluid similar to blood that circulates in arthropods such as spiders and insects. Hemolymph may also refer to both blood and lymph of the human bĂždy. Hemolysis (hemo-lysis): destruction of red blood cells as a result of cell rupture. Some pathogenic microbes, plant poıson, and snake venoms can cause red blood cells to rupture. Exposure to h͞igh concentrations of chem1cals, such as arsenic and lead, can also cause hemolysis. Hemophilia (hemo-philia): a sex-linked blood disĂžrder characterized by excessive bleeding due to a defect in a blood clotting factor. A person with hemophilia has a tendency to bleed uncontrollably. Hemoptysis (hemo-ptysis): the spewing or coughing up of blood from the lungs or aırways. Hemorrhage (hemo-rrhage): abnormal and excessive flow of blood. Hemorrhoids (hemo-rrhoids): swollen blood vessels located in the ani canal. Hemostasis (hemo-stasis): the fırst stage of wound healing in which the stoppage of blood flow from damaged blood vessels occurs. Hemothorax (hemo-thorax): an accumulation of blood in the pleural cavıty (space between the chest wall and lungs). A hemothroax may be caused by trauma to the chest, lung infections, or a blood clot in the lungs. Hemotoxin (hemo-toxin): a toxin that destroys red blood cells by inducing hemolysis. Exotoxins produced by some bacteria are hemotoxins.
æ°Žæžœé…žć„¶ć†°æŁ’ May 20, 2015 Fruity yogurt popsicles This is a creamy, fruity, cool, cool, cool and yummy, fruity yogurt popsicle. In my pervious post I made fruity smoothie with yogurt, strawberry, banana and mulberry, this time I am making them into popsicles. With the same ingredient only pour the smoothies into popsicles mold, freeze them and you will have these yummy popsicles for dessert. é€‰æ‹©äž€ç§æŻ”èŸƒć„ćș·çš„憰ç‚čç»™ć°æœ‹ć‹ćœ“ç”œç‚čć§ïŒäžŠć›žïŒŒćšäș†æ°Žæžœæ€æ…•é›ȘïŒŒèż™æŹĄć°±æŠŠæ€æ…•é›Ș摇èș«äž€ć˜ïŒŒæˆäș†ć†°æŁ’ïŒæ°Žæžœé…žć„¶ć†°æŁ’ïŒŒéŠ™ïŒŒæ»‘ćˆć†°ć†·çš„ç”œç‚č晱~ Fruity yogurt popsicles Recipe share by my little favourite DIY makes 12 popsicles (65ml each) Ingredients: 1/4 cup frozen strawberries and home grown mulberries (or any other fruits of your choice) 1 frozen banana 3-4Tbsp brown sugar 3/4 cup milk 1/2 cup Greek plain yogurt To Do: In a blender, add in frozen strawberries, mulberries, banana, brown sugar, yogurt, milk and blend into smooth puree. Pour into popsicle mold and freeze till it is ready. About 3-4 hours. æ°Žæžœé…žć„¶ć†°æŁ’ éŁŸè°±ćˆ†äș«ïŒš my little favourite DIY ćšïŒš 12 æ”Ż 65ml çš„ć†°æŁ’ïŒ‰ 材料 ÂŒæŻ è‰èŽ“ć’ŒæĄ‘ć­ïŒˆæˆ–ä»»äœ•ć…¶ä»–çš„æ°ŽæžœïŒ‰ 1 æĄ ć†°ć†»éŠ™è•‰ 3-4 æ±€ćŒ™ 黄糖 Ÿ æŻ 牛愶 œ æŻ é…žć„¶/䌘栌 ćšæł•ïŒš 1. æŠŠæ‰€æœ‰çš„ææ–™æ”Ÿć…„ç””ć­æ··ćˆć™šă€‚ æŠŠæ‰€æœ‰çš„ææ–™æ‰“æ‹ŠïŒŒæ··ćˆć‡ćŒ€ă€‚ 2. ć€’ć…„ć†°æŁ’çŁšć…·ć†…ă€‚é€ć…„ć†°çź±ïŒŒć†°äžœć°±ćŻä»„äș†ă€‚è‡łć°‘ć†°4äžȘć°æ—¶æˆ–éš”ć€œă€‚
What’s in the basement? ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ â†“Ëąá¶œÊłá”’ËĄËĄ á¶ á”’Êł Ëąá”—á”’ÊłÊžâ†“ Mommy told me never to go in the basement, but I wanted to see what was making that noise. It kind of sounded like a puppy, and I wanted to see the puppy, so I opened the basement door and tiptoed down a bit. I didn’t see a puppy, and then Mommy yanked me out of the basement and yelled at me. Mommy had never yelled at me before, and it made me sad and I cried. Then Mommy told me never to go into the basement again, and she gave me a cookie. That made me feel better, so I didn’t ask her why the boy in the basement was making noises like a puppy, or why he had no hands or feet.
Unknown Female Infant Found Baby in a Creek. Đeađ BĂždy Discovered in Race at Rose Valley. New Born Child Fished Out of the Water in the Rear of Fausts' Tannery on Monday--No Clue to Parties Whom Neglected the Baby--Coroner investigating. A déåd female infant was found at Rose Valley, Upper Dublin township, at noon on Monday by Alvin Faust. It's discovery caused considerable excitement in the ancient village. The bĂždy, which was that of a white child, was found lying in the race of the tannery just back of Mr. Faust's new residence and near the small bridge which spans the creek. The bĂždy was that of a child apparently but a few hours old. From appearances the child could not have been placed there before late Sunday evening as Mr. Faust uses the bridge frequently during the day in passing from his house to the barn of his farm, which lies just over the creek to the south. The discovery was immediately phoned to the Coroner's office at Norristown and instructions were returned to place the corps in the hands of Undertaker Davis, of Ambler which was done immediately. Coroner Kane is expected over in Ambler this Wednesday to investigate the discovery of the déåd bĂždy and ascertain if possible any clues which may lead to the apprehension of the guilty parties. Just a week ago Samuel Tyson, of near Hatboro, found the bĂždy of a baby girl in a four quart jar in a quarry near that place. The theory was advanced at that time the bĂždy in the bottle may have been a physician's specimen. The finding of a second baby in an interval of less than a week at a point not less than eight miles distant presents an entirely different line of thought--the possibility that the proprietors of baby farms in Philadelphia are taking this method of disposing of bĂždies rather than risk further chance of discovery and arrest for conducting the nefarious busıness, by disposing of the bĂždies in Philadelphia. [Source: Ambler Gazette, April 7, 1904, p. 1. Submitted by Nancy.]
Drunk and hopeless, he stumbled to the garage and started the table saw, then slowly lowered his wrists toward the screaming blxde. ‘Hands’ by minnboy 2027 The doctor pulled the stethoscope ear tips out and hung the device around his neck. “Sir, all of your tests have come back neg͘at͟ive and my examination shows nothing abnormal.” He knew what was coming next, “I’m not cRaZy, Doctor.” “I’m sorry, but there is no phÒŻsical reason for why you occasionally lose cĂžntrĂžl of your hands. A psychologist can help
”. “I don’t need therapy. I need answers. They seem to have a lÄŻfe all their own. I can’t hold a jĂžb. I’m under ınvestıgatıon for as*ault. I almost kılled my neighbor. This can’t go on. I’ll try anything at this point.” After two weeks on a new medıcatıon, he saw no progress҉ and grew increasingly depressed. He was convinced that despite what the doctors said, it was not a psychological prxblem. That night, frustrated and angry, sat in a chair and drank bourbon. Drunk and hopeless, he stumbled to the garage and started the table saw, then slowly lowered his wrists toward the screaming blxde. Detective entered the garage where several uniformed officers stood over the blood-soaked bĂždy. “So what do we get?” he asked, taking in the blood-splattered sc3ne.”This is a weırd one, Detective.” “How so?” “Take a look at the bĂždy. He apparently chopped ÆĄff his hands with the table saw and bled to dEath.” Detective knelt. “And?” “And we can’t find his hands anywhere.”
