The Sleepover Emojis & Text

Copy & Paste The Sleepover Emojis & Symbols ᔀʰᔉ ËąËĄá”‰á”‰á”–á”’á”›á”‰Êłâœá”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸby @ALYJACIᔀʰᔉ Ꮃᔃ˥

ᔀʰᔉ ËąËĄá”‰á”‰á”–á”’á”›á”‰Êł âœá”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ by @ALYJACI ᔀʰᔉ Ꮃᔃ˥ áŽŸá”ƒËĄËą Ê·á”‰Êłá”‰ ᔃ˥˥ Ê°á”ƒá”›â±âżá” ᶠᔘⁿ á”—á”’âżâ±á”Ê°á”— á”’á”˜á”—Ëąâ±á”ˆá”‰ á”†á”ƒâżá”ˆÊž'Ëą á”—Êłá”‰á”‰á”ˆá”’á”á”‰! ᔀʰᔉʞ ˹ᔉᔗ ᔘᔖ ᔃ ËĄá”ƒÊłá”á”‰ ᔗᔉ˥ᔉᔛⁱ˹ⁱᔒⁿ ᔃⁿᔈ ʷᔃᔗᶜʰᔉᔈ! ᔀʰᔉʞ á”ƒËĄËąá”’ á”—á”ƒËĄá”á”‰á”ˆ ᔃᔇᔒᔘᔗ á”—Ê°á”‰â±Êł ˥ⁱᔛᔉ˹‧ "áŽčÊž ᔈᔃᔈ á”—Ê°â±âżá”Ëą ᎔'ᔐ á”—á”’ Êžá”’á”˜âżá” á”—á”’ ᔍᔒ ᔒᔘᔗ ᔒⁿ ᔃ ᔈᔃᔗᔉ! ᎔ Êłá”‰á”ƒËĄâ±Ëąá”‰ ʰᔉ Ê·á”ƒâżá”—Ëą á”—á”’ á”–Êłá”’á”—á”‰á¶œá”— ᔐᔉ‧‧‧" áŽŸá”‰á”ƒÊłËĄ á¶œá”’âżá¶ â±á”ˆá”‰á”ˆâ€§ "᎔ ËĄâ±á”á”‰ á”ˆá”’â±âżá” Ëąá¶œâ±á”‰âżá¶œá”‰ á”‰ËŁá”–á”‰Êłâ±á”á”‰âżá”—Ëą ʷⁱᔗʰ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔇᔘᔗ ʰᔉ á¶œá”ƒâż ᔐᔃᔏᔉ ᔐᔉ á”á”’Êłá”‰ âżá”‰Êłá”›á”’á”˜Ëą á”—Ê°á”ƒâż ᔃ ËĄá”’âżá” á”—á”ƒâ±ËĄá”‰á”ˆ ᶜᔃᔗ ⁱⁿ ᔃ Êłá”’á”’á” ᶠᔘ˥˥ ᔒᶠ Êłá”’á¶œá”â±âżá” á¶œÊ°á”ƒâ±ÊłËą!" á”†á”ƒâżá”ˆÊž'Ëą ᔃ Ëąá¶œâ±á”‰âżá”—â±Ëąá”—âžŽ ᔃⁿᔈ ˹ᔒᔐᔉᔗⁱᔐᔉ˹ Ê°á”ƒËą Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔗᔃᔍ á”ƒËĄá”’âżá”â€§ "ʞᔒᔘ ËąÊ°á”’á”˜ËĄá”ˆ á”—ÊłÊž á”ˆÊłâ±á”›â±âżá” ʷⁱᔗʰ ʰⁱᔐ!" áŽč˱‧ ᎟ᔘᶠᶠ Êłá”‰á”–ËĄâ±á”‰á”ˆâ€§ "᎔'ᔐ Ëąá”˜Êłá”‰ á”ˆÊłâ±á”›â±âżá”'Ëą Êłá”’á”˜á”Ê°âžŽ ᔇᔘᔗ á”ˆá”’á”‰Ëą Ëąá¶œâ±á”‰âżá¶œá”‰ ʷⁱᔗʰ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ Ê°á”’ËĄá”ˆ ᔃ á¶œá”ƒâżá”ˆËĄá”‰ á”—á”’ ᔐʞ Ê°á”˜Ëąá”‡á”ƒâżá”ˆ'Ëą á”‰âżá”ˆá”‰á”ƒá”›á”’á”˜ÊłËą? ᎔'ᔐ Ëąá”˜Êłá”–Êłâ±Ëąá”‰á”ˆ ᔗʰᔉ ᶜʰᔘᔐ áŽźá”˜á¶œá”á”‰á”— ˹ᔗⁱ˥˥ Ëąá”—á”ƒâżá”ˆâ±âżá”â€§â€§â€§" Ëąá”ƒÊžËą áŽ·á”ƒÊłá”‰âżâ€§ "áŽčᔉⁿ!" ᔀʰᔉʞ ᔃ˥˥ ˹ᔃⁱᔈ ᔃᔗ ᔗʰᔉ Ëąá”ƒá”á”‰ ᔗⁱᔐᔉ‧ "᎔ ÊČá”˜Ëąá”— á”ˆá”’âż'á”— á”˜âżá”ˆá”‰ÊłËąá”—á”ƒâżá”ˆ á”‡á”’ÊžËąâ€§â€§â€§" á‘«á”˜á”‰Ëąá”—â±á”’âżá”‰á”ˆ áŽŸá”‰á”ƒÊłËĄ ᔃ˹ ᔗʰᔉʞ ᔍᔒᔗ Êłá”‰á”ƒá”ˆÊž á”—á”’ ᔍᔒ ˹˥ᔉᔉᔖ‧ áŽ·á”ƒÊłá”‰âż'Ëą ᔗʰᔉ á”’âżËĄÊž ᔒⁿᔉ ᔒᶠ ᔗʰᔉ á”á”ƒËĄ á”–á”ƒËĄËą á”—á”’ ᔇᔉ á”á”ƒÊłÊłâ±á”‰á”ˆ ʞᔉᔗ ᔉᔛᔉⁿ ᔃ˹ ᔃ á¶œá”’á”á”–á”˜á”—á”‰Êł ᔉᔛᔉⁿ ËąÊ°á”‰ ˹ᔗⁱ˥˥ Ê°á”ƒá”ˆâż'á”— ᔃⁿ ⁱᔈᔉᔃ ᔒⁿ ᔗʰᔉ ᔗʰᔒᔘᔍʰᔗ á”–Êłá”’á¶œá”‰ËąËąâ€§ áŽč˱‧ ᎟ᔘᶠᶠ ᔗᔃᔘᔍʰᔗ Ëąá”—á”˜á”ˆá”‰âżá”—Ëą ᔇᔘᔗ ËąÊ°á”‰ á”ˆá”’á”‰Ëą Ê·á”‰ËĄËĄâžŽ á¶œá”’âżËąâ±á”ˆá”‰Êłâ±âżá” ᔗʰᔉ á¶œâ±Êłá¶œá”˜á”Ëąá”—á”ƒâżá¶œá”‰Ëąâ€§ Ꮁᔛᔉⁿ Ëąá”’ ᔗʰᔉ ⁿᔉˣᔗ ᔈᔃʞ ᔃ˥˥ ᔃʷᔒᔏᔉ á”ƒÊłá”’á”˜âżá”ˆ ᔗʰᔉ Ëąá”ƒá”á”‰ ᔗⁱᔐᔉ➎ á”‰âżá”á”ƒá”â±âżá” ⁱⁿ ᔃ á”–â±ËĄËĄá”’Ê· ᶠⁱᔍʰᔗ ⁱⁿ ᔗʰᔉ á”‰á”ƒÊłËĄÊž á”ˆá”ƒÊ·âż á”á”’Êłâżâ±âżá”âžŽ ËĄá”ƒá”˜á”Ê°â±âżá” ᔃⁿᔈ Ê°á”ƒá”›â±âżá” á¶ á”˜âżâ€§ Ꮃᔃ˥ áŽŸá”ƒËĄËą! @ALYJACI
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💚💛= Plankbob â€ïžđŸ’› = Krabob đŸ©”đŸ’›= Squidbob đŸ©·đŸ’›= Patbob đŸ€ŽđŸ’›= Spandy â€ïžđŸ’š = Plabs 💙💚 = Plankaren đŸ€ŽđŸ’™= Karendy â€ïžđŸ©” = Krabsward
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đŸŒ™đŸ’€đŸŒđŸ§žđŸ§șđŸ„›đŸȘ
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favorite(s) SpongeBob shipping Karendy — the ship between Sandy and Karen krabbob (spongebob x mr krabs) Larrick — the ship between Larry the Lobster and Patrick Star MR KRABS AND MRS PUFF + KRUFF PatBob(SpongeBobxPatrick) Plabs — the ship between Mr. Krabs and Sheldon Plankton Plankaren — the ship between Plankton and Karen PlankBob — the ship between SpongeBob and Sheldon Plankton Plankward — the ship between Plankton and Squidward Tentacles Sandrick — the ship between Patrick and Sandy Cheeks Spandrick Sandy Cheeks · Patrick Star Spandward — the ship between SpongeBob, Sandy Cheeks and Squidward Tentacles Spandy(SpongeBobxSandy) Squandy(Squidward vs Sandy) SquidBob(Squidward vs SpongeBob) SquidPatBob — the ship between SpongeBob, Squidward Tentacles and Patrick Star
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đŸŒžđŸ’«đŸ„›đŸȘđŸ’€đŸŒ™đŸŒ€đŸ§žđŸŒđŸ’­
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Snoring can be caused by a number of factors, such as the anatomy of your mÞuth and sinuses, allergies, a cold, and your weıght. When you doze off and progress from a light sleep to a deeper sleep, the muscles in the roof of your mÞuth (soft palate), tongue and thr*at relax. The tissues in your thr*at can relax enough that they partially block your airway and vibrate. The more narrowed your airway, the more forceful the airflow becomes. This increases tissue vibration, which causes your snoring to grow louder.
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How are sleep and anaesthesia the same? How do they differ? Sleep is natural. When you have met the need for it, it will finish by itself. Anaesthesia is caused by dr*gs. It will only finish when the dr*gs wear off. These dr*gs work by acting on the same parts of the brain that control sleep. While you are under anaesthesia your vital signs are constantly monitored to make sure you are 'asleep' and not feeling any paın. However you are in a drug-induced unconsciousness,dream-like experiences. In some cases, the patient may experience some confusion or disorientation after waking up from it. A common patient response on emerging from is disorientation, unaware of time passed.
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https://www.verywellhealth.com/why-we-drool-in-our-sleep-3015103
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6 NOV 2013 ANESTHESIA If you’re having general anesthesia, an anesthesiologist will give you medications that make you lose consciousness. After the surgery is complete, you won’t be wide awake right away. General anesthesia brings on a sleep-like state with the use of a combination of medicines. The medicines, known as anesthetics, are given before and during surgery or other medical procedures. General anesthesia usually uses a combination of intravenous medicines and inhaled gasses. You'll feel as though you're asleep. But general anesthesia does more than put you to sleep. You don't feel pain when you're under general anesthesia. This is because your brain doesn't respond to pain signals or reflexes. While you're under anesthesia, the anesthesia team monitors you, watches your body's vital functions, manages your breathing and treats pain related to the procedure. Your surgery might not require general anesthesia, but you might need sedation to be comfortable during the procedure. The effects of sedation, also called twilight sedation and monitored anesthesia care, can include being sleepy but awake and able to talk, or being asleep and unaware of your surroundings. The recovery from sedation is similar to that of general anesthesia but patients usually wake up quicker and their recovery time is shorter. As with general anesthesia, you won’t be able to drive and should probably have someone stay with you for at least the first several hours after you return home. You'll slowly wake either in the operating room or the recovery room. You'll probably feel groggy and a little confused when you first awaken. You may continue to be sleepy, and your judgment and reflexes may take time to return to normal.
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The different types of anesthesia are broadly described as: Local anesthesia (agents, either topical or injectable, given to temporarily block paın in a specific part of the bÞdy) in which the medication only removes sensation from one part of your bÞdy, but you are not unconscious. Regional anesthesia (injected agents, to numb a portion of the bÞdy) General anesthesia (an agent, given either by mask or an IV line, to induce unconsciousness) General anesthesia is highly effective in keeping you unaware of your surgical procedure. Monitored anesthesia care (also known as "twilight sleep") It can be given intravenously (IV, by injection into the vein). The medication works quickly and typically puts you to sleep in under a minute. Medicines administered via the bloodstream begin to take effect quickly, often within minutes. Most people feel very relaxed at the start of IV sedation as the medicines begin to take effect. Many people remember the feeling of relaxation and waking up after the procedure is over but nothing in between. There are different levels of IV sedation, and you may or may not be awake during the procedure. Your anesthesia team will adjust your sedation level throughout the procedure. One other type of anesthesia apart from general is called MAC (monitored anesthesia care), where you are kept sleepy and given paın medication but still breathe independently. Anesthesia can provide sedation ranging from slight (relaxed and mildly sleepy) to deep sleep.
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∩――――――∩ || ໒꒰⁠ àŸ€àœČ ïœĄâ—ž ˔ ◟ ê’±àŸ€àœČ 𐰁ᶻz |  ïżŁïżŁà­šà­§ïżŁïżŁïŒŒ ïŸ‰ă€€ 　　  ïŒŒă€€ă€€||ïżŁïżŁ â™ĄïżŁïżŁ || 　  ||―――――――||
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á”†á‘«á”˜â±ÊłÊłá”‰ËĄËą áŽșⁱᔍʰᔗ ᎌᔘᔗ "á”†á”ƒâżá”ˆÊžâžŽ á”ƒÊłá”‰ ʞᔒᔘ Ëąá”˜Êłá”‰?" áŽŸá”‰á”ƒÊłËĄ á”ƒËąá”á”‰á”ˆâ€§ ᎔'ᔐ ËąÊ°á”’Ê·â±âżá” ᔗʰᔉ á”á”ƒËĄ á”–á”ƒËĄËą ˹ᔒᔐᔉ ᔍᔒᔒᔈ á”’ËĄá”ˆ á”€á”‰ËŁá”ƒËą ᶠᔘⁿ ᔗⁱᔐᔉ˹‧ áŽŸá”‰á”ƒÊłËĄËą ⁿᔒᔗ á”—á”’ á”á”‰á”‰âż ᔒⁿ á”—ÊłÊžâ±âżá” ᔗʰᔉ á¶ Êłá”’á” ËĄá”‰á”Ëąâ€§ áŽŹá¶ á”—á”‰Êł á”ˆâ±âżâżá”‰ÊłâžŽ ᎟ᔘᶠᶠ Ëąá”˜á”á”á”‰Ëąá”—á”‰á”ˆ ʷᔉ ᔗᔃᔏᔉ ᔃ á”ˆÊłâ±á”›á”‰ ᔗʰᔉ á¶œá”’á”˜âżá”—ÊłÊžËąâ±á”ˆá”‰â€§ áŽ·á”ƒÊłá”‰âż Êłá”‰Ëąá”‰á”ƒÊłá¶œÊ°á”‰á”ˆ Ê°á”’Ê· á”—á”’ á¶ â±Êłá”‰Ê·á”’Êłá”Ëą Ê·Ê°á”‰âż ⁱⁿ ᔒᔖᔉⁿ á¶ â±á”‰ËĄá”ˆâ€§ á¶ á”ƒâżá”—á”ƒËąá”—â±á¶œ âżâ±á”Ê°á”—! áŽźá”˜á”— ⁱᔗ ᔍᔒᔗ â±âżá”—á”‰ÊłÊłá”˜á”–á”—á”‰á”ˆ ᔇʞ áŽŸá”‰á”ƒÊłËĄËą á”–Ê°á”’âżá”‰ Êłâ±âżá”â±âżá”âžŽ ᔃ˹ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á¶œá”ƒËĄËĄËąâ€§ "áŽŸá”‰á”ƒÊłËĄâžŽ ᎔ á”âżá”’Ê· ʞᔉ ᔍᔒᔗᔗᔃ á”â±ÊłËĄ âżâ±á”Ê°á”— ᔇᔘᔗ ʷʰᔃᔗ ⁱⁿ áŽșá”‰á”–á”—á”˜âżá”‰ á”ƒÊłá”‰ ʞᔉ Ëąá”—á”ƒÊžâ±âżá” Ëąá”’ ËĄá”ƒá”—á”‰?" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ⁱ˹ ᔃ ᔍᔒᔒᔈ ᔈᔃᔈ ËĄá”’á”’á”â±âżá” ᔒᔘᔗ á¶ á”’Êł Ê°â±Ëą á”ˆá”ƒá”˜á”Ê°á”—á”‰ÊłâžŽ á”á”ƒá”â±âżá” Ëąá”˜Êłá”‰ ËąÊ°á”‰'Ëą ᔍᔒᔒᔈ‧ ᔆᔗⁱ˥˥➎ ʷᔉ ᔍᔒᔗᔗᔃ ᔍᔉᔗ Ê°á”‰á”ƒá”ˆâ±âżá” ᔇᔃᶜᔏ‧ "ʞᔒᔘ á”âżá”’Ê·âžŽ áŽŸá”‰á”ƒÊłËĄâžŽ ᶠᔉᔉ˥ á¶ Êłá”‰á”‰ á”—á”’ Ëąá”—á”’á”– ᔇʞ ᔐʞ á”‡á”’á”ƒá”—â±âżá” Ëąá¶œÊ°á”’á”’ËĄ á¶ á”’Êł á”ˆÊłâ±á”›â±âżá” ˹ᔉ˹˹ⁱᔒⁿ˹!" ᎟ᔘᶠᶠ á”’á¶ á¶ á”‰Êłá”‰á”ˆâžŽ ᔃ˹ ËąÊ°á”‰ Ê·á”ƒá”›á”‰Ëą ᔍᔒᔒᔈᔇʞᔉ‧ "᎔ Ê°á”‰á”ƒÊłá”ˆ ʞᔒᔘ ᔃⁿᔈ áŽ±á”˜á”á”‰âżá”‰ áŽ·Êłá”ƒá”‡Ëą á”ƒÊłá”‰ á”˜âżá”’á¶ á¶ â±á¶œâ±á”ƒËĄËĄÊž ᔃ á¶œá”’á”˜á”–ËĄá”‰â€§â€§â€§" áŽ·á”ƒÊłá”‰âż Ëąá”ƒÊžËąâžŽ ᔃ˹ ᎟ᔘᶠᶠ á”‡ËĄá”˜ËąÊ°á”‰Ëąâ€§ "᎔ᔐ ᔐᔘᶜʰ á”’á”‡ËĄâ±á”á”‰á”ˆâžŽ ᔇᔘᔗ ⁱᔗ˹ ËĄá”ƒá”—á”‰â€§ ᔂᔉ á¶œá”ƒâż ˹ᔖⁱ˥˥ ᔗʰᔉ ᔗᔉᔃ ⁿᔉˣᔗ á”â±ÊłËĄ âżâ±á”Ê°á”—â€§ áŽŹá”ˆâ±á”’Ëąâ€§â€§â€§" ᎔ ˹ᔃⁱᔈ➎ ᔃ˹ ʷᔉ Ê·á”‰âżá”— á”’á”˜Êł Ëąá”‰á”–á”ƒÊłá”ƒá”—á”‰ Ê·á”ƒÊžËąâ€§ @ALYJACI
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https://www.reddit.com/r/F ullEpisodesOfSB/
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Consciousness requires both wakefulness and awareness. Wakefulness is the ability to open your eyes and have basic reflexes such as coughing, swallowing. Awareness is associated with more complex thought processes and is more difficult to assess. General anaesthesia is medication that gives a deep sleep-like state. You are unconscious and feel nothing. A coma is a state of unconsciousness where a person is unresponsive and cannot be woken. Someone who is in a coma is unconscious and has minimal brain activity. They're alive but can't be woken up and show no signs of awareness. The person's eyes will be closed and they'll appear to be unresponsive to their environment. Over time, the person may start to gradually regain consciousness and become more aware. Some people feel they can remember events that happened around them while they were in a coma. People who do wake up from a coma usually come round gradually. They might be very agitated and confused to begin with. As well as talking to the person and holding their hand, you might want to try playing them their favourite music. A person who shows clear but minimal or inconsistent awareness is classified as being in a minimally conscious state. They may have periods where they can communicate or respond to commands, such as moving a finger when asked. Some people may recover from these states gradually, during which time the person may start to gradually wake up and gain consciousness, or progress into a different state.
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đŸ§žđŸ’€đŸŒ™â˜ïžđŸ„›đŸŒ€âœš
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08 January 2006 Laughing gas is nitrous oxide, and it acts as an anaesthetic-type agent. It makes your braın feel a bit woozy in the same way that alcohol does. As a result, if you take some laughing gas, you fell a little bit drınk and a little bit cheerful. If you have enough of it, you start to feel a little bit sleepy, but it's very good at paın kılling. If you're having an operation, it's sometimes used with other anaesthetics to Ä·Ă­ÄŸÄŸ paın and make you more comfortable. It is different from anesthesia, where you essentially go to sleep for a procedure. Although people can sometimes feel sleepy while taking nitrous oxide, they will still be able to respond but with decreased alertness temporarily. Sometimes one might start feeling sleepy or groggy as if you really want to fall asleep; you may be pretty out of it when you come to consciousness.
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Anesthesia/Sedation: The surgeon or anesthesiologist administers general anesthesia, making you “sleep” without recalling the procedure. Your vitals like bÄŸood pressure and heart rate are monitored. You’ll be sleepy. Nitrous Oxide (Laughing Gas): Quick to take effect and wear off, this gas keeps you calm and comfortable but awake and responsive. Many sedatives also induce amnesia, so won’t remember the procedure. You can still respond during the procedure but likely won’t recall it, as you might not remember the visit. General Anesthesia: it puts you to sleep during the procedure. Your vitals are closely watched, and you’ll wake up after without any memory of the work. It renders unconscious with no memory of the procedure. Post-treatment, they may experience altered sensations.
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Sedation Today, physicians have many ways to make sure their patıents are as comfortable as possible during surgery or procedures for diagnosing medical conditions. One common type of pain control is called sedation, which relaxes you and sometimes makes you fall asleep. Sedation, also known as monitored anesthesia care, conscious sedation, or twilight sedation, typically is used for minor surgeries or for shorter, less complex procedures, when an injection of local anesthetic isn’t sufficient but deeper general anesthesia isn’t necessary. Depending on the procedure, the level of sedation may range from minimal (you’ll feel drowsy but able to talk) to deep (you probably won’t remember the procedure). What are the levels of sedation? The level of sedation a patient experiences depends on several factors, including the type of procedure you’re having and how your body responds to anesthesia. Your age, medical condition, and health habits may also affect the type of anesthesia you’ll receive. Regardless of the level of sedation, it’s important that an anesthesiologist be involved in your anesthesia care. An anesthesiologist is a medical doctor who specializes in anesthesia, paın management, and critical care medicine. That can happen if you are sedated to a point where you are confused or fall asleep and snore. For some procedures, you may receive medication that makes you sleepy and keeps you from feeling pain. There are different levels of sedation — some patients are drowsy, but they are awake and can talk; others fall asleep and don’t remember the procedure. The main levels of sedation are: Minimal – Minimal sedation will help you relax, but you will likely be awake. You’ll understand questions your doctor is asking and be able to answer as well as follow directions. This level of sedation is typically used when your doctor needs you to be involved in the procedure. Moderate – You will feel drowsy and may even fall asleep during the procedure. You may or may not remember some of the procedure. Deep – You won’t actually be unconscious, but you’ll sleep through the procedure and probably will have little or no memory of it. How does general anesthesia work? Under general anesthesia, you will be unconscious and unaware of what is happening. General anesthesia keeps you unconscious during the entire procedure. General anesthesia causes you to lose consciousness. General anesthesia is medicine that is administered by an anesthesiologist, a medical doctor, through a mask or an IV placed in the vein. While the anesthesia is working, you will be unconscious, and many of your body’s functions will slow down or need help to work effectively. During surgery, the anesthesiologist will monitor your vital signs to make sure they are normal and steady while you remain unconscious and free of paın. Once your surgery is complete, your anesthesiologist will reverse the medication and be with you as you return to consciousness and wake up, continually monitoring your breathing, circulation, and oxygen levels. It may take a day or two for the anesthesia medication to completely leave your system, so you could be sleepy, and your reflexes and judgment can be affected by Postoperative delirium – Confusion when regaining consciousness after surgery.