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Pretending to be asleep doesn’t work ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ â†“Ëąá¶œÊłá”’ËĄËĄ á¶ á”’Êł Ëąá”—á”’ÊłÊžâ†“ A young boy is sleeping in his bed on a usual night. He hears footsteps outside his door, and peeks out of his eyes to see what is happening. His door swings open quietly to reveal a mvrderer carrying the bĂždies of his parents. After silently propping them up on a chair, he writes something on the wall in the blÞÞd of the déåd bĂždies. He then hides under the child's bed... The child is scared beyond relief. He can’t read the writing on the wall and he knows the man is under his bed. Like any child, he pretends that he slept through the whole thing and hasn’t awoken yet. He lays still as the bodies, quietly hearing the breathing from under the bed... An hour passes, and his eyes are adjusting more and more to the darkness. He tries to make out the words, but it’s a struggle. He gasps when he finally makes out the sentence... “I know you’re awake”. He senses something shift underneath his bed...
Go to shortscarystories r/shortscarystories 2 yr. ago GuyAwks More Unsolicited Parenting Advice We’ve all run into those insufferable types before in our lives. You know the kind. Total strangers who somehow think they’ve earned the right to micro-manage how you raise your kids just seconds after meeting you. And the kicker is when they aren’t even parents themselves. What would they know? After a long afternoon of dropping items into a shopping cart, me and my preschooler had almost finished the weekly grocery haul. We were on our way to the checkout counter when a lady at a near- by promotional kiosk summoned my attention. “Hello ma’am, could I please have a moment of your time?” the apron-clad woman chirped from behind her booth. Spying the unfinished Coke Zero can Ivy was drinking, this lady scrunched up her face in disapproval. The next words out of her mouth made my blood boil. “I see that your little princess is drinking a canned soda. Ooh, that’s not so great. Have you considered trying our special, 100% natural vitamin juices? Here, try a sample.” Instantly, her hand shot out with a small plastic cup filled with liquid. Taken aback by her boldness I tried to remain somewhat polite. “Thank you, but we’re not interested,” I answered curtly. Something was so unsettling about her fake smile and shrill enthusiasm. “A girl as young as her shouldn’t be drinking soda. It’s full of sugars and unhealthy preservatives. Let me throw that away for you-” Without any hesitation, she reached down to pry the can out of my daughter’s hands. I could not believe the audacity of this woman. “Excuse me!” I snapped, finally losing my composure. “How dare you try and take my daughter’s drink!” “But miss, this is much healthier for your angel,” protested the creepy woman waving her strange-looking syrup at us. “Surely you don’t want her to be sickened by all those dangerous chemicals-” “If you don’t leave us alone, I will report you to the supervisor!” With that, we turned and began strolling away from said relentless salesperson. Only once