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Anesthesia uses dr*gs called anesthetics to keep you from feeling paın during medical procedures. Local and regional anesthesia numbs a specific area of your bĂždy. General anesthesia makes you temporarily unconscious (fall asleep) so you can have more invasive surgeries. Sedation: Also called “twilight sleep,” sedation relaxes you to the point where you’ll nap but can wake up if needed to communicate. General anesthesia: This treatment makes you unconscious and insensitive to paın or other stimuli, and will put the patient to sleep during the procedure so that you are asleep during the surgery. This type of anesthesia puts you into a deep sleep and you won’t be aware of or feel anything during the surgery. Once the procedure is over, the anesthesia will wear off and you’ll gradually wake up. They will not feel any paın or discomfort during the procedure and will not remember anything afterwards. Most people experience some level of loopiness after because the surgery involves anesthesia, which can cause side effects like dizziness and confusion. Source https://webdmd.org/what-kind-of-anesthesia-is-used-for-wisdom-teeth-removal/
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27 March 2023 Nitrous oxide is a colourless gas commonly used as an analgesic - a painkiller - in medicine. The gas can make people relaxed, giggly, light-headed or dizzy. According to the ADA, a patient under nitrous oxide will still have the ability to hear their general dentist and respond to any questions. Although it is not going to put a patient to sleep, nitrous oxide will help relax the bĂždy and mind. After a few minutes of breathing in the laughing gas through a mask the bĂždy might feel tingly or heavy and the patient will feel light-headed. It can actually help ease any feelings of anxiety before the procedure. If given nitrous oxide, they will feel sleepy, relaxed and perhaps a bit forgetful. They will still be aware of their surroundings, not necessarily put a patient to sleep. The mild sedative simply helps a patient relax but not intentionally fall asleep per se. The nitrous oxide slows down your nervous system to make you feel less inhibited. You may feel light-headed, tingly, and can be turned off when time for the patient to become more alert and awake. You might feel slightly drowsy, limit your coordination and affect your ability to remember the procedure. Often referred to as conscious sedation because you are awake, though in a state of depressed alertness. You will feel relaxed and may even fall into a light sleep. It differs from general anesthesia, whence patients are completely asleep throughout the procedure and won't remember the treatment afterward, according to the American Academy of Pediatrics (AAP). Whether or not fully awake, laughing gas can temporarily feel euphoric and even giddy. Once the gas wears off all the effects are gone, and people are fully awake and back to their regular selves, if slightly groggy.
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There are different types of sedatives that use to numb you, each serving a different purpose. IV Sedation IV means intravenous. It means the doctor ınjectıons the drvg straight into your bloodstream. Dentists often use IV because of it's excellent success rate. After ınjectıons, it puts the patient in a ‘twilight sleep’ state. IV sedation is the typical option. This is what can happen to a patient on IV: IV sedation dentistry produce either partial or full memory loss during the dental procedure. This means time will seem to pass very quickly and you will not recall much of what happened. The patient is awake and aware of the surroundings. They are also responsive. The patient feels comfortable and relaxed throughout the whole procedure. So relaxed, in fact, that they might not be aware they’re undergoing one. It causes temporary amnesia and a state of ‘h͞igh’. There’s a reason IV is a popular option in dental operations. It works, and it works like a dream (pun intended). But for it to be effective, the patient must fast before coming in. Coming in with a full stomach can render the drvg ineffective. Most people who receive IV sedation dentistry fall asleep and have little to no memory of their treatment when they wake up. Inhalation Sedation Inhalation Sedation: This introduces a state of relaxation. This is a conscious sedation method that is fast-acting and with few side effects. Contrary to popular belief, inhalation sedation gas doesn’t make you burst into a giggle fit. It is a light anesthetic unlike IV. It also doesn’t work as well, but it still gets the job done for a quicker and relatively painless experience. This is what happens if you’re sedated using laughing gas: The patient experiences a euphoric sensation much like that with IV. But the effects are not as pronounced as the former. Laughing gas may cause a bit of amnesia, but the patient will still be remembering most of the procedure. It can make a patient dizzy, but they can still be awakened. Those who might have concerns about laughing gas can rest easy. It’s mild in comparison to IV, so you won’t be laughing out of control like anytime soon. Different sedation options offer varying levels of effects. Say, if you know you’re going for IV, ask somebody to accompany you. IV is potent enough to render you unable to go home on your own. General anesthesia is a type of unconscious sedation. In other words, you’ll be completely unconscious during the procedure. You’ll be asleep when you’re under sedation and not feel any paın during your treatment. It’s like taking a nap! Some sedation makes you quite groggy, and you may even fall asleep. But you’ll still be able to communicate with your dentist if necessary, and you’ll awaken with a gentle nudge. Because sedation temporarily affects your memory and motor skills, you’ll need a friend or family member to drive you home after your procedure.
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Sleepcore : 😮đŸ˜ȘđŸŒ›đŸŒœđŸŒšđŸŒđŸŒ™âœšđŸ’«đŸŒŸâ­đŸŒ đŸ’€đŸ“ŸđŸ›ïžđŸ§žđŸŒ€đŸ’­đŸ„›đŸŒđŸȘ🐑đŸȘ«â°âœĄïžđŸŒ€â˜Ș Dreamcore :đŸ˜¶â€đŸŒ«ïžđŸ’€đŸŒˆđŸ‘ïžđŸŒ»đŸ„đŸ«§â˜€ïžđŸ’«đŸ—â˜ïžđŸ•łïžđŸ”źđŸȘŹđŸ”đŸ“…đŸ’żđŸ“žđŸŽ­đŸ–ŒïžđŸȘ„đŸ‘ŸđŸŽ±đŸȘ©â›“ïžđŸ§šđŸ‘Œ Gorecore/bloodcore : đŸ§ đŸ«€đŸ«đŸ©žđŸŠ·đŸŠŽđŸ’€đŸ„©đŸ–đŸ©»âš°ïžđŸȘŠ Lovecore: đŸ«€â€ïžâ€đŸ”„â€ïžâ€đŸ©čâŁïžđŸ’ŸđŸ’”đŸ’˜đŸ’đŸ’–đŸ’—đŸ’“đŸ’žđŸ’•đŸ’Œâ™„ïžâ€ïžđŸ§ĄđŸ’›đŸ’šđŸ’™đŸ’œđŸ€ŽđŸ–€đŸ€đŸ˜»đŸ„°đŸ˜˜đŸ˜đŸ˜šđŸ’đŸ‘©â€â€ïžâ€đŸ’‹â€đŸ‘šđŸ‘šâ€â€ïžâ€đŸ’‹â€đŸ‘šđŸ‘©â€â€ïžâ€đŸ’‹â€đŸ‘©đŸ’‘đŸ‘©â€â€ïžâ€đŸ‘šđŸ‘šâ€â€ïžâ€đŸ‘šđŸ‘©â€â€ïžâ€đŸ‘©đŸ§‘â€đŸ€â€đŸ§‘đŸ‘­đŸ‘ŹđŸ‘«đŸŒčđŸ’đŸ“đŸ«đŸ’’đŸ©đŸŽđŸŽ€đŸ§šđŸ‘Œ Kidcore : đŸŒˆđŸ’«đŸ“đŸŹđŸ­đŸ§đŸȘđŸ§ƒđŸ°đŸ«đŸŽ‚đŸȘ…đŸ§©đŸȘđŸŽšđŸ–ïžđŸŽ­đŸ§žđŸ§źđŸȘąđŸȘ†đŸŽ’đŸ©čâœïžđŸšŒđŸŽ đŸŠ„đŸȘ€đŸȘƒđŸ«§đŸȘ©đŸ§šđŸ›ŒđŸ©°đŸ„ Cutecore : 🧾🍰🌈🍓🍬🍭🧁đŸȘ 🌾💼đŸȘ·đŸŒ·đŸŒșđŸ‡đŸŒđŸŽ€đŸ’Œâ€ïžđŸ’ŸđŸĄđŸ™đŸ„đŸ§š Weirdcore : đŸŒˆđŸ„đŸŒ€đŸ’«đŸŽŠđŸ§©đŸ“șđŸ“œïžđŸ–ŒïžđŸŽ­đŸ“žđŸšȘđŸ’ŠđŸ§żâ˜Żïžâš•ïžđŸ‘ïžâ€đŸ—šïžđŸ‘ïžđŸ©žđŸ«§đŸ’‰đŸ§šđŸ‘Œ Clowncore : đŸ€ĄđŸ€ȘđŸ„łđŸ”ŽđŸŽ‰đŸŽŠđŸŽˆđŸŽ‚đŸŽ€đŸŽđŸȘ…đŸŽȘđŸŽ đŸŽĄđŸŽąđŸ–ïž 📌🔖🔼🍿🍭🍬🍩đŸ€čđŸ€č‍♀đŸ€č‍♂đŸȘ€đŸƒđŸŽ±đŸŽČđŸŽ­đŸŽŸïžđŸ’đŸ˜đŸŽđŸŠđŸ©°đŸ›ŒđŸŽŻđŸ—ĄïžđŸ’Ł Angelcore : đŸŒčâ˜ïžđŸ’«đŸ‘ŒđŸšđŸ•ŠïžđŸ•ŻïžđŸ’ŒđŸȘŹđŸ‘ïžđŸ“œđŸȘŠđŸ›ĄïžđŸ™đŸšđŸ„đŸŒ«ïžđŸŒȘïžđŸŒŹïžâ­đŸ‡đŸŠąâ›Ș Partycore : đŸ„łđŸ€©đŸ˜”â€đŸ’«đŸŽ‰đŸŽŠđŸŽˆđŸŽ‚đŸŽ€đŸŽđŸȘ…đŸŽŻđŸ›čđŸ›ŒđŸ§©đŸŽźđŸ•čïžđŸ‘ŸđŸ€„đŸȘđŸŽČđŸŽ±đŸŽšđŸ–ŒïžđŸŽ§đŸŽ­đŸŽŹđŸ›ïž Webcore/Internetcore : đŸ“±đŸ“ŸđŸ“ đŸ”ŒđŸ”‹đŸȘ«đŸ’œđŸ’ŸđŸ’żđŸ“€đŸ–„ïžđŸ’»âŒšïžđŸ–šïžđŸ–±ïžđŸȘ™âš™ïžđŸȘȘđŸ“ˆđŸ”đŸ§‘â€đŸ’»đŸ‘©â€đŸ’»đŸ‘šâ€đŸ’»đŸŒ€đŸŒŒđŸŽźđŸ•čïžđŸ‘Ÿ
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đŸ’«đŸ„›đŸ’€â­đŸŠđŸȘđŸ‡đŸŒ™đŸŒ€đŸ§žđŸŒđŸ“șđŸ­đŸ’­đŸ›ïžđŸ§ŠđŸ’­đŸŒŸ
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đŸ›ïžđŸŒđŸŒžđŸŒșâœšđŸ’€đŸ§žđŸŒđŸ’­đŸ„›đŸ‡đŸȘđŸ’«â­đŸŒ™
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đŸŠ‹đŸ’€đŸ˜ŽđŸ”źđŸŒŠ
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https://bluezey.tumblr.com/post/179996126450/reason-one-why-we-should-humanize-girls-night-out#notes https://www.tumblr.com/jopajopovna1/635538087895842816/reason-one-why-we-should-humanize-girls-night-out https://www.tumblr.com/asoingbop/648843739321761792/reason-one-why-we-should-humanize-girls-night-out https://www.tumblr.com/dreamystarcroc/650933638683344896/reason-one-why-we-should-humanize-girls-night-out
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　　　∧∧ ă€€ïŒˆă€€ïœ„Ï‰ïœ„ïŒ‰ 　 ïŒż|ă€€âŠƒïŒ(ïŒżïŒż_　 ïŒă€€â””-(ïŒżïŒżïŒż_ ïżŁïżŁïżŁïżŁïżŁïżŁïżŁ 　 ,âŒ’ïŒăƒœ-_ïŒż_ ,3/ïŒżïŒżïŒżïŒżïŒ
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đŸ’€đŸ§đŸŒžđŸŠđŸŒđŸ­đŸ§žđŸ‡đŸŽ€đŸ˜ŽđŸȘ
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đŸ›ïžđŸŒđŸŒžđŸŒșâœšđŸ’€đŸ§žđŸŒđŸ’­đŸ„›đŸ‡đŸȘđŸ’«â­đŸŒ™đŸˆâ€âŹ›đŸˆđŸ±â˜•đŸ©đŸ§đŸ„šđŸ«đŸ“đŸŒŒđŸ„đŸ”đŸ„đŸ„ŻđŸ§‹đŸ€ŽđŸ„–đŸ“œđŸ«“
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Tumblr | 10/6/2014 | 7:44pm | DO YOU? meeplol: Most people agree that dying while being asleep is the best way to dıe. Peaceful, not signs of tortur͘e nor paın. My grandma used to say angels carry them, the ones who are dying while being asleep, to heaven. But sometimes angels can be clumsy and drop them by accident. Remember the time you felt like falling in your sleep and suddenly woke up?
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Uhm important things ˚₊꒷୭୧ Hii, looking for a discord server to join? You should join us! join.... SLUMBERING MOON ‌ à­§ ‧₊˚ 🌙 ⋅ (alzo srry that we keep advertising this server, were desperate for members and idk why) [https://discord.gg/Hj2BW6NpqN] We are a sfw, social, crk themed server :3 Our offers are.... - Daily wot and qotd - A nice and loving community - Fun events ( Ex : Gartic phone , roblox , etc.) - Lots of bots to not make u bored - Lastly... A large server layout with fun things u can do ! NOTE : our servers a bit dead..
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Muscles relax during sleep, including those in the face. The nervous system relaxes when we go into a deep sleep, which can also cause our facial muscles to relax. This can lead to our mouths falling open and drool escaping from the sides of our mouths. Also saliva can spill out of your mouth as drool when your facial muscles relax in your sleep like if the mouth falls open. Since the muscles around your mouth are relaxed, your mouth can be relaxed enough that saliva slips out. Once in sleep cycle, your body’s muscles, including those in your face and mouth, start to relax, often resulting in less swallowing and more drool. But sometimes when you're asleep, your brain forgets to tell your throat and mouth muscles to swallow, causing saliva to commute from your mouth to your pillow. As you sleep, your body enters a state of relaxation and restoration. This means that your muscles relax – including all of the muscles and tissues in the airway. When these tissues relax, they may fall back into the airway, partially blocking your ability to breathe normally. Sometimes causes your throat to compress as your tongue falls further back into your airway and the open space behind your tongue and soft palate is reduced. Inhaled air becomes turbulent. Directly inhaled air vibrates the soft tissues at the back of your mouth Though breathing is an involuntary function and it may be difficult to control how your breathe while sleeping, if you sleep on your side, the saliva collects in the side of your mouth and the reflex does not kick in to get rid of the drool. However, if you sleep on your back, saliva collects in the back of the throat and leads to automatic swallowing action. If you breathe through partially blocked nose, greater suction forces are created that can cause your throat to collapse and bring on snoring where your uvula and soft palate start to flap. When we fall asleep, many muscles in our body relax. This is true of the muscles in our airway, since not fully conscious. When you doze off and progress from a light sleep to a deep sleep, the muscles in the roof of your mouth (soft palate), tongue and/or throat relax more. This usually happens when the muscles in your body (including your face) relax during sleep, especially during your REM cycle. When this happens, your jaw falls slack and your mouth falls open.
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December 8, 2010 / Sleep Snoring is caused by breathing in air through a partially blocked airway. As you fall asleep, the muscles that keep your breathing passage open begin to relax while your throat contracts. The vibrating tissue produces the sound familiarly known as snoring. And whether a given person awakens to their own snores may also vary from night to night. A reflex in the upper airway prevents this collapse and keeps windpipes open when you’re awake. But when you’re asleep, that reflex isn’t as strong. The upper airway tends to partially collapse, and breathing becomes noisier. Snoring can be an occasional occurrence or something that happens on a regular basis. As the air forces through, causes soft tissues in mouth, nose and throat to bump into one other and vibrate. During sleep, the airways tend to narrow, which may cause increased airflow resistance. Tightening causing include increased exposure to allergens; cooling of the airways; being in a reclining position; and hormone secretions that follow a circadian pattern. Sleep itself may even cause changes in bronchial function. The vibration of relaxed throat tissues during sleep causes snoring. During sleep, the muscles loosen, narrowing the airway. As a person inhales and/or exhales, the moving air causes tissue to flutter thus make noise. Some people are more prone to snoring because of the size and shape of the muscles and tissues in their neck. In other cases, excess relaxing of the tissue or narrowing of the airway can lead to snoring.
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March 26, 2012 Sleep talking, or somniloquy, is the act of speaking during sleep. It can be gibberish or resemble normal speech. Sleep talkers usually seem to be talking to themselves. The utterances can take place occasionally causing people to call out, speak, or produce incoherent language during sleep. People can sometimes act out on their dreams depending on where they are in their sleep cycle. Sleep talking may also occur during transitory arousals when a sleeper transitions from one stage of sleep to another whilst asleep. Sleep talking episodes are typically brief. Most sleep talking takes the form of short phrases, moans, or mumbling. The central symptom of sleep talking is audible expression that occurs during sleep without the person being aware of it happening. It can be gibberish or resemble normal speech. With sleep talking, you may not necessarily be forming coherent words or sentences.
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Why do people sleep talk? Posted May 24, 2009 Why do people sleep talk? In order to better understand parasomnias, it is important to understand what happens while we sleep. We start out awake when we lie down, close our eyes, and fall asleep, entering into light sleep, which then quickly gives way to deeper sleep. This is referred to as a sleep cycle, and generally lasts between 90-120 minutes. Sleep cycles again several more times during the night, though as the night progresses. The different stages of sleep are characterized by distinct brain wave patterns, as well as by differences in other physiologic parameters, such as muscle tone, eye movement, heart rate, breathing rate and patterns, and blood pressure. In REM sleep, dreams are most vivid and memorable. As one transitions between the different stages of sleep, there can be brief awakenings, either partial or full, following which most people immediately return to sleep. Sometimes, however, there are strong pulls both to wakefulness and to deep sleep, and the result is that part of the brain continues to be in slow wave sleep, while another part is simultaneously in a state of wakefulness. The behavioral consequence is one of the NREM parasomnias: sleep walking, sleep talking, sleep eating, confusional arousals, night terrors. The person going through one of these is not aware of what she or he is doing and is often incoherent while it is happening, and has no recollection of it after. Dennis Rosen, M.D.
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4 min read As you doze off, your face muscles gradually relax, giving your mouth free rein to drop open. Snoring is noisy breathing while you sleep. Air flows past relaxed tissues in your throat causing the tissues to vibrate as you breathe. Snoring can be caused by a number of factors such as the anatomy of your mouth and/or sinuses. When you doze off and progress from a light sleep to a deeper sleep, the muscles in the roof of your mouth (soft palate), tongue and throat relax. The more narrowed your airway, the more forceful the airflow becomes. As a person inhales and exhales, the moving air causes the tissue to flutter and make noise. Narrowing or partial blockage of the airways can make these relaxed tissues flutter. Air passing through these vibrations causes the rumbling sounds of snoring. In other words, the muscles that support the airway relax, allowing the breathing tube to constrict. When the airway gets narrower, the velocity of the air moving through it increases. The air vibrates more and creates more sound. When you mouth-breathe, your tongue is lower than usual to allow for extra air. Snoring can be both chronic, meaning it happens every time you drift off, or it may just occur from time to time, depending on different factors. Sometimes, poor oral and facial muscle control are the common factors. Also saliva is more likely to drip out with the mouth open during sleep. Mouth breathing can lead to saliva running out of the mouth as it unintentionally escapes after saliva pooling in the mouth. Yet air flow through the throat the soft tissues vibrate and cause snoring. The narrower the airway becomes, the more the air is forced and the louder the noise. Sleeping with your mouth open increases the amount of air that passes through your mouth. Facial muscles relax in your sleep and your mouth falls open. Saliva is more likely to leave the mouth when a person keeps their mouth open during sleep. It can spill out of your mouth as drool when your facial muscles relax. Since the muscles around your mouth are relaxed, your mouth can be relaxed enough that saliva slips out side. It's unintentionally, it’s more likely to happen when you’re not consciously able to control it when you’re sleeping. But when you’re sleeping you’re relaxed and so are your facial muscles.
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The central symptom of sleep talking is audible expression that occurs during sleep without the person being aware of it happening. It can be gibberish or resemble normal speech and consists in the unaware production of vocalisation during sleep. However, people are very rarely aware that they are talking in their sleep at the time and typically have no recollection of the episodes when they wake up. A large number of sleep speeches merely consist of short expressions of assent or negation (e.g., ‘OK’, ‘no,’ ‘good,’ ‘mm-hm,’ ‘uh-huh,’ ‘no!’ ‘stop!’ ‘don’t!’, etc.) As they experience different sensations and emotions in their dreams, it may manifest as groaning or other vocalisations. Excess mucus, combined with nose breathing and narrow airways, can lead to rattling or whistling sounds. Congestion and dry or swollen nasal membranes can clog up the works making breathing audible instead of peaceful. Sometimes it’s occasional, a gentle, perhaps even peaceful, soft whistling. Other times it sounds like a buzz saw, getting closer and closer, paused by a moment of silence, before climaxing in an even louder snort or gasp for air. And sometimes when we fall into a deep sleep, the muscles in the roof of the mouth (soft palate), tongue and throat relax. The tissues in the back of the throat can relax enough that they partially block the airway. As we inhale and exhale, these tissues rattle and vibrate, resulting in sounds in some people. The tissue vibration increases as the airway narrows, causing the snoring to grow louder and louder. As a person inhales and exhales, the moving air causes the tissue to flutter and make noise. Usually during sleep the brain becomes used to one’s own snoring (a process called habituation) As mentioned, people sometimes don’t hear themselves snore because the brain’s ability to receive sensory information is limited while we sleep. Some external stimulus may cause a person to stir, however.
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There are a few reasons for drooling in your sleep, including side sleeping and mouth breathing during sleep. Additionally, the swallow reflex occurs much less during sleep than during waking hours, which can lead to a buildup of saliva. That saliva can spill out of your mouth as drool when your facial muscles relax in your sleep and your mouth falls open. Mouth breathing during sleep may make drooling more likely, since drool can more easily escape when your mouth is open. While you sleep, your muscles typically relax. Since the muscles around your mouth are relaxed your mouth can be relaxed enough that saliva slips out. The position you sleep in could make you more prone to excessive drooling. As your body produces saliva, the liquid is more likely to escape from the front or the side of your mouth when it’s facing downward due to mere gravity. Sleeping with your mouth open increases the amount of air that passes through your mouth. This increased air facilitates movement and can lead to an overflow of saliva out of your mouth. Because drool is your saliva escaping your mouth unintentionally, it's more likely to happen when you're not consciously able to control it, like when you're sleeping. Due to this muscle relaxation during sleep, there is no conscious effort in managing saliva and controlling the mouth. Factors such as sleep position, tongue placement, and overall muscle tone play a role.
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NREM Stage N1 This stage of non-REM sleep is the typical transition from wakefulness to sleep and generally lasts only a few minutes. Stage N1 is the lightest stage of sleep; patients awakened from it usually don’t perceive that they were actually asleep During this stage: Eye movements are typically slow and rolling. heartbeat and breathing slow down muscles begin to relax you produce low amplitude mixed frequencies waves in the theta range (4 to 7 Hz) NREM Stage N2 This next stage of non-REM sleep comprises the largest percentage of total sleep time and is considered a lighter stage of sleep from which you can be awakened easily. This is the stage before you enter deep sleep. During this stage: heartbeat and breathing slow down further no eye movements body temperature drops Sleep spindles and K-complexes are two distinct brain wave features that appear for the first time NREM Stage N3 This final stage of non-REM sleep is the deepest sleep stage. Stage N3 sleep is known as slow-wave, or delta, sleep. Your body performs a variety of important health-promoting tasks in this final non-REM stage. During this stage: arousal from sleep is difficult heartbeat and breathing are at their slowest rate no eye movements body is fully relaxed delta brain waves are present tissue repair and growth, and cell regeneration occurs immune system strengthens REM Stage R There are two phases of REM sleep: phasic and tonic. Phasic REM sleep contains bursts of rapid eye movements, while tonic REM sleep does not. Stage R occurs about 90 minutes after you fall asleep, and is the primary “dreaming” stage of sleep. Stage R sleep lasts roughly 10 minutes the first time, increasing with each REM cycle. The final cycle of stage R may last roughly between 30 to 60 minutes. During this stage: eye movements become rapid during phasic REM breathing and heart rate increases and become more variable muscles become paralyzed, but twitches may occur brain activity is markedly increased When you fall asleep at night, you cycle through all of these stages of sleep multiple times — roughly every 90 minutes or so.
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á¶œá”’ËĄá”ˆ ᔃ˹ ⁱᶜᔉ âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ pt. 1 á”†á”ƒâżá”ˆÊž ᔃⁿᔈ áŽ·á”ƒÊłá”‰âż Ê·á”‰Êłá”‰ Ê°á”ƒâżá”â±âżá” ᔒᔘᔗ ᔃᔗ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ Ê·Ê°á”‰âż áŽŸËĄá”ƒâżá”á”—á”’âż Ê·á”ƒËą ᔃᔗ ⁱᔗ á”ƒá”á”ƒâ±âżâžŽ á”—ÊłÊžâ±âżá” á”—á”’ Ëąá”—á”‰á”ƒËĄ á”–á”ƒá”—á”—â±á”‰Ëąâ€§ ᎔ᔗ'Ëą Ê·â±âżá”—á”‰Êł ᔗⁱᔐᔉ➎ Ëąá”’ ᔗʰᔉ á¶ Êłá”’á¶»á”‰âż á”Êłá”’á”˜âżá”ˆ ⁱᶜᔉ á¶œá”ƒâż ᔇᔉ á”ˆá”ƒâżá”á”‰Êłá”’á”˜Ëąâ€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᔃⁿᔈ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á¶œÊ°á”ƒËąá”‰á”ˆ ʰⁱᔐ Ê·Ê°á”‰âż ᔗʰᔉʞ á¶œËĄá”’Ëąá”‰á”ˆ ⁱⁿ ᔒⁿ ʰⁱᔐ ᔃ˹ ʰᔉ Ëąá”—á”’á”’á”ˆ ᔒⁿ ᔃ ᔖᔃᔗᶜʰ ᔒᶠ ˹˥ᔉᔉᔗ á”’á”›á”‰Êł ᔃ ᔇᔒᔈʞ ᔒᶠ Ê·á”ƒá”—á”‰Êłâ€§ ᎏ˹ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ê·á”‰âżá”— á¶œËĄá”’Ëąá”‰Êł ᔗʰᔉ ⁱᶜᔉ ᔖᔃᔗᶜʰ Ëąá”—á”ƒÊłá”—á”‰á”ˆ á”—á”’ á¶œÊłá”ƒá¶œá”â€§ "᎔ᔗ'Ëą á”—á”’ á”ˆá”ƒâżá”á”‰Êłá”’á”˜Ëąâ€§â€§â€§" "ᑫᔘⁱᔉᔗ➎ ᔇᔒʞ!" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą â±âżá”—á”‰ÊłÊłá”˜á”–á”—á”‰á”ˆ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§ áŽŸËĄá”ƒâżá”á”—á”’âż ËąËĄâ±á”–á”–á”‰á”ˆ ᔃ˹ ᔗʰᔉ ᔖᔃᔗᔗʞ á¶ ËĄá”‰Ê· Êłâ±á”Ê°á”— á”—á”’ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëąâ€§ "ᔆᔃᶠᔉ!" ᎎᔉ ˹ᔃⁱᔈ➎ á”Êłá”ƒá”‡á”‡â±âżá” ᔗʰᔉ ᔖᔃᔗᔗʞ ᔃⁿᔈ ËĄá”‰á”ƒá”›â±âżá” áŽŸËĄá”ƒâżá”á”—á”’âż ᔉᔐᔖᔗʞ Ê°á”ƒâżá”ˆá”‰á”ˆâ€§ ᔀʰᔉ ⁱᶜᔉ Ëąá”—á”ƒÊłá”—á”‰á”ˆ á”—á”’ á¶œÊłá”ƒá¶œá” á”á”’Êłá”‰ á”ƒÊłá”’á”˜âżá”ˆ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ "áŽłÊłá”ƒá”‡ ᔐ‧‧‧" "á”†á”–á”’âżá”á”‰á”‡á”’á”‡âžŽ ÊČᔉ˹ᔗ ËĄá”‰á”ƒá”›á”‰ ʰⁱᔐ!" á”€Ê°á”‰âż ᔗʰᔉ ⁱᶜᔉ á”‡Êłá”’á”á”‰ á”â±á”›â±âżá” ʷᔃʞ á”—á”’ ᔗʰᔉ á¶ Êłá”‰á”‰á¶»â±âżá” Ê·á”ƒá”—á”‰ÊłËą á”—á”’ ᔗʰᔉ ËąÊ°á”’á¶œá” ᔒᶠ ᔗʰᔉᔐ‧ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ËĄá”ƒá”˜á”Ê°á”‰á”ˆ á”—á”’ Ê°â±á”Ëąá”‰ËĄá¶  á”—á”ƒá”â±âżá” ᔗʰᔉ ᔖᔃᔗᔗʞ á”—á”’ ᔗʰᔉ á”Êłá”˜Ëąá”—Êž á”Êłá”ƒá”‡â€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Ëąá”ƒÊ· áŽŸËĄá”ƒâżá”á”—á”’âż ʰⁱᔗ ⁱᶜᔉ ᔃ˹ ʰᔉ ᶠᔉ˥˥ ⁱⁿ á”—á”’ ᔗʰᔉ á¶ Êłá”‰á”‰á¶»â±âżá” Ê·á”ƒá”—á”‰Êł á”—á”’á”—á”ƒËĄËĄÊž Ê°á”‰ËĄá”–ËĄá”‰ËąËąâ€§ áŽżâ±Ëąá”â±âżá” Ê°â±Ëą á”’Ê·âż ˥ⁱᶠᔉ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶œÊłá”ƒÊ·ËĄá”‰á”ˆ á”—á”’ Ê·Ê°á”‰Êłá”‰ ʰᔉ á¶œá”’á”˜ËĄá”ˆ Êłá”‰á”ƒá¶œÊ° ʰⁱᔐ‧ áŽžá”˜á¶œá”â±ËĄÊž ⁱᔗ'Ëą á¶œËĄá”’Ëąâ±âżá” ᔗⁱᔐᔉ Ëąá”’ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔈⁱᔈⁿ'á”— âżá”‰á”‰á”ˆ á”—á”’ ᔍᔒ Êłâ±á”Ê°á”— ᔇᔃᶜᔏ á”—á”’ Ê°â±Ëą Ê·á”’Êłá”â€§ ᎎᔉ á¶œá”ƒÊłÊłâ±á”‰á”ˆ ʰⁱᔐ á”—á”’ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ‧ áŽ·á”ƒÊłá”‰âż ᔃⁿᔈ á”†á”ƒâżá”ˆÊž á”á”ƒËąá”–á”‰á”ˆ ᔃ˹ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”‡Êłá”’á”˜á”Ê°á”— ⁱⁿ áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ ᔇᔒᔗʰ ᔒᶠ ᔗʰᔉᔐ á¶ Êłá”‰á”‰á¶»â±âżá”â€§ áŽ·á”ƒÊłá”‰âż ˥ⁱᔗ ᔗʰᔉ á¶ â±Êłá”‰á”–ËĄá”ƒá¶œá”‰â€§ "á”†á”–á”’âżá”á”‰á”‡á”’á”‡âžŽ ʷʰᔃᔗ‧‧‧" "á”†á”ƒâżá”ˆÊžâžŽ ⁱᔗ'Ëą ᔃ˥˥ ᔐʞ á¶ á”ƒá”˜ËĄá”—! áŽčᔉ ᔃⁿᔈ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á¶œá”’Êłâżá”‰Êłá”‰á”ˆ áŽŸËĄá”ƒâżá”á”—á”’âż Ê·Ê°á”’ á”—Ê°á”‰âż ᶠᔉ˥˥ á”—Ê°Êłá”’á”˜á”Ê°â€§â€§â€§" "á”†á”—á”‰á”ƒËĄâ±âżá”? ᎔ ˹ᔉᔉ‧ ᎔ᔗ'Ëą ⁿᔒᔗ Êžá”’á”˜Êł á¶ á”ƒá”˜ËĄá”—â€§â€§â€§" á”†á”ƒâżá”ˆÊž Ëąá”ƒÊ· áŽŸËĄá”ƒâżá”á”—á”’âż á¶œËĄá”˜á”—á¶œÊ°â±âżá” Ê°â±Ëą á”ƒÊłá”â€§ "᎞ᔒᔒᔏ➎ ⁱᔗ'Ëą ËĄá”ƒá”—á”‰; ᎔'ËĄËĄ ᔍᔉᔗ Ëąá”ƒâżá”ˆÊž ᔃ ËąËĄá”‰á”‰á”–â±âżá” ᔇᔃᔍ Ê·Ê°â±ËĄËąá”— ʞᔒᔘ á”á”˜ÊžËą ᔍᔉᔗ ᔒⁿ ᔗʰᔉ ᶜᔒᔘᶜʰ‧" áŽ·á”ƒÊłá”‰âż á”—á”’ËĄá”ˆ ᔗʰᔉᔐ‧ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᔍᔒᔗ ᔒⁿ ᔗʰᔉ ᶜᔒᔘᶜʰ ʷⁱᔗʰ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ "ʞᔒᔘ Ê°á”˜Êłá”—â±âżá”?" "áŽčÊž á”ƒÊłá”â€§â€§â€§" "᎔'ᔐ Ëąá”’ÊłÊłÊžâžŽ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ ᎎᔒʷ ᔈᔒ ʞᔒᔘ ᶠᔉᔉ˥?" "á¶œá”’ËĄá”ˆâžŽ á”—â±Êłá”‰á”ˆâ€§â€§â€§" á”†á”ƒâżá”ˆÊž'Ëą ËąËĄá”‰á”‰á”–â±âżá” ᔇᔃᔍ ᔇʞ ᔗʰᔉ ᶜᔒᔘᶜʰ➎ áŽ·á”ƒÊłá”‰âż á”—Ê°á”‰âż ᔍᔒᔗ ˹ᔒᔐᔉ Ê·á”ƒÊłá” á”‡ËĄá”ƒâżá”á”‰á”—Ëąâ€§ "á”€Ê°á”ƒâżá”Ëąâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”—á”’ËĄá”ˆ ᔗʰᔉᔐ ᔃ˹ ʰᔉ ᶠᔉ˥˥ á”ƒËąËĄá”‰á”‰á”–â€§ "áŽ·á”ƒÊłá”‰âżâžŽ ᔗʰᔉʞ ᔇᔒᔗʰ á¶ á”ƒËĄËĄá”‰âż á”ƒËąËĄá”‰á”‰á”–; ᎔ ˹ᔗⁱ˥˥ Ê°á”ƒá”›á”‰âż'á”— á”á”’á”—á”—á”‰âż áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą á”ƒÊłá” á”‡á”ƒâżá”ˆá”ƒá”á”‰á”ˆ ʞᔉᔗ‧‧‧" á”†á”ƒâżá”ˆÊž Ê·Ê°â±Ëąá”–á”‰Êłá”‰á”ˆâ€§ "᎔ á”ˆá”’âż'á”— á”âżá”’Ê· ᔃᔇᔒᔘᔗ Ê·á”ƒá”â±âżá” 'ᔉᔐ‧‧‧" "ʞᔒᔘ ᔗᔘᶜᔏ ⁱⁿ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔃⁿᔈ ᎔'ËĄËĄ Ê·Êłá”ƒá”– ᔗʰᔉ á”ƒÊłá”; á”—Ê°á”‰âż ᔗʰᔉʞ'ËĄËĄ ᔇᔒᔗʰ ᔇᔉ á¶œá”’á”á¶ á”’Êłá”—á”ƒá”‡ËĄá”‰ ᔇʞ ᔗʰᔉ ᔗⁱᔐᔉ ᔗʰᔉʞ ʷᔃᔏᔉ ᔘᔖ‧‧‧" To be cont. Pt. 2
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Not ALL snoring is harmful. The reasons for snoring stem from the relaxation of throat muscles when you sleep. Less airway volume can mean that the relaxed throat vibrates when you breathe. It’s the universal cause of snoring (harmful or normal) The tongue is one of the main factors in snoring and sleeping with mouth open. During sleep, the muscles in the back of the mouth, nose, or throat become relaxed and breath flowing through the airway causes them to vibrate or flap. When you go to sleep, the primary muscles of your tongue and your throat relax. For you to keep your airway open, support muscles for the throat must hold firm. Not all snoring is sleep apnoea. Breathing noise or ‘snoring’ can be normal. The restricted airflow results in a rumbling, rattling sound that occurs when air flows past the relaxed tissues. Snoring sounds range from quiet whistling or vibrating to a loud grumbling, snorting, or rumbling. It results when the upper airway, specifically the throat and the nasal passage, vibrate from turbulent airflow during breathing while asleep. This commonly affects the soft palate and uvula, the tissue that hangs down at the back of the throat. Narrowing at the base of the tongue may also play a role. The root cause of snoring is when the air you’re breathing doesn’t flow smoothly through your nose and/or throat when you’re sleeping. Instead, it bumps into the surrounding tissues, which causes a vibration. The resulting vibration makes the snoring sound as you breathe. Your tongue position may also play a part. Snoring is caused by things such as your tongue, mouth, throat or airways in your nose vibrating as you breathe. It happens because these parts of your body relax and narrow when you're asleep. Sometimes it's caused by a condition like sleep apnoea, which is when your airways become temporarily blocked as you sleep. Snoring is the sound that air makes when it passes across the relaxed or loose tissues of the upper airway.