we were in- to the parking lot did I feel myself calming down. Gosh, that lady really freaked me out. What are the odds someone would randomly try to discard my daughter’s soda on today of all days. The one day I chose to put poisson in it. That rare, traceless toxin I slipped into her soda can earlier today cost me a fortune to order from overseas. The bubbles from the carbonation mask any taste of the thing, making it the perfect delivery system for it. My oblivious daughter would've been dēαd within the hour.. Oh, how I wish people would keep their parenting advice to themselves. It’s not needed. I know how to kıll my own kid just fine, thank you very much!
All I saw was red ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ â†“Ëąá¶œÊłá”’ËĄËĄ á¶ á”’Êł Ëąá”—á”’ÊłÊžâ†“ I check into small hotel some kilometres away. It is late. I am tired. I tell woman at desk I want a room. She tells me room number and give key. “But one more thing, comrade; there is one room without number and always lock. Don’t even peek in there.” I take key and go to room to sleep. Night comes and I hear trickling of water. It comes from the room across. I cannot sleep so I open door. It is coming from room with no number. I pound on door. No response. I look in keyhole. I see nothing except red. Water still trickling. I go down to front desk to complain. “By the way who is in that room?” She look at me and begin to tell story. There was woman in there. M*rdered by her husband. Skin all white, except her eyes, which were red..
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Warning: This item may contain sensitive themes such as nudity.

Terata Catadidyma refers to twins joined in the lower portion of the body, or may appear to be two bodies on top and one body on the bottom. Pygopagus - back-to-back, joined at the rump (about 19 percent) Ischiopagus - joined sacrum to sacrum (about 6 percent) Dicephalus - one body with two separate heads Diprosopus - single body and head, but bearing two faces dicephalic parapagus have one trunk and two heads, and may have two (dibrachius), three (tribrachius), or four (tetrabrachius) arms. Duplicata incompleta, (Parapagus) dicephalus dibrachius dipus (PDDD) type has two heads on one body "dipygus dibrachius tetrapus", "'posterior dichotomy,' subvariety schizorachis" Terata Anadidyma refers to twins with one single upper body with a double lower half or twins who are connected by a single body part. Cephalopagus - connected at the head (about two percent) Syncephalus - connected in the facial region Cephalothoracopagus - connected in the facial region and at the thorax Dipygus - one upper body with two lower bodies (including the abdomen, pelvis and legs) Caudal Duplication Anomalies Terata Anacatadidyma refers to twins who are joined somewhere along the midsection of the body. Thoracopagus - joined at the chest; may share a single heart or have some cardiac connection; some abdominal organs may be malformed Omphalopagus - joined at the chest (about 33 percent) Rachipagus - back-to-back, joined along the spine above the sacrum