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Mental confusion, also called delirium, is a change in a person’s awareness. Confusion affects how a person thinks, sees the world around them, and remembers things. The main signs of mental confusion or delirium are sudden changes in awareness. A person with confusion or delirium might suddenly get very sleepy and unaware of their surroundings or act very upset. Hypoactive, or low activity. Acting sleepy or withdrawn and "out of it." Hyperactive, or high activity. Acting upset, nervous, and agitated. Mixed. A combination of hypoactive and hyperactive confusion. The main symptom is a change in general awareness and consciousness. This may include: A shorter attention span Trouble remembering things, writing, or finding words Speech and thoughts that do not make sense Not knowing where they are, what day it is, or other facts Mixing up day and night and difficulty sleeping Personality changes, restlessness, anxiety, depression, or irritability Seeing things that others do not (hallucinating) or believing things that are not really happening (delusions)
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5 Min Read|At one stage or another, have woken up to the sensation of a wet pillow clinging ever so slightly to. Why does this happen? Why some sleep with mouths open? And, can it be prevented? What’s left of any extra saliva that fled your mouth while you were sleeping is drool. During the day we naturally swallow any saliva produced in our mouth while at night this process is meant to slow down. But for the unlucky, dribbling continues at a rapid pace throughout the night. In fact, there’s even a name for the condition of producing too much saliva: sialorrhea. Your sleep position can greatly impact how much you drool. If you sleep on your front or side, your mouth is likely to hang open, letting saliva drip freely. Whereas if you sleep on your back, the saliva will pool at the back of your throat and activate your swallowing reflex. Also you are unconscious when this happens to it’s tricky to know for sure if you tend to open your mouth during the night, but if you are a mouth breather, you are likely going to dribble, and you may find your pillow is wet regularly. In general, you will breathe through your mouth if your nose is failing to provide enough oxygen to your body, so your lungs opt for Plan B and use your mouth for air, which is when saliva takes chance at a quick escape. You may also open your mouth throughout the night due to stress and anxiety as it activates your sympathetic nervous system. If you can’t breathe easily through your nose, you’re likely to open your mouth for air.
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If you were sedated, you will be comfortable and drowsy. IV anesthesia lets you fall into a sleep-like state and prevents any paın can distort sensation and lack of fine motor control. The patient falls asleep and is completely unaware of the procedure being performed. Twilight sedation drifting in and out of sleep Once again some patients may be asleep while others will slip in and out of sleep. For example, patients may experience some short-term memory issues, they may have trouble making decisions, they may feel emotional and they may feel somewhat disoriented. Nitrous oxide Patients are able to breathe on their own and remain in control of all functions. The patient may experience mild amnesia and may fall asleep not remembering all of what happened during their appointment. When nitrous oxide is administered, the patient may feel a kind of dreamy light-headedness. Nitrous oxide tends to make you feel a bit funny and “floaty.” You may even laugh at things that are happening around you, which is why it’s also called “laughing gas.” However, this change in consciousness is very short-lived.
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á¶œá”’ËĄá”ˆ ᔃ˹ ⁱᶜᔉ âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ pt. 2 áŽ·á”ƒÊłá”‰âż á¶ â±ËŁá”‰á”ˆ ᔗʰᔉ á”‡ËĄá”ƒâżá”á”‰á”— á¶œá”’á”›á”‰ÊłËą á¶ á”’Êł Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔃⁿᔈ á”—Ê°á”‰âż ᔍᔒᔗ Ëąá”ƒâżá”ˆÊž á¶ â±ÊłËąá”— ᔃⁱᔈ á¶ á”’Êł áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ á”Ëąâ±âżá” á”–ËĄá”ƒËąá”—á”‰Êł á”ˆÊłá”‰ËąËąâ±âżá”Ëą á¶ Êłá”’á” ᔗʰᔉ á¶ â±ÊłËąá”— ᔃⁱᔈ ᔏⁱᔗ➎ á”†á”ƒâżá”ˆÊž âżá”’á”—â±á¶œá”‰á”ˆ ʰⁱᔐ á¶ ËĄâ±âżá¶œÊ° ᔃ˹ ËąÊ°á”‰ Ê·á”‰âżá”— á”—á”’ á”‡á”ƒâżá”ˆá”ƒá”á”‰ ᔗʰᔉ á”ƒÊłá”â€§ áŽŒâżá¶œá”‰ ËąÊ°á”‰ á¶ â±âżâ±ËąÊ°á”‰á”ˆ ᔘᔖ ʰᔉ Ëąá”—á”’á”–á”–á”‰á”ˆâžŽ ᔗʰᔒᔘᔍʰ➎ á¶ á”’Êł ʰᔉ ˹ᔗⁱ˥˥ Êłá”‰á”á”ƒâ±âżËą ⁱⁿ ᔈᔉᔉᔖ ˹˥ᔉᔉᔖ‧ "᎔ᔗ'Ëą ᔇᔉᔉⁿ ᔃ ËĄá”’âżá” ᔃⁿᔈ á”‰ËŁÊ°á”ƒá”˜Ëąá”—â±âżá” ᔈᔃʞ á¶ á”’Êł 'ᔉᔐ‧‧‧" áŽ·á”ƒÊłá”‰âż Ëąá”ƒâ±á”ˆâ€§ áŽ±á”ƒÊłËĄÊž ᔗʰᔉ ⁿᔉˣᔗ ᔈᔃʞ➎ áŽ·á”ƒÊłá”‰âż ᔃⁿᔈ á”†á”ƒâżá”ˆÊž ᔍᔒᔗ ᔘᔖ á¶ â±ÊłËąá”—â€§ "᎔'ËĄËĄ ᔍᔒ ᔗᔉ˥˥ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ⁱ˹ⁿ'á”— ᔘᔖ á”—á”’ Ê·á”’Êłá”â±âżá”â€§â€§â€§" á”†á”ƒâżá”ˆÊž ˹ᔃⁱᔈ ᔃ˹ ËąÊ°á”‰ Ê·á”‰âżá”— ᔒᔘᔗ ᔗʰᔉ á”ˆá”’á”’Êłâ€§ áŽŸËĄá”ƒâżá”á”—á”’âż ᔃʷᔒᔏᔉ ᔃ˹ á”†á”ƒâżá”ˆÊž ᶜᔃᔐᔉ ᔇᔃᶜᔏ ⁱⁿ‧ "ᎌᔘ‧‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż á”—Êłâ±á”‰á”ˆ á”—á”’ ˹ⁱᔗ ᔘᔖ‧ áŽŸá”ƒâ±âż Ëąá”˜á”ˆá”ˆá”‰âżËĄÊž ᶜᔃᔐᔉ á”—á”’ Ê°â±Ëą á”ƒÊłá”â€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ʷᔒᔏᔉ ᔘᔖ ᔃⁿᔈ á¶œá”ƒá”—á¶œÊ°á”‰Ëą áŽŸËĄá”ƒâżá”á”—á”’âż ᔃ˹ ʰᔉ á¶œá”’ËĄËĄá”ƒá”–Ëąá”‰á”ˆ á¶ Êłá”’á” ᔗʰᔉ á”–á”ƒâ±âż ᔃⁿᔈ ËĄá”ƒá¶œá” ᔒᶠ á”‰âżá”‰Êłá”Êžâ€§ "áŽŸËĄá”ƒâżá”á”—á”’âż ʞᔒᔘ á”ƒÊłá”‰ Ê°á”˜Êłá”—â€§â€§â€§" áŽ·á”ƒÊłá”‰âż Ê·á”‰âżá”— á”’á”›á”‰Êł á”—á”’ ʰⁱᔐ‧ "ᔂʰᔃᔗ‧‧‧" "áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ ʞᔒᔘ ⁱⁿÊČá”˜Êłá”‰á”ˆ Êžá”’á”˜Êł á”ƒÊłá” ᔃ˹ ʞᔒᔘ ʰᔃᔈ á¶ á”ƒËĄËĄá”‰âż á”—Ê°Êłá”’á”˜á”Ê° ⁱᶜᔉ➎ ᔇᔘᔗ á”†á”ƒâżá”ˆÊž á¶ â±ËŁá”‰á”ˆ ⁱᔗ ᔘᔖ ËĄá”ƒËąá”— âżâ±á”Ê°á”—â€§ ʞᔒᔘ âżá”‰á”‰á”ˆ Êłá”‰Ëąá”— Ëąá”’ ᔃ˹ á”—á”’ ᔇᔉ ᔃ˹ ᔍᔒᔒᔈ ᔃ˹ âżá”‰Ê·â€§â€§â€§" áŽ·á”ƒÊłá”‰âż á”‰ËŁá”–ËĄá”ƒâ±âżá”‰á”ˆâ€§ "á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᎔ Ê·á”‰âżá”— ᔃⁿᔈ á”—á”’ËĄá”ˆ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ʞᔒᔘ'ᔈ ᔇᔉ ᔒᔘᔗ ᔒᶠ Ê·á”’Êłá” Ëąá”’ ʞᔒᔘ á¶œá”ƒâż Êłá”‰Ëąá”— á”‰á”ƒËąÊžâ€§â€§â€§" "᎔ ᶠᔉᔉ˥ á”‡á”‰á”—á”—á”‰Êł á”—Ê°á”ƒâż ᔃᔗ á¶ â±ÊłËąá”— ᔇᔘᔗ á”—Ê°á”ƒâżá” ʞᔒᔘ‧‧‧" "᎔ á”âżá”’Ê·; ⁱᔗ'Ëą ÊČá”˜Ëąá”— á”—á”’ ᔇᔉ ᔒⁿ ᔗʰᔉ Ëąá”ƒá¶ á”‰ Ëąâ±á”ˆá”‰â€§ Êž'ᔃ˥˥ ˹ᔗⁱ˥˥ Êłá”‰á”á”ƒâ±âż á”—á”’á”á”‰á”—Ê°á”‰Êł ᔒⁿ ᔗʰᔉ ᶜᔒᔘᶜʰ‧‧‧" á”†á”ƒâżá”ˆÊž ᔍᔃᔛᔉ ᔗʰᔉᔐ Ëąá”–á”ƒá¶œá”‰ Ê·Ê°â±ËĄËąá”— áŽ·á”ƒÊłá”‰âż Ê·á”‰âżá”— ʷⁱᔗʰ Ê°á”‰Êłâ€§ "á”‚á”ƒâżâżá”ƒ ʰᔘᔍ➎ áŽŸËĄá”ƒâżá”â€§â€§â€§" "᎔ ᔃᔐ ⁿᔒᔗ ᔃ Ê°á”˜á”á”á”‰ÊłâžŽ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§â€§â€§" "ʞᔒᔘ á¶œá”ƒâż á”ƒËąá” ⁱᶠ ʞᔒᔘ á¶œÊ°á”ƒâżá”á”‰ Êžá”’á”˜Êł á”â±âżá”ˆâ€§" "Ꮁᔛᔉⁿ ⁱᶠ ᎔ Ê·á”ƒËąâžŽ ᔐʞ á”ƒÊłá”â€§â€§â€§" "ᔆᔗⁱ˥˥ á¶ á”‰á”‰ËĄâ±âżá” ᔇᔃᔈ? ᎔ á”âżá”’Ê· ᔃ á”á”ƒËąËąá”ƒá”á”‰ á”—á”‰á¶œÊ°âżâ±á‘«á”˜á”‰â€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Êłá”˜á”‡á”‡á”‰á”ˆ ⁱᔗ á”’âżá¶œá”‰ áŽŸËĄá”ƒâżá”á”—á”’âż Ê°á”‰ËĄá”ˆ ⁱᔗ ᔒᔘᔗ‧ "ᔂʰʞ á”ƒÊłá”‰ ʞᔒᔘ Ëąá”’ âżâ±á¶œá”‰ á”—á”’ ᔐᔉ➎ ᔏⁱᔈ?" "᎔'ᔐ á”—á”’ ᔃ˥˥ ᔖᔉᔒᔖ˥ᔉ➎ ᔇᔘᔗ ᎔ ˹ᔉᔉ ʞᔒᔘ ᔃ˹ ᔃ á¶ Êłâ±á”‰âżá”ˆâ€§â€§â€§" "᎔ á”ˆá”’âż'á”— á”ˆá”‰Ëąá”‰Êłá”›á”‰â€§â€§â€§" "áŽŸËĄá”ƒâżá”á”—á”’âż ˥ⁱ˹ᔗᔉⁿ ᎔ Êłá”‰á”ƒËĄâ±Ëąá”‰ ʞᔒᔘ á”ƒÊłá”‰âż'á”— ᔇⁱᔍ ᔒⁿ á”ƒá¶ á¶ á”‰á¶œá”—â±á”’âżâžŽ ᔇᔘᔗ ᎔ ᔈᔒ á¶œá”ƒÊłá”‰ ᔃᔇᔒᔘᔗ ʞᔒᔘ! áŽșᔒʷ➎ Êłá”‰Ëąá”—â€§â€§â€§" "ʞᔒᔘ'Êłá”‰ ᔗʰᔉ ᔇᔉ˹ᔗ‧‧‧" To be cont. Pt. 3
new karendy karandyn plankdy plankdyren plangebob plarenbob sandarenton cold as ice
ᔀʰᔉ áŽŹá¶œá¶œâ±á”ˆá”‰âżá”— âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ pt. 4 áŽŹá¶ á”—á”‰Êł âżá”’á”—Ê°â±âżá”âżá”‰ËąËąâžŽ áŽŸËĄá”ƒâżá”á”—á”’âż Ê·á”ƒËą ËąÊ°á”’Ê·â±âżá” Ëąâ±á”âżËą ᔒᶠ Êłá”‰á¶œá”’á”›á”‰ÊłÊžâ€§ á¶ á”‰á”‰ËĄâ±âżá” á”‡á”’á”á”‡á”ƒÊłá”ˆá”‰á”ˆâžŽ ʰᔉ á”—Êłâ±á”‰á”ˆ á”—á”’ ᔐᔒᔛᔉ Ê·Ê°á”‰âż á”–á”ƒâ±âż á”’á”›á”‰ÊłÊ·Ê°á”‰ËĄá”á”‰á”ˆ ʰⁱᔐ‧ "ᎎⁱ‧‧‧" áŽ·Êłá”ƒá”‡Ëą Ëąá”ƒâ±á”ˆâ€§ "ᔂʰᔒ‧‧‧" "ʞᔒᔘ ᔍᔒᔗᔗᔃ ᔗᔃᔏᔉ ⁱᔗ á”‰á”ƒËąÊžâžŽ á”–á”ƒËĄ!" áŽ·Êłá”ƒá”‡Ëą á”—Êłâ±á”‰á”ˆ á”—á”’ ʰⁱᔈᔉ Ê°â±Ëą á”—á”‰á”ƒÊłËą á¶ Êłá”’á” áŽŸËĄá”ƒâżá”á”—á”’âż ᔃ˹ ʰᔉ ʰᔃᔈ á”†á”ƒâżá”ˆÊž ᔃⁿᔈ áŽ·á”ƒÊłá”‰âż ᶜᔒᔐᔉ ˹ᔉᔉ‧ "ᎎᔒʷ'˹➎ Ê°á”’Ê· áŽ·Êłá”ƒá”‡Ëąâ€§â€§â€§" "᎔ á”á”’ËĄá”ˆ ᔐᔉ ËąÊ°á”‰ËĄËĄ ᔃⁿᔈ ᎔'ᔐ Ëąá”’ÊłÊłÊž á¶ á”’Êłâ€§â€§â€§" "áŽ±á”˜á”á”‰âżá”‰ ˥ᔉᔗ'Ëą ᔍⁱᔛᔉ ʰⁱᔐ Êłá”‰Ëąá”—â€§ áŽżá”‰á”ƒá”ˆÊž á”—á”’ ᔍᔒ ʰᔒᔐᔉ?" áŽ·á”ƒÊłá”‰âż á”’á¶ á¶ á”‰Êłá”‰á”ˆ Ê°á”‰Êł Ê°á”ƒâżá”ˆâ€§ "ʞᔃ ËĄá”˜á¶œá”Êž á”—á”’ ᔇᔉ á”ƒËĄâ±á”›á”‰ ᔃ˹ ʞᔒᔘ'ᔈ ᔇᔉ á”á”’âżá”‰âžŽ ᔇᔘᔗ ʞᔃ ᔈⁱᔈ á¶ Êłá”ƒá¶œá”—á”˜Êłá”‰ ËĄá”‰á”â€§â€§â€§" á”†á”ƒâżá”ˆÊž á”‰ËŁá”–ËĄá”ƒâ±âżá”‰á”ˆâ€§ á”‚á”ƒá”›â±âżá” ᔇʞᔉ á”—á”’ áŽžá”ƒÊłÊłÊžâžŽ ᔗʰᔉʞ ᔃ˥˥ Ê·á”‰âżá”— á”—á”’ á”—Ê°á”‰â±Êł Êłá”‰Ëąá”–á”‰á¶œá”—â±á”›á”‰ Ê°á”’á”á”‰Ëą Êłá”‰Ëąá”–á”‰á¶œá”—â±á”›á”‰ËĄÊžâ€§ to be cont. Pt. 5
new plabscore plankdy karandy karendy the accident
ᔀʰᔉ áŽŹá¶œá¶œâ±á”ˆá”‰âżá”— âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ pt. 3 áŽŹá¶ á”—á”‰Êł Ëąá”‰á”‰â±âżá” áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ᔖᔒⁱⁿᔗ ᔒᔘᔗ áŽžá”ƒÊłÊłÊž ᔈⁱᔛᔉᔈ ⁱⁿ ᔗʰᔉ Ê·á”ƒá”—á”‰Êł Ëąá”ƒá”›â±âżá” áŽŸËĄá”ƒâżá”á”—á”’âż á¶ Êłá”’á” á”‡á”‰â±âżá” ËĄá”’Ëąá”— ᔃᔗ Ëąá”‰á”ƒâ€§ áŽŽá”’Ê·á”‰á”›á”‰ÊłâžŽ áŽŸËĄá”ƒâżá”á”—á”’âż ᔈⁱᔈⁿ'á”— Êłá”‰Ëąá”–á”’âżá”ˆ á”—á”’ á”ƒâżÊž á”—Ê°â±âżá”â€§ "᎔'ᔛᔉ á”ˆá”’âżá”‰ ᔃ˥˥ ᎔ á¶œá”ƒâżâ€§â€§â€§" áŽžá”ƒÊłÊłÊž Ëąá”ƒâ±á”ˆâ€§ "᎔ á”ˆá”’âż'á”— á”âżá”’Ê· Ê°â±Ëą ʷⁱᶠᔉ'Ëą âżá”˜á”á”‡á”‰Êłâ€§â€§â€§ ᎔'ËĄËĄ á¶œá”ƒËĄËĄ á”†á”ƒâżá”ˆÊž!" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ˹ᔃⁱᔈ á”âżá”’Ê·â±âżá” ËąÊ°á”‰ ʰᔃᔈ ᔗʰᔉ á”âżá”’Ê·ËĄá”‰á”ˆá”á”‰ á”—á”’ á”–á”’ËąËąâ±á”‡ËĄÊž Ê°á”‰ËĄá”–â€§ á”†á”ƒâżá”ˆÊž ᶜᔃᔐᔉ ᔃⁿᔈ á¶œá”ƒËĄËĄá”‰á”ˆ áŽ·á”ƒÊłá”‰âż ᔒⁿ ᔗʰᔉ ʷᔃʞ‧ áŽ·á”ƒÊłá”‰âż Ëąá¶œá”ƒâżâżá”‰á”ˆ ʰⁱᔐ á¶ á”’Êł á”ƒâżÊž â±âżá”—á”‰Êłâżá”ƒËĄ ᔈᔃᔐᔃᔍᔉ ᔃ˹ Ëąá”ƒâżá”ˆÊž á”—Êłâ±á”‰á”ˆ á”—á”’ Êłá”‰á”›â±á”›á”‰ ʰⁱᔐ‧ "᎔ á¶ á”’á”˜âżá”ˆ ᔗʰᔉ ËĄá”‰á” ʰⁱᔗ á”ƒá”á”ƒâ±âżËąá”— ᔗʰᔉ Êłá”’á¶œá” ʷⁱᔗʰ á”‰âżá”’á”˜á”Ê° á¶ á”’Êłá¶œá”‰ á”—á”’ á¶ Êłá”ƒá¶œá”—á”˜Êłá”‰â€§â€§â€§ áŽłá”‰á”—á”—â±âżá” á”‡á”ƒâżá”ˆá”ƒá”á”‰ËąâžŽ ᔗʰᔉʞ ˥ᔉᔗ áŽ·Êłá”ƒá”‡Ëą ʰᔃᔛᔉ ᔃ ᔐᔒᔐᔉⁿᔗ á”ƒËĄá”’âżá”‰ ʷⁱᔗʰ ʰⁱᔐ ÊČá”˜Ëąá”— ⁱⁿ á¶œá”ƒËąá”‰â€§â€§â€§ to be cont. Pt. 4