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https://nonutsmomsgroup.weebly.com/blog/remembering-those-we-have-lost-to-food-allergies
à­§ âŠč ‧₊˚ 🧧💞 ⋅ àż ˊˎ- ʜÉȘÉȘÉȘ ćœĄ ᎀʙᎏ᎜᎛ ᮍᮇ ⟡ à§Č ⌗ 🎋 .àłƒ ɮᮀᮍᮇ;; ୭̄╰₊✧ ïŸŸđŸŽ– ⠂⚝ ᮀɱᮇ;; ꒰ đŸ„Ą ꒱ àż ➳ ᮱ᮏᮅÉȘᮀᮄ;; ⌗ 🎮 ‧₊˚ âȘš ᎄᎏ᎜Ɏ᎛ʀʏ;; à­§ ćœĄ àł„ àŒ… ➔ đŸ” ˎˊ˗ sᮏᮄÉȘᎀʟs;;
áŽ·á”ƒÊłá”‰âż ᔃᔇᔒᔘᔗ ᔗʰʞ âżá”‰â±á”Ê°á”‡á”’á”˜Êł âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ Ëąá”—á”ƒÊžËą ᔃᔗ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ á¶ á”ƒâżá¶ â±á¶œâŸ "᎔ᔗ'ËĄËĄ ᔇᔉ ᶠᔘⁿ!" á”†á”–á”’âżá”á”‰áŽźá”’á”‡'Ëą Ê°á”’á”˜Ëąá”‰ âżá”‰á”‰á”ˆá”‰á”ˆ ˹ᔒᔐᔉ â±á”á”–Êłá”’á”›á”‰á”á”‰âżá”—Ëą á”á”‰á”—á”—â±âżá” Ê·á”’Êłá”á”‰á”ˆ ᔒⁿ‧ ᔆᔒ ʰᔉ'Ëą Ëąá”—á”ƒÊžâ±âżá” Ê°á”‰Êłá”‰ á”‡á”‰á¶œá”ƒá”˜Ëąá”‰ á”†á‘«á”˜â±á”ˆÊ·á”ƒÊłá”ˆ ⁿᔒᔗ á”á”’âżâżá”ƒ ˥ᔉᔗ ʰⁱᔐ Ëąá”—á”ƒÊž âœá”ƒâżá”ˆ ᔉᔛᔉⁿ ʰᔉ ᔃⁿᔈ áŽŸá”ƒá”—Êłâ±á¶œá” á”ˆâ±ËąËĄâ±á”á”‰ ᔃ˥˥ ᔗʰᔉ ⁿᔒⁱ˹ᔉ á¶ Êłá”’á” ᔗʰᔉ Ê·á”’Êłá”âŸ ᔃⁿᔈ áŽ·Êłá”ƒá”‡Ëą á”ˆá”’á”‰Ëąâż'á”— ʰᔃᔛᔉ á”‰âżá”’á”˜á”Ê° Êłá”’á”’á” á”—á”’ â±âżá¶œËĄá”˜á”ˆá”‰ ʰⁱᔐ‧ áŽłá”ƒÊłÊž ᔗʰᔉ ˹ⁿᔃⁱ˥ ᔉᔛᔉⁿ á¶œÊłá”ƒËąÊ°á”‰Ëą Ê°á”‰Êłá”‰âžŽ ᔃⁿᔈ ʰᔉ ËĄâ±á”á”‰Ëą á”—á”’ á”–ËĄá”ƒÊž ʷⁱᔗʰ ᔆᔖᔒᔗ➎ ᔐʞ Ê°á”˜Ëąá”‡á”ƒâżá”ˆ'Ëą ᔖᔘᔖᔖʞ‧ ᎔ Ê·á”ƒâżâżá”ƒ ᔏᔉᔉᔖ ᔃⁿ ᔉʞᔉ ᔒⁿ ᔗʰᔉᔐ➎ ᔃ˹ áŽŸËĄá”ƒâżá”á”—á”’âż á¶œá”ƒâż ᔍᔉᔗ á”‰á”ƒËąâ±ËĄÊž á”ƒâżá”ÊłÊž Ê·Ê°á”‰âż Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ á”‰á”›á”‰Êł á”ƒâżâżá”’ÊžËą ʰⁱᔐ➎ á”ƒá”‡ËĄá”‰â±Ëąá”— á”˜âżâ±âżá”—á”‰âżá”—â±á”’âżá”ƒËĄËĄÊžâ€§ ᔀʰᔉʞ á”âżá”’Ê· ᔉᔃᶜʰ á”’á”—Ê°á”‰Êł Ê·á”‰ËĄËĄâžŽ ᔇᔘᔗ á¶œá”ƒâż ᔇᔉ ᔃᔗ á”’á”ˆá”ˆËą Ëąâ±âżá¶œá”‰ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ Ê·á”’Êłá”Ëą á¶ á”’Êł á”–ËĄá”ƒâżá”á”—á”’âż'Ëą á”‰âżá”‰á”ÊžâžŽ ʷʰⁱᶜʰ á¶œá”ƒâż ᔖᔘᔗ áŽŸËĄá”ƒâżá”á”—á”’âż ᔗʰᔉ Ê·Êłá”’âżá” ʷᔃʞ‧ áŽźá”˜á”— ᔒᔖᔖᔒ˹ⁱᔗᔉ˹ á”ƒá”—á”—Êłá”ƒá¶œá”—âžŽ á”á”ƒá”â±âżá” á”—Ê°á”‰â±Êł á¶ Êłâ±á”‰âżá”ˆËąÊ°â±á”– á”ˆÊžâżá”ƒá”â±á¶œ ᔈᔘᔒ Ê·á”’Êłá”â€§ á”†á”–á”’âżá”á”‰áŽźá”’á”‡'Ëą á”á”’â±âżá” á”—á”’ ᔇᔉ âżâ±á¶œá”‰ á”—á”’ ᔃ˥˥➎ ᔃⁿᔈ á¶œá”ƒâż ᔉᔛᔉⁿ ᔇᔉ âżâ±á¶œá”‰Êł á”—á”’ á”–ËĄá”ƒâżá”á”—á”’âż á”—Ê°á”ƒâż ᎔ ˹ᔒᔐᔉᔗⁱᔐᔉ˹‧ áŽŸËĄá”ƒâżá”á”—á”’âż á”âżá”’Ê·Ëą ʰᔉ'Ëą ᔃ á”–á”ƒá¶œâ±á¶ â±Ëąá”— ᔃⁿᔈ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ á”âżá”’Ê·Ëą á”–ËĄá”ƒâżá”á”—á”’âż á”ƒâżá”á”‰Êł â±ËąËąá”˜á”‰Ëą ᔆᔒ ᔗʰᔉʞ á¶œá”ƒâż ᶜᔒᔐᔉ ᔘᔖ ʷⁱᔗʰ á¶œá”’á”á”–Êłá”’á”â±Ëąá”‰Ëą á”—á”’ á¶œá”’á”á¶ á”’Êłá”— ᶻᔒⁿᔉ˹‧ á”†á”–á”’âżá”á”‰áŽźá”’á”‡ á”ƒËĄËąá”’ á”âżá”’Ê·Ëą ʰᔉ Êłá”ƒÊłá”‰ËĄÊž ᔒᔖᔉⁿ˹ ᔘᔖ➎ ᔇᔘᔗ ʰᔉ á”’âżá¶œá”‰ ⁱⁿ ᔃ Ê·Ê°â±ËĄá”‰ á”ˆá”’á”‰Ëą á”—á”’ ËĄâ±á”á”‰ ᔐᔉ á”’Êł Ê°â±Ëą á”Êłá”ƒâżá”ˆá”á”ƒâ€§ áŽźá”˜á”— ᔉᔛᔉⁿ ʰᔉ Ê°á”ƒËą ˥ⁱᔐⁱᔗ˹ ᔃⁿᔈ á”†á”–á”’âżá”á”‰áŽźá”’á”‡ á”âżá”’Ê·Ëą ⁱᔗ‧ ᔀʰᔉʞ Ê·á”‰Êłá”‰ á”–ËĄá”ƒÊžâ±âżá” ʷⁱᔗʰ ᔗʰᔉ ᔖᔉᔗ˹ Ê·Ê°á”‰âż Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ Ëąá”—á”˜á”‡á”‡á”‰á”ˆ Ê°â±Ëą ᔗᔒᔉ ᔒⁿ ᔃ Êłá”’á¶œá”â€§ "ᔂᔃᔗᶜʰ ᔒᔘᔗ Ê·Ê°á”‰Êłá”‰ ʞᔒᔘ'Êłá”‰ á”á”’â±âżá”âžŽ ʞᔒᔘ á¶ á”’á”’ËĄ!" Êžá”‰ËĄËĄá”‰á”ˆ áŽŸËĄá”ƒâżá”á”—á”’âż ᔃ˹ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔗᔒᔒᔏ Ê°â±Ëą Ëąá”’á¶œá” ᔒᶠᶠ‧ ᎔ᔗ˹ Ê°â±Ëą á”’Ê·âż ʷᔃʞ á”’á¶  ËąÊ°á”’Ê·â±âżá” ʰᔉ á¶œá”ƒÊłá”‰Ëą ᎔ á”á”˜á”‰ËąËąâ€§ ᔂᔉ ᔍᔒᔗ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ˹ᔒᔐᔉ ⁱᶜᔉ á”˜âżá”—â±ËĄ ᶠᔉ˥ᔗ á”‡á”‰á”—á”—á”‰Êłâ€§ ᔀʰᔉ ᔖᔉᔗ˹ ᶜᔃᔐᔉ â±âżËąâ±á”ˆá”‰ ᔃⁿᔈ Ëąá”–á”’á”— ᔍᔃᔛᔉ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ˹ᔒᔐᔉ á”â±ËąËąá”‰Ëąâ€§ "áŽ±á”ƒËąÊžâžŽ ᔇᔒʞ!" áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą á”—á”‰ËĄËĄâ±âżá” ˹ᔖᔒᔗ➎ Ê°á”’ËĄá”ˆâ±âżá” ᔗʰᔉ ᔃᔐᔒᔉᔇᔃ‧ áŽșá”’Ê· ʰᔉ'Ëą ⁿᔒᔗ ᔐᔘᶜʰ á”’á¶  ᔃ Ê°á”˜á”á”á”‰ÊłâžŽ ᔇᔘᔗ Ëąâżá”˜á”á”ËĄá”‰Ëą ʷⁱᔗʰ Ëąá”–á”’á”—; ʰᔉ âżá”‰á”›á”‰Êł á”ˆá”’á”‰Ëą ʷⁱᔗʰ ᔖᔉᔒᔖ˥ᔉ➎ ᔃᔗ ËĄá”‰á”ƒËąá”— ⁿᔒᔗ á¶ á”’Êł ËĄá”‰âżá”á”—Ê° á”’á¶  ᔗⁱᔐᔉ‧ ᎔ á”âżá”‰Ê· ⁿᔒᔗ á”—á”’ Ëąá”˜á”á”á”‰Ëąá”— ᔃ á”‡á”’á”ƒÊłá”ˆ ᔍᔃᔐᔉ➎ á”âżá”’Ê·â±âżá” ᔐʞ Ê°á”˜Ëąá”‡á”ƒâżá”ˆËą ᶜᔒᔐᔖᔉᔗⁱᔗⁱᔛᔉ âżá”ƒá”—á”˜Êłá”‰â€§ ᎔ Ê·á”ƒËą ᔃᔇᔒᔘᔗ á”—á”’ ᔐᔃᔏᔉ ˹ᔒᔐᔉ ᶠᔒᔒᔈ Ê·Ê°á”‰âż á”†á”–á”’âżá”á”‰áŽźá”’á”‡ Ê°á”‰ËĄá”ˆ ᔘᔖ ᔃ ᔖᔃᔗᔗʞ‧ "᎔ á”âżá”’Ê· ʞᔒᔘ'ᔈ ËĄâ±á”á”‰ á”—á”’ á”ƒâżá”ƒËĄÊžËąá”‰ ᔗʰᔉ Êłá”‰á¶œâ±á”–á”‰âžŽ ᔇᔘᔗ ᎔ ᶠᔉᔉ˥ ʞᔒᔘ ËąÊ°á”’á”˜ËĄá”ˆ ᔃᔗ ËĄá”‰á”ƒËąá”— ᔍᔉᔗ ᔃ á”—á”ƒËąá”—á”‰ á”’á¶  ᔗʰᔉ á”ˆá”‰ËĄâ±á¶œâ±á”’á”˜Ëąâżá”‰ËąËąâ€§" á”†á”–á”’âżá”á”‰áŽźá”’á”‡ Ëąá”ƒâ±á”ˆâ€§ "áŽźá”˜á”— ⁱᶠ áŽ·Êłá”ƒá”‡Ëąâ€§â€§â€§" "áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ⁿᔒᔗ Ê°á”‰Êłá”‰; á”‡á”‰Ëąâ±á”ˆá”‰ËąâžŽ ʷᔉ'Êłá”‰ á”’âżËĄÊž á”‰á”ƒá”—â±âżá” ⁱᔗ➎ ⁿᔒᔗ Êłá”‰á”›á”‰á”ƒËĄâ±âżá” ᔗʰᔉ á¶ á”’Êłá”á”˜ËĄá”ƒ!" á”†á”–á”’âżá”á”‰áŽźá”’á”‡ á”—á”’ËĄá”ˆ ʰⁱᔐ➎ á”âżá”’Ê·â±âżá” ʰᔉ'Ëą ᔗʰᔉ á”’âżËĄÊž á”–á”‰ÊłËąá”’âż á”‡á”ƒÊłâżá”‰á”ˆ á¶ á”’Êł ˥ⁱᶠᔉ‧ ᔀʰᔉʞ ˹ᔖ˥ⁱᔗ ᔗʰᔉ ᔖᔃᔗᔗʞ➎ á”‰á”ƒá”—â±âżá” á”‰á”›á”‰ÊłÊž ËĄá”ƒËąá”— á”á”’ÊłËąá”‰ËĄ! "á”€Ê°á”ƒâżá” ʞᔒᔘ Ëąá”’ ᔐᔘᶜʰ ᔏⁱᔈ‧‧‧" ᎔ Ëąá”ƒÊ· ʰᔒʷ Ëąâ±âżá¶œá”‰Êłá”‰ ʰᔉ'Ëą ʷⁱᔗʰ á”Êłá”ƒá”—â±á”—á”˜á”ˆá”‰âžŽ ᔃ˹ ʰᔉ Êłá”ƒÊłá”‰ËĄÊž Ëąá”’ á”ƒá¶ á¶ á”‰á¶œá”—â±á”’âżá”ƒá”—á”‰ËĄÊž ËąÊ°á”’Ê·Ëą á”ƒá”–á”–Êłá”‰á¶œâ±á”ƒá”—â±á”’âżâ€§ áŽŹá¶ á”—á”‰Êł á”‰á”ƒá”—â±âżá”âžŽ ᔗʰᔉ á”‡á”’ÊžËą á”–á”˜ËĄËĄá”‰á”ˆ ᔒᔘᔗ ᔗʰᔉ ᶜᔒᔘᶜʰ ⁱⁿ á¶ Êłá”’âżá”— ᔗʰᔉ ᔗᔉ˥ᔉᔛⁱ˹ⁱᔒⁿ‧ ᔆᔉᔃᔗᔉᔈ Ëąâ±á”ˆá”‰ ᔇʞ Ëąâ±á”ˆá”‰âžŽ ᔗʰᔉʞ ËĄá”’á”’á”á”‰á”ˆ á¶ á”’Êł Ëąá”’á”á”‰á”—Ê°â±âżá” á”—á”’ ʷᔃᔗᶜʰ‧ ᔆᔖᔒᔗ ᔃⁿᔈ áŽłá”ƒÊłÊž Ê·á”‰âżá”— á”—á”’ Êłá”‰Ëąá”— á¶ á”’Êł ᔗʰᔉ âżâ±á”Ê°á”—â€§ "Ꮇⁱᔈ➎ á”ˆá”’á”‰Ëą Êžá”’á”˜Êł ᔇᔒ˹˹ á”âżá”’Ê· Ê·Ê°á”‰Êłá”‰â€§â€§â€§" "᎔ ᔈⁱᔈⁿ'á”— ᔗᔉ˥˥ ʰⁱᔐ ᎔'ᔈ ᔇᔉ Ëąá”—á”ƒÊžâ±âżá” Ê°á”‰Êłá”‰ ᔃᔗ Êžá”’á”˜Êł á”–ËĄá”ƒá¶œá”‰âžŽ Ëąá”’ á”ˆá”’âż'á”— Ê·á”’ÊłÊłÊž!" á”†á”–á”’âżá”á”‰áŽźá”’á”‡ á”—á”’ËĄá”ˆ á”–ËĄá”ƒâżá”á”—á”’âżâžŽ ËĄá”‰á”ƒâżâ±âżá” á¶œËĄá”’Ëąá”‰Êłâ€§ "ᔂᔃⁱᔗ➎ ᎔'ᔛᔉ Ê·á”’Êłá” á”—á”’á”á”’ÊłÊłá”’Ê· á”á”’Êłâżâ±âżá”! ᔂʰᔃᔗ‧‧‧" "ᔀᔉ˥˥ ʰⁱᔐ ʞᔒᔘ'ᔛᔉ ᔇᔒᔒᔏᔉᔈ ᔃ Êłá”’á”’á” ᔃᔗ ᔃⁿ â±âżâżâ€œ" ᎔ Ëąá”˜á”á”á”‰Ëąá”—á”‰á”ˆâ€§ ᔂᔉ ᔃ˥˥ Êłá”‰á”ƒËĄâ±Ëąá”‰á”ˆ áŽ·Êłá”ƒá”‡Ëą ⁿᔒᔗ á”á”’âżâżá”ƒ ËĄâ±á”á”‰ ⁱᔗ ⁱᶠ ʰᔉ á”âżá”‰Ê· Ê°â±Ëą ËĄá”’Êžá”ƒËĄ Ê·á”’Êłá”á”‰Êł Ëąá”—á”ƒÊžá”‰á”ˆ ᔃᔗ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ➎ ᔉᔛᔉⁿ ⁱᶠ ⁱⁿ Ëąá”˜á¶œÊ° á¶œâ±Êłá¶œá”˜á”Ëąá”—á”ƒâżá¶œá”‰Ëąâ€§ ᎔ᔗ'ᔈ á¶œá”ƒá”˜Ëąá”‰ á”á”’Êłá”‰ Êłâ±Ëąá” á”’á¶  á”—Êłá”’á”˜á”‡ËĄá”‰ á”—Ê°á”ƒâż ⁱᔗ˹ Ê·á”’Êłá”—Ê°! áŽŒâżËĄÊž â±á”á”ƒá”â±âżá”‰ ⁱᶠ ʰᔉ á”âżá”‰Ê· Ëąá”–á”’âżá”á”‰á”‡á”’á”‡'Ëą ⁿᔒᔗ á”’âżËĄÊž á¶œâ±á”›â±ËĄ á”—á”’ á”–ËĄá”ƒâżá”á”—á”’âżâžŽ ᔇᔘᔗ á”ƒËĄËąá”’ ËąÊ°á”ƒÊłá”‰á”ˆ ᔃ ᔖᔃᔗᔗʞ‧‧‧ áŽ·Êłá”ƒá”‡Ëą Êłá”‰á”ƒËĄâ±Ëąá”‰Ëą ʰᔒʷ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡'Ëą á”á”’â±âżá” á”—á”’ ᔇᔉ âżâ±á¶œá”‰âžŽ ⁿᔒ á”á”ƒá”—á”—á”‰Êł ʷʰᔃᔗ➎ ᔇᔘᔗ ʰᔉ âżá”‰á”›á”‰Êł á”ƒá”–á”–Êłá”’á”›á”‰Ëą á”’á¶  Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ á”—ÊłÊžâ±âżá” á”—á”’ ᔏᔉᔉᔖ ᔗʰᔉ ᔖᔉᔃᶜᔉ Ê·Ê°á”‰âż ᔗʰᔉʞ'Êłá”‰ ᔃᔗ á”’á”ˆá”ˆËąâ€§ áŽŸËĄá”ƒâżá”á”—á”’âż á”˜âżá”ˆá”‰ÊłËąá”—á”ƒâżá”ˆËą Ê°â±Ëą ËĄá”’Êžá”ƒËĄá”—Êž á”—á”’ ᔗʰᔉ á”Êłá”˜Ëąá”—Êž á”Êłá”ƒá”‡âžŽ á”ƒËĄá”—Ê°á”’á”˜á”Ê° ʰᔉ á”ˆá”’á”‰Ëąâż'á”— á”ƒá”Êłá”‰á”‰ ʷⁱᔗʰ ⁱᔗ‧ ᎎⁱ˹ á”á”’á”ƒËĄ ⁱⁿ ˥ⁱᶠᔉ ⁱ˹ ËąÊ°á”’Ê·â±âżá” ᔗʰᔉ Ê·á”’ÊłËĄá”ˆ ʰᔒʷ á”Êłá”‰á”ƒá”— ʰᔉ á¶œá”ƒâż ᔇᔉ➎ ᔃⁿᔈ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡'Ëą ᔒⁿ áŽ·Êłá”ƒá”‡Ëą Ëąâ±á”ˆá”‰ ⁱⁿ ᔗʰᔉ ˹ᔃⁱᔈ ᶜᔃᔗ ᔃⁿᔈ á”á”’á”˜Ëąá”‰ ᔍᔃᔐᔉ‧ ᎔ Ê·á”ƒËą á”—Ê°â±âżá”â±âżá” ᔃᔇᔒᔘᔗ ⁱᔗ ᔃ˹ ᔗʰᔉ á”–Êłá”’á”Êłá”ƒá”á”á”‰ á”‰âżá”ˆá”‰á”ˆâžŽ ᔃⁿᔈ á”—á”˜Êłâżá”‰á”ˆ á”’á¶ á¶  ᔗʰᔉ ᔗᔉ˥ᔉᔛⁱ˹ⁱᔒⁿ‧ ᎔ Ê·Ê°â±Ëąá”–á”‰Êłá”‰á”ˆ á”—á”’ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ "᎔ á”ˆá”’âż'á”— á”âżá”’Ê· ʷʰᔃᔗ ᔗⁱᔐᔉ ʞᔒᔘ ᔍᔒ á”—á”’ á”ƒá”—á”—á”‰âżá”ˆ Ê·á”’Êłá”â€§â€§â€§" "᎔ᔐ á”—á”’ á”ƒÊłÊłâ±á”›á”‰ ᔃᔗ ⁞ á”’'á¶œËĄá”’á¶œá” ⁱⁿ ᔗʰᔉ ᔃᔐ‧" á”†á”–á”’âżá”á”‰áŽźá”’á”‡ á‘«á”˜â±á”‰á”—ËĄÊž á”ƒâżËąÊ·á”‰Êłá”‰á”ˆâžŽ Ëąá”’ ᔃ˹ á”—á”’ ⁿᔒᔗ Ëąá”—â±Êł áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ ʷʰᔒ ËĄá”‰á”ƒâżá”‰á”ˆ ᔒⁿ ʰⁱᔐ á”˜âżá”ƒÊ·á”ƒÊłá”‰Ëąâ€§ áŽŒâżËĄÊž ᔐᔉ ᔃⁿᔈ á”†á”–á”’âżá”á”‰áŽźá”’á”‡ Ê·á”‰Êłá”‰ ᔃʷᔃᔏᔉ ᔃᔗ ᔇʞ ᔗʰᔉ á”‰âżá”ˆ á”’á¶  ᔗʰᔉ á”–Êłá”’á”Êłá”ƒá”á”á”‰â€§ ᎌʰ ʰᔒʷ áŽ·Êłá”ƒá”‡Ëą Ê·á”’á”˜ËĄá”ˆâż'á”— ËĄâ±á”á”‰ á”—á”’ ˹ᔉᔉ ⁱᔗ; ᎔ Ê·á”ƒâżá”—á”‰á”ˆ á”—á”’ á¶œÊ°á”˜á¶œá”ËĄá”‰ ᔃᔗ ᔗʰᔉ ⁿᔒᔗⁱᔒⁿ á”’á¶  ʰⁱᔐ á¶ á”˜Êłâ±á”’á”˜Ëą ᔃᔗ ᔗʰᔉ Ëąâ±á”Ê°á”—â€§ "ᎎᔒʷ'Ëą ᔗʰᔉ ᔗᔒᔉ?" ᎔ á”ƒËąá”á”‰á”ˆâ€§ "á”‚á”ƒâżâżá”ƒ ᶜʰᔉᶜᔏ‧‧‧" "᎔˥˥ ᔗᔃᔏᔉ ᔃ ËĄá”’á”’á” ᔃᔗ ᔐʞ ᔗᔒᔉ á”—á”’á”á”’ÊłÊłá”’Ê· á”á”’Êłâżâ±âżá”â€§â€§â€§" á”†á”–á”’âżá”á”‰áŽźá”’á”‡ ˹ᔃⁱᔈ➎ á”—ÊłÊžâ±âżá” á”—á”’ ˥ıᔉ á”ˆá”’Ê·âż á¶œá”’á”á¶ á”’Êłá”—á”ƒá”‡ËĄÊž ʷⁱᔗʰ á”–ËĄá”ƒâżá”á”—á”’âż ËĄá”ƒÌŠÊžâ±âżá” á”ƒá”á”ƒâ±âżËąá”— ʰⁱᔐ‧ "ᔂʰᔃᔗ ᔗⁱᔐᔉ ⁱ˹ ⁱᔗ?" ᎔ Ê°á”‰á”ƒÊłá”ˆ á”–ËĄá”ƒâżá”á”—á”’âż Ëąá”ƒÊžâžŽ Êłá”’á”˜Ëąâ±âżá” Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§ "ᎌʰ➎ ᎔ ᔍᔒᔗ á”—á”’ ᔇᔉ ᔃᔗ Ê·á”’Êłá”! Ꮀᔒⁿ'á”— Ê·á”ƒâżá”— áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”—á”’ ᔇᔉ Ëąá”˜Ëąá”–â±á¶œâ±á”’á”˜ËąâžŽ âżá”’Êł ᔇᔉ ËĄá”ƒá”—á”‰ á”—Ê°á”‰Êłá”‰!" á”†á”–á”’âżá”á”‰áŽźá”’á”‡ Ëąá”—á”ƒÊłá”—á”‰á”ˆ á”—á”’ ËĄá”‰á”ƒá”›á”‰âžŽ ᔇᔘᔗ ᎔ Ê·á”ƒâżá”—á”‰á”ˆ á”—á”’ ᶜʰᔉᶜᔏ ᔒⁿ Ê°â±Ëą ᔗᔒᔉ‧ "ᔂʰᔃᔗ ᔃᔇᔒᔘᔗ ᔗʰᔉ ᔗᔒᔉ?" ᎔ á¶œá”ƒËĄËĄá”‰á”ˆ ᔒᔘᔗ‧ ᎎᔉ ᶜʰᔉᶜᔏᔉᔈ ⁱᔗ➎ ᔃⁿᔈ ⁿᔒ Êłá”‰á”ˆâżá”‰ËąËąâ€§ "ᔆᔗⁱ˥˥ ᔍᔒ á”‰á”ƒËąÊž ᔒⁿ ⁱᔗ‧" "ᔂⁱ˥˥ ᔈᔒ!" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶œá”ƒËĄËĄá”‰á”ˆ ᔒᔘᔗ ᔃ˹ ʰᔉ ˥ᔉᶠᔗ‧ "áŽžá”ƒËąá”— ᎔ á¶œá”ƒâż Êłá”‰á¶œá”ƒËĄËĄ á”—ÊłÊžâ±âżá” á”—á”’ Êłá”‰á”á”ƒâ±âż á¶ á”’á¶œá”˜ËąËąá”‰á”ˆ ᔒⁿ ᔗʰᔉ Ëąá¶œÊłá”‰á”‰âż ᔇʞ ʷⁱᔗʰ á”†á”–á”’âżá”á”‰â€§â€§â€§" "᎔ á”ˆá”’âż'á”— á”—Ê°â±âżá” ʞᔒᔘ ᔉᔛᔉⁿ ᔐᔃᔈᔉ ⁱᔗ á”—Ê°Êłá”’á”˜á”Ê° ᔗʰᔉ Ê°á”ƒËĄá¶  á”’á¶  ᔗʰᔉ á”–Êłá”’á”Êłá”ƒá”á”á”‰!" ᎔ â±âżá”—á”‰ÊłÊČᔉᶜᔗᔉᔈ➎ Êłá”‰á”Êłá”‰á”—á”—â±âżá” Ëąá”ƒÊžâ±âżá” ⁱᔗ Êłâ±á”Ê°á”— ᔃ˹ á”ƒá¶ á”—á”‰Êł ᎔ ˹ᔃⁱᔈ ⁱᔗ; á”‡á”‰á¶œá”ƒá”˜Ëąá”‰ ʰᔉ'Ëą ⁿᔒᔗ ᔒⁿᔉ á”—á”’ ᔃᔈᔐⁱᔗ á”›á”˜ËĄâżá”‰Êłá”ƒá”‡â±ËĄâ±á”—Êžâ€§ ᎏ˹ Ê·á”ƒËĄá”â±âżá” ᔗʰᔉ ᔖᔉᔗ˹➎ ᎔ á”˜Ëąá”‰á”ˆ ᔐʞ Ëąá”˜á”–á”‰Êłá¶œá”’á”á”–á”˜á”—á”‰Êł á”ˆá”‰á”—á”‰á¶œá”—â±á”’âż Ê°á”‰á”ƒÊłâ±âżá” á”†á”–á”’âżá”á”‰áŽźá”’á”‡ ᔃⁿᔈ áŽ·Êłá”ƒá”‡Ëąâ€§ "ᔂʰʞ ʞᔉ ËĄâ±á”á”–â±âżá”âžŽ ᔇᔒⁱ?" "᎔ á”—Êłâ±á”–á”–á”‰á”ˆ ᔒⁿ ᔗʰᔉ ʷᔃʞ Ê°á”‰Êłá”‰âžŽ á”‡á”‰á¶œá”ƒá”˜Ëąá”‰ ᎔ Êłá”ƒâż á”—á”’ á¶ á”ƒËąá”— ⁿᔒᔗ ËĄá”’á”’á”â±âżá” Ê·Ê°á”‰Êłá”‰ ᎔ Ê·á”ƒËą á”á”’â±âżá”â€§â€§â€§" áŽșⁱᶜᔉ Ëąá”ƒá”›á”‰âžŽ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§ "Ꮆᔉ˹ᔗ ᔐᔃᔏᔉ Ëąá”˜Êłá”‰ ⁿᔒᔗ á”—á”’ â±âżá”—á”‰Êłá¶ á”‰Êłá”‰ ʷⁱᔗʰ‧‧‧" "᎔ ᔍᔒᔗ ⁱᔗ➎ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą; á”‰á”›á”‰ÊłÊžá”—Ê°â±âżá”'Ëą ᶠⁱⁿᔉ!" ᎌᶠ á¶œá”’á”˜ÊłËąá”‰âžŽ ʷᔉ á”ˆâ±á”ˆâżá”— ʰᔃᔛᔉ á”ƒâżÊž á¶œá”˜Ëąá”—á”’á”á”‰ÊłËą ᔃᔗ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ‧ áŽŒâżËĄÊž á”—Ê°â±âżá” ᔘⁿᔘ˹ᔘᔃ˥ ⁜ⁱᶠ á”ƒâżÊžá”—Ê°â±âżá”âŸ áŽŸËĄá”ƒâżá”á”—á”’âż ⁿᔒᔗ á”—á”’ Ëąá”—Êłá”‰ËąËąá”‰á”ˆ ᔒⁿ ËĄá”ƒá¶œá” á”’á¶  á”‡á”˜Ëąâ±âżá”‰ËąËą ᔗᔒᔈᔃʞ➎ á”‡á”‰á¶œá”ƒá”˜Ëąá”‰ ʰᔉ'Ëą á”—ÊłÊžâ±âżá” á”—á”’ ᶜᔒᔐᔉ ᔘᔖ ʷⁱᔗʰ ʷʰᔃᔗ á”—á”’ ᔈᔒ ʷⁱᔗʰ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ á”ƒá¶ á”—á”‰Êł Ê·á”’Êłá”â€§ "᎞ᔉᔗ'Ëą ˹ᔉᔉ; ʰᔉ ËĄâ±á”á”‰Ëą ÊČá”‰ËĄËĄÊžá¶ â±ËąÊ°âžŽ á”á”ƒÊłá”ƒá”—á”‰âžŽ á”á”‰Êłá”á”ƒâ±á”ˆ ᔐᔃⁿ ᔃⁿᔈ á”‡á”ƒÊłâżá”ƒá¶œËĄá”‰ ᔇᔒʞ‧‧‧" "áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ ʰᔉ á”á”‰á”—Ëą á”’á¶ á¶  Ê·á”’Êłá” á”ƒá¶ á”—á”‰Êł á”‰á”›á”‰âżâ±âżá”Ëą; ʰᔉ ᔐⁱᔍʰᔗ ᔇᔉ á”—á”’ Ê·á”’Êłâż ᔒᔘᔗ á”—á”’ á”–ËĄá”ƒÊžâžŽ á”ƒËĄá”—Ê°á”’á”˜á”Ê° ʰᔉ'ᔈ á”ƒá”–á”–Êłá”‰á¶œâ±á”ƒá”—á”‰ ⁱᔗ!" "áŽ·á”ƒÊłá”‰âżâ€§â€§â€§" áŽŸËĄá”ƒâżá”á”—á”’âż ÊČᔘᔐᔖᔉᔈ Ëąá”—á”ƒÊłá”—ËĄá”‰á”ˆ ᔃᔗ á”âżá”’á¶œá”â±âżá” á¶ Êłá”’á” á¶ Êłá”’âżá”— á”ˆá”’á”’Êłâ€§ ᔂʰᔃᔗ'Ëą áŽŸá”ƒá”—Êłâ±á¶œá” á”ˆá”’â±âżá” Ê°á”‰Êłá”‰â€§â€§â€§ "á”†á”–á”’âżá”á”‰áŽźá”’á”‡'Ëą ⁿᔒᔗ Ê°á”‰Êłá”‰âžŽ ᶜʰᔉᶜᔏ ᔇᔃᶜᔏ á”ƒá¶ á”—á”‰Êł Ê°â±Ëą ËąÊ°â±á¶ á”—â€§ ᔁⁿ˥ᔉ˹˹ ʞᔒᔘ'Êłá”‰ Ê°á”‰Êłá”‰ á¶ á”’Êł ËĄá”˜âżá¶œÊ°â€§â€§â€§" áŽŸËĄá”ƒâżá”á”—á”’âż Ëąá”ƒâ±á”ˆâ€§ "ᎌʰ➎ ʰᔉ'Ëą Ëąá”—á”ƒÊžâ±âżá” Ê°á”‰Êłá”‰? ᎔ Ê·á”ƒËą á”á”’âżâżá”ƒ ᔍᔉᔗ ʰⁱᔐ ᔃ Ëąá”˜Êłá”–Êłâ±Ëąá”‰ á”á”‰á”ƒËĄâ€§ ᎔ ᔈⁱᔈⁿ'á”— á”âżá”’Ê· ʰᔉ'Ëą Ëąá”—á”ƒÊžâ±âżá” ʷⁱᔗʰ ʞᔒᔘ!" áŽŸá”ƒá”—Êłâ±á¶œá” ˹ᔃⁱᔈ ᔃ˹ áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą ËąÊ°á”˜á”— ᔗʰᔉ á”ˆá”’á”’Êł ⁱⁿ Ê°â±Ëą ᶠᔃᶜᔉ‧ áŽŸá”ƒá”—Êłâ±á¶œá” Ê·á”‰âżá”— á”ƒá¶œÊłá”’ËąËą ᔗʰᔉ Ëąá”—Êłá”‰á”‰á”— ᔃ˹ áŽŸËĄá”ƒâżá”á”—á”’âż ᔏᔉᔖᔗ ᔒⁿ á”‡Êłá”ƒâ±âżËąá”—á”’Êłá”â±âżá” ᔒⁿ ʷʰᔃᔗ ʰᔉ á¶œá”’á”˜ËĄá”ˆ ᔈᔒ‧ áŽŒâżá¶œá”‰ Ê°â±Ëą ËąÊ°â±á¶ á”— á”‰âżá”ˆá”‰á”ˆâžŽ á”†á”–á”’âżá”á”‰áŽźá”’á”‡ ʷᔃⁱᔗᔉᔈ á¶ á”’Êł ᔗʰᔉ á¶œá”’á”ƒËąá”— á”—á”’ ᔇᔉ á¶œËĄá”‰á”ƒÊł á”‡á”‰á¶ á”’Êłá”‰ Ê°á”‰á”ƒá”ˆâ±âżá” á”’á”›á”‰Êł Ê°á”‰Êłá”‰â€§ "᎟ʰᔉʷ; ËĄá”’âżá” ᔈᔃʞ ᔒⁿ ᔐʞ ᶠᔉᔉᔗ➎ ᔃ˥˥ Ê·Ê°â±ËĄËąá”— á”ƒá”›á”’â±á”ˆâ±âżá” á”˜âżá”ˆá”˜á”‰ á”˜Ëąá”‰ á”’á¶  ᔐʞ ᔗᔒᔉ!" áŽŸËĄá”ƒâżá”á”—á”’âż ᔍᔒᔗ ʷʰᔃᔗ ʰᔉ Ê·á”’Êłá”á”‰á”ˆ ᔒⁿ á¶ á”’Êł Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔃ˥˥ ᔈᔃʞ á”’âżËĄÊž á”—á”’ Êłá”‰á”—á”˜Êłâż á”—á”’ ᶠⁱⁿᔈ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ËąËĄá”‰á”‰á”–â±âżá” ᔒⁿ ᔗʰᔉ ᶜᔒᔘᶜʰ‧ "᎔ á”á”˜á”‰ËąËą ʰᔉ'Ëą ᔗʰᔉ á¶ â±ÊłËąá”— ᔒⁿᔉ á”—á”’ ᶠᔃ˥˥ á”ƒËąËĄá”‰á”‰á”– á”—á”’âżâ±á”Ê°á”—â€§â€§â€§" ᎔ á”—á”’ËĄá”ˆ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ áŽ¶á”˜Ëąá”— á”—Ê°á”‰âżâžŽ ᔃ á¶œá”’á”á”á”’á”—â±á”’âż á”’á¶œá¶œá”˜ÊłÊłá”‰á”ˆ á”’á”˜á”—á”ˆá”’á”’ÊłËą ⁱⁿ á¶ Êłá”’âżá”—â€§ áŽŸËĄá”ƒâżá”á”—á”’âż Ê·á”‰âżá”— á”—á”’ â±âżá”›á”‰Ëąá”—â±á”á”ƒá”—á”‰âžŽ ÊČá”˜Ëąá”— á”—á”’ ᶠⁱⁿᔈ áŽŸá”ƒá”—Êłâ±á¶œá” á”‡á”‰â±âżá” á¶ á”’ËĄËĄá”’Ê·á”‰á”ˆ ᔇʞ áŽ·Êłá”ƒá”‡Ëąâ€§â€§â€§ ᎔ á”á”˜á”‰ËąËą áŽŸá”ƒá”—Êłâ±á¶œá” á”‡ËĄá”ƒá”‡á”‡á”‰á”ˆ; ⁱᔗ Ê·á”’âż'á”— á”‰âżá”ˆ Ê·á”‰ËĄËĄâ€§ "áŽŸáŽžáŽŹáŽșᎷᔀᎌáŽș“" áŽ·Êłá”ƒá”‡Ëą Ëąá¶œÊłá”‰á”ƒá”á”‰á”ˆ ⁱⁿ á¶ á”˜ÊłÊžâžŽ ʷʰⁱᶜʰ ᔃʷᔒᔏᔉ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ á”˜âżá”‡á”‰á”âżá”’Ê·âżËąá”— á”—á”’ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ áŽčÊž Ê°á”˜Ëąá”‡á”ƒâżá”ˆ ËĄá”’á”’á”á”‰á”ˆ ᔘᔖ ᔃᔗ áŽŸá”ƒá”—Êłâ±á¶œá”â€§ "Ꮃᔉᔗ ˥ᔒ˹ᔗ➎ ᎟ᔃᔗ‧‧‧" "᎔'ᔐ á”—á”ƒËĄá”â±âżá” á”—á”’ ʞᔒᔘ!" áŽ·Êłá”ƒá”‡Ëą â±âżá”—á”‰ÊłÊłá”˜á”–á”—á”‰á”ˆ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ áŽșá”’Ê· á”†á”–á”’âżá”á”‰áŽźá”’á”‡'Ëą Ê·á”ƒá”—á¶œÊ°â±âżá” ʷⁱᔗʰ ᔐᔉ‧ "ᶻⁱᔖ ⁱᔗ➎ áŽ±á”˜á”á”‰âżá”‰; ʰᔉ'Ëą Êłá”‰Ëąá”—â±âżá”!" "ᎎᔉ ⁱ˹ ᔐᔉ á”‰á”á”–ËĄá”’Êžá”‰á”‰; ᔐᔒᔛᔉ á”’á”›á”‰Êł!" "ᎎᔉ âżá”‰á”‰á”ˆËą ᔖᔉᔃᶜᔉ ᔃⁿᔈ ᑫᔘⁱᔉᔗ➎ ⁿᔒᔗ Êžá”’á”˜Êł ËĄá”’á”˜á”ˆâ€§â€§â€§ "á”†Ê°á”‰ËĄá”ˆá”’âżâžŽ ᎔ á”—á”’ËĄá”ˆ ʞᔉ á”—á”’ ˹ᔗᔉᔖ á”ƒËąâ±á”ˆá”‰!" "ᔂᔉ˥˥ ᎔ á”—á”’ËĄá”ˆ ʞᔒᔘ ᔗᔒ‧‧‧" "᎔˥˥ á¶œÊłá”˜ËąÊ° ʞᔉ á”—á”’ Ëąá”â±á”—Ê°á”‰Êłá”’á”’âżËą á”†Ê°á”‰ËĄâ€§â€§â€§" "áŽșá”’! ᎎᔉ'Ëą á”’á¶ á¶  ᔗʰᔉ á¶œËĄá”’á¶œá” ᔃⁿᔈ ᎔'ᔐ ËĄá”‰á”—á”—â±âżá” ʰⁱᔐ Ëąá”—á”ƒÊžâ€§â€§â€§" "᎔ ʰᔃᔈ ʰⁱᔐ ˥ⁱᔐᔖ ᔃ˥˥ ᔈᔃʞ➎ Ëąá”’ ᔗʰᔉ ËĄá”‰á”ƒËąá”— ʰᔉ á¶œá”ƒâż ᔈᔒ‧‧‧" "ᎎᔉ'Ëą ËĄâ±á”á”–â±âżá” á”‡á”‰á¶œá”ƒá”˜Ëąá”‰ ʰᔉ'Ëą Ëąá”’Êłá”‰â€§â€§â€§" "áŽ±â±á”—Ê°á”‰Êł ʷᔃʞ ᎔'ËĄËĄ á”–á”˜âżâ±ËąÊ° ʰⁱᔐ➎ á¶ á”’Êł ʰᔉ á¶ Êłá”ƒá”—á”‰Êłâżâ±á¶»á”‰â€§â€§â€§" "᎔ ˥ᔉᔗ ʰⁱᔐ‧‧‧" "ᔂᔉ˥˥ á”—Ê°á”‰âż ᎔ ᶠ᎔ᎿᎱ ᎎ᎔áŽč!" ᔂᔉ ᔃ˥˥ Ëąâ±ËĄá”‰âżá”—ËĄÊž Ëąá”—á”’á”’á”ˆ ⁱⁿ ËąÊ°á”’á¶œá” ᔃ˹ ᔗʰᔉ ᔉᶜʰᔒ á”’á¶  áŽ·Êłá”ƒá”‡ËąâžŽ ʷⁱᔗʰ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ Ê·Ê°â±á”á”–á”‰Êłâ±âżá”â€§ ᔂᔉ ᔃ˥˥ ʷᔃᔗᶜʰᔉᔈ á”–ËĄá”ƒâżá”á”—á”’âżâžŽ á”âżá”’Ê·â±âżá” ʰᔉ'Ëą á”á”’âżâżá”ƒ ʰᔃᔛᔉ á”—á”’ á¶œÊ°á”’á”’Ëąá”‰ ᔗʰᔉ ᶠᔃᔗᔉ‧‧‧ "᎞ⁱ˹ᔗᔉⁿ á”—á”’ ᔐᔉ➎ áŽ±á”˜á”á”‰âżá”‰; á”†á”–á”’âżá”á”‰áŽźá”’á”‡ ˥ᔒᔛᔉ˹ Ê°â±Ëą ÊČᔒᔇ ᔃᔗ Êžá”’á”˜Êł Êłá”‰Ëąá”—á”ƒá”˜Êłá”ƒâżá”— á”ƒâżá”ˆâ€§â€§â€§" ᎔ Ëąá”ƒÊ· áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą á”—á”‰á”ƒÊłÊž ᔉʞᔉᔈ âżá”’Ê·â€§â€§â€§ "ʞᔒᔘ ʰᔃᔛᔉ ᔃ Ëąá¶œá”’Êłá”‰ á”—á”’ ˹ᔉᔗᔗ˥ᔉ ʷⁱᔗʰ ᔐᔉ➎ ᔍᔃᔐᔉ ᔒⁿ; ᔇᔘᔗ á”†á”–á”’âżá”á”‰áŽźá”’á”‡'Ëą ᔇᔉᔉⁿ âżá”’á”—Ê°â±âżá” ᔇᔘᔗ á”â±âżá”ˆ á”—á”’ á”‰â±á”—Ê°á”‰Êł á”’á¶  ᔘ˹ ᔃᔗ á”’á”˜Êł Ê·á”’ÊłËąá”—! ᎎᔒʷ á”ˆá”ƒÊłá”‰ ʞᔒᔘ‧‧‧" "á”†â±âżá¶œá”‰ Ê·Ê°á”‰âż ᔈᔒ‧‧‧" "ᔂᎱ ᎏᎿᎱ ᶠᎿ᎔ᎱáŽș᮰ᔆ⾮ ᎏáŽșᎰ ᎎᎱ ᎰᎌᎱᔆáŽș'ᔀ áŽ°áŽ±á”†áŽ±áŽżâ±œáŽ± Ꮁ᎔ᔀᎎᎱᎿ ᎌᶠ ᔁᔆ!" áŽ·Êłá”ƒá”‡Ëą Ëąá”—á”’á”á”–á”‰á”ˆâžŽ Ê°á”ƒÊłá”ˆâ€§ "ᔂʰʞ á”ƒÊłá”‰âż'á”— ʞᔒᔘ‧‧‧" "᎔ ᎿᎏᔀᎎᎱᎿ ᔀᎏᎷᎱ ᔀᎎᎱ áŽźáŽžáŽŹá¶œáŽ· ᎱʞᎱ ᔀᎎᎏáŽș ᔀᎌ áŽŽáŽŹâ±œáŽ± áŽčÊž ᶠᎿ᎔ᎱáŽșᎰ ᶠ᎔ᎿᎱᎰ!" áŽŸËĄá”ƒâżá”á”—á”’âż á¶œÊłâ±á”‰á”ˆâžŽ ᔃ˹ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ëąá”ƒÊ· ʰⁱᔐ Ê·â±ËĄËĄâ±âżá”ËĄÊž ⁿᔒᔗ ᔍⁱᔛᔉ ᎏ ᶠⁱᔍʰᔗ ᔃ˹ ʰᔉ á”˜Ëąá”˜á”ƒËĄËĄÊž Ê·á”’á”˜ËĄá”ˆâ€§ "Ꮃᔒ ᔃʰᔉᔃᔈ➎ á”‰á”˜á”á”‰âżá”‰â€§ á”†á‘«á”˜á”ƒËąÊ° ᔐᔉ ᔃ˹ ËĄá”’âżá” ᔃ˹ ʞᔒᔘ ˥ᔉᔗ ⁱᔗ á”á”‰á”ƒâż Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§â€§â€§" áŽ¶á”˜Ëąá”— á”—Ê°á”‰âżâžŽ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔖⁱᶜᔏᔉᔈ ᔘᔖ á”–ËĄá”ƒâżá”á”—á”’âżâžŽ ʷʰᔒ ᶠᔉ˥ᔗ á”á”’Êłá”‰ Ëąá”’Êłá”‰ á”—Ê°á”ƒâż á”†á”–á”’âżá”á”‰áŽźá”’á”‡'Ëą ᔗᔒᔉ Ê·Ê°á”‰âż ʰᔉ Ëąá”—á”˜á”‡á”‡á”‰á”ˆ ⁱᔗ‧ ᎔ⁿ á”—á”‰á”ƒÊłËąâžŽ ʰᔉ ËĄá”’á”’á”á”‰á”ˆ ᔃᔗ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ Ꮁᔛᔉⁿ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ëąá”ƒÊ· á”–ËĄá”ƒâżá”á”—á”’âż'Ëą Ëąâ±âżá¶œá”‰Êłâ±á”—Êž ⁱⁿ á”â±á”›â±âżá” ᔘᔖ Ê°â±Ëą ˥ⁱᶠᔉ'Ëą Ê·á”’Êłá” á”—á”’ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§ áŽșá”‰á”›á”‰Êł Ê°á”ƒËą ʰᔉ á¶œá”ƒËĄËĄá”‰á”ˆ á”ƒâżÊž á”–á”‰ÊłËąá”’âż ᔃ á¶ Êłâ±á”‰âżá”ˆâžŽ á”˜âżá”—â±ËĄ ᔗᔒᔈᔃʞ‧
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r/TwoSentenceHorror 17 min. ago cindybubbles To pass the time, everyone in our bunker played “Never have I ever 
” and I pulled out a card that read “
 had my head chopped off.” Everyone stayed still, except for one girl who bared the stitches round her neck...
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