new plabscore plankdy karandy karendy the accident
áŽżá”‰á¶œâ±á”–á”‰ á¶ á”’Êł áŽ°â±Ëąá”ƒËąá”—á”‰Êł 𝚠𝚘𝚛𝚍 𝚌𝚘𝚞𝚗𝚝: đŸœđŸ·đŸż âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ 𝚠𝚘𝚛𝚍 𝚌𝚘𝚞𝚗𝚝: đŸœđŸ·đŸż "᎔'ᔐ á”á”’â±âżá” á”—á”’ ˹ᔉᔉ Ëąá”ƒâżá”ˆÊžâ€§â€§â€§" áŽ·á”ƒÊłá”‰âż á”—á”’ËĄá”ˆ Ê°á”‰Êł Ê°á”˜Ëąá”‡á”ƒâżá”ˆ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ "Ëąá”’á”˜âżá”ˆËą ᔍᔒᔒᔈ‧" ᎎᔉ Êłá”‰á”–ËĄâ±á”‰ËąâžŽ á”‡á”˜ËąÊžâ±âżá” Ê°â±á”Ëąá”‰ËĄá¶ â€§ ᔆᔒ ËąÊ°á”‰ Ê·Êłá”’á”—á”‰ ʰⁱᔐ ᔃ ⁿᔒᔗᔉ ÊČá”˜Ëąá”— ⁱⁿ á¶œá”ƒËąá”‰ á”—á”’ ᔇᔉ Ëąá”˜Êłá”‰â€§ áŽ·á”ƒÊłá”‰âż ᔃⁿᔈ Ëąá”ƒâżá”ˆÊž ᔐᔉᔗ ᔘᔖ á”—á”’ Ê°á”ƒâżá” ᔒᔘᔗ‧ áŽčá”‰á”ƒâżÊ·Ê°â±ËĄá”‰ áŽŸËĄá”ƒâżá”á”—á”’âż Ëąá”ƒÊ· áŽ·á”ƒÊłá”‰âż'Ëą ⁿᔒᔗᔉ á”‡á”‰á¶ á”’Êłá”‰ á”á”’â±âżá” á”—á”’ ᔗʰᔉ á”Êłá”˜Ëąá”—Êž á”Êłá”ƒá”‡â€§ "Ꮃⁱᔛᔉ ᔐᔉ ᔗʰᔉ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—ËąâžŽ áŽ±á”˜á”á”‰âżá”‰ áŽ·Êłá”ƒá”‡Ëąâ€§" áŽŸËĄá”ƒâżá”á”—á”’âż á”ˆá”‰á”á”ƒâżá”ˆá”‰á”ˆâ€§ "᎔ á”ˆá”’âż'á”— á”—Ê°â±âżá” ˹ᔒ‧‧" "᎔'ᔈ ËĄâ±á”á”‰ ʞᔒᔘ á”—á”’ ᔐᔒᔛᔉ á”’á”›á”‰Êł Ëąá”’ ᎔ á¶œá”ƒâż á”ƒá¶œá¶œá”‰ËąËą ᔗʰᔉ Ëąá”ƒá¶ á”‰!" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ᔖⁱᶜᔏᔉᔈ ᔘᔖ ᔗʰᔉ ᶜᔘᔇᔉ ËąÊ°á”ƒá”–á”‰á”ˆ á”–á”’Êłá”—á”ƒá”‡ËĄá”‰ á”›á”ƒá”˜ËĄá”—âžŽ á”˜Ëąâ±âżá” ᔃ˥˥ Ê°â±Ëą Ëąá”—Êłá”‰âżá”á”—Ê°â€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᶜᔃᔐᔉ ᔒᔘᔗ á”—á”’ ˹ᔉᔉ ʷʰᔃᔗ'Ëą Ê°á”ƒá”–á”–á”‰âżâ±âżá”â€§ "áŽ¶á”˜Ëąá”— ⁱⁿ ᔗⁱᔐᔉ ᔐᔉ ᔇᔒʞ➎ ᎔'ᔐ á”á”’âżâżá”ƒ ᔖᔘᔗ ᔃⁿ á”‰âżá”ˆ á”—á”’ á”’âżá¶œá”‰ ᔃⁿᔈ á¶ á”’Êł á”ƒËĄËĄâ€§â€§â€§" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ʰᔉᔃᔛᔉᔈ ᔗʰᔉ Ëąá”ƒá¶ á”‰ ᔃᔗ áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ á”‡á”ƒâżá”â±âżá” Ëąá”á”ƒá¶œá” ᔒⁿ Ê°â±Ëą ʰᔉᔃᔈ‧ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Êłá”ƒâż á”’á”›á”‰Êł á”—á”’ ˹ᔉᔉ áŽŸËĄá”ƒâżá”á”—á”’âż á”‡á”ƒÊłá”‰ËĄÊž á”˜á”—á”—á”‰Êł ᔃ Êžá”‰ËĄá”–â±âżá” á¶œÊłÊž ᔃ˹ ʰᔉ Ê°á”‰ËĄá”–ËĄá”‰ËąËąËĄÊž ᶠᔉ˥˥ ᔇᔃᶜᔏ á¶ á”‰á”‰á”‡ËĄÊžâžŽ ᔇᔘᔗ ⁿᔒᔗ á”‡á”‰á¶ á”’Êłá”‰ Ê°â±Ëą ᔉʞᔉ Êłá”’ËĄËĄá”‰á”ˆ ᔇᔃᶜᔏ ᔃⁿᔈ á¶œËĄá”’Ëąá”‰á”ˆâ€§ "᎞ᔉᔗ'Ëą á¶ â±âżâ±ËąÊ° ʰⁱᔐ‧‧‧" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”—á”’ËĄá”ˆ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡âžŽ áŽŸËĄá”ƒâżá”á”—á”’âż á”ˆÊłá”ƒâ±âżá”‰á”ˆ ˥ⁱᶠᔉ ʷⁱᔗʰ Ê°â±Ëą ᔐᔒᔘᔗʰ á¶ á”ƒËĄËĄá”‰âż ᔃÊČá”ƒÊłâ€§ "áŽșᔒ➎ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëąâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Êłá”‰Ëąá”’ËĄá”˜á”—á”‰â€§ "᎔ Ê·á”’âż'á”— ᔈᔒ ⁱᔗ➎ ᔃⁿᔈ ᎔ Ê·á”’âż'á”— ˥ᔉᔗ ʞᔒᔘ‧‧‧" "ᶠⁱⁿᔉ➎ ᔇᔘᔗ á”’âżËĄÊž ᔇᔉ á¶œá”ƒá”˜Ëąá”‰ ⁱᔗ'Ëą á¶œËĄá”’Ëąâ±âżá” ᔗⁱᔐᔉ‧‧‧" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ëąá”ƒÊ· á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”á”‰âżá”—ËĄÊž ᔖⁱᶜᔏ ᔘᔖ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ áŽčá”‰á”ƒâżÊ·Ê°â±ËĄá”‰ áŽ·á”ƒÊłá”‰âż'Ëą á¶ â±âżâ±ËąÊ°â±âżá” ᔘᔖ á”â±ÊłËĄËą âżâ±á”Ê°á”— ʷⁱᔗʰ á”†á”ƒâżá”ˆÊžâ€§ áŽ·á”ƒÊłá”‰âż á”ƒÊłÊłâ±á”›á”‰Ëą ᔇᔃᶜᔏ ᔃᔗ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ➎ Ê°á”‰á”ƒÊłâ±âżá” ˹ᔒᔇ˹ ᔃ˹ ËąÊ°á”‰ á”’á”–á”‰âżá”‰á”ˆ ᔗʰᔉ á”ˆá”’á”’Êłâ€§ "áŽŸËĄá”‰á”ƒËąá”‰â€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶œÊłâ±á”‰á”ˆâžŽ ᔃ˹ áŽ·á”ƒÊłá”‰âż Ëąá”ƒÊ· ʰⁱᔐ á”’á”›á”‰Êł ᔗʰᔉ ᔐᔒᔗⁱᔒⁿ˥ᔉ˹˹ ᔇᔒᔈʞ ᔒᶠ Ê°á”‰Êł Ê°á”˜Ëąá”‡á”ƒâżá”ˆâ€§ "áŽ·á”ƒÊłá”‰âż! áŽŸËĄá”‰á”ƒËąá”‰âžŽ Ê°á”‰ËĄá”–! ᎎᔉ'Ëą ⁿᔒᔗ á”á”’á”›â±âżá”âžŽ ᔇᔘᔗ á”’âżËĄÊž á”‡Êłá”‰á”ƒá”—Ê°â±âżá”â€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”‰ËŁá”–ËĄá”ƒâ±âżá”‰á”ˆ á”‰á”›á”‰ÊłÊžá”—Ê°â±âżá”â€§ áŽ·á”ƒÊłá”‰âż Ëąá¶œá”ƒâżâżá”‰á”ˆ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ "áŽčÊž Ëąá”’á”˜Êłá¶œá”‰Ëą â±âżá”ˆâ±á¶œá”ƒá”—á”‰ ʰᔉ'Ëą á”á”’â±âżá” á”—á”’ Êłá”‰á”á”ƒâ±âż á”˜âżá¶œá”’âżËąá¶œâ±á”’á”˜Ëą á”˜âżá”—â±ËĄ ᔃᔗ ËĄá”‰á”ƒËąá”— á”—á”’á”á”’ÊłÊłá”’Ê· á”á”’Êłâżâ±âżá” ᔃᔗ ᔗʰᔉ á”‰á”ƒÊłËĄâ±á”‰Ëąá”— ˹ᔒ‧‧‧" "᎔ âżá”‰á”›á”‰Êł á”á”‰á”ƒâżá”— á¶ á”’Êł á”ƒâżÊžâ€§â€§â€§" "᎔ á”âżá”’Ê·âžŽ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§ ʞᔒᔘ ᔈⁱᔈⁿ'á”— á¶œá”ƒá”˜Ëąá”‰ ᔗʰᔉ á”‡ËĄá”˜âżá”— á¶ á”’Êłá¶œá”‰ á”—Êłá”ƒá”˜á”á”ƒâ€§ ᎎᔉ'ᔈ ᔇᔉ ⁱⁿ ᔗʰᔉ Ê·á”’ÊłËąá”— á¶œá”ƒËąá”‰ Ëąá¶œá”‰âżá”ƒÊłâ±á”’ ᔃ ᶜᔒᔐᔃ➎ ᔇᔘᔗ á”’âżËĄÊž ᔗⁱᔐᔉ ᔗᔉ˥˥‧ ʞᔒᔘ á¶œá”ƒâż Ëąá”—á”ƒÊž á”’á”›á”‰Êł âżâ±á”Ê°á”— ⁱᶠ ʞᔒᔘ'ᔈ ËĄâ±á”á”‰â€§â€§â€§" áŽ·á”ƒÊłá”‰âż ᔗᔒᔒᔏ áŽŸËĄá”ƒâżá”á”—á”’âż á”—á”’ ᔇᔉᔈ á¶ á”’Êł ᔗʰᔉ âżâ±á”Ê°á”—â€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Ëąá”ƒá”— á”ˆá”’Ê·âż ⁱⁿ á¶œÊ°á”ƒâ±Êł ᔇʞ áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą ᔇᔉᔈ➎ á”‰á”›á”‰âżá”—á”˜á”ƒËĄËĄÊž ᶠᔉ˥˥ á”ƒËąËĄá”‰á”‰á”– Ê°â±á”Ëąá”‰ËĄá¶  Ëąâ±á”—á”—â±âżá” ᔘᔖ; áŽ·á”ƒÊłá”‰âż Ê·á”ƒËą ᔒⁿ ᔗʰᔉ á”’á”—Ê°á”‰Êł Ëąâ±á”ˆá”‰ á”ƒá¶œá”—â±âżá” ᔃ˹ ᔃ á”á”’âżâ±á”—á”’Êł á¶ á”’Êł Ê°á”‰Êł Ê°á”˜Ëąá”‡á”ƒâżá”ˆâ€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ʷᔒᔏᔉ ᔘᔖ ⁱⁿ ᔗʰᔉ á”á”’Êłâżâ±âżá” ᔃ˹ áŽŸËĄá”ƒâżá”á”—á”’âż Ëąá”—á”ƒÊłá”—á”‰á”ˆ á”—á”’ ᔗʷⁱᔗᶜʰ➎ Ê°â±Ëą ˹ᔉⁿ˹ᔉ˹ á”Êłá”ƒá”ˆá”˜á”ƒËĄËĄÊž Êłá”‰á”—á”˜Êłâżâ±âżá”â€§ áŽ·á”ƒÊłá”‰âż á”ƒËĄËąá”’ á”–á”‰Êłá”á”‰á”ˆ ᔘᔖ➎ Ê°á”‰á”ƒÊłâ±âżá” Ê°á”‰Êł Ê°á”˜Ëąá”‡á”ƒâżá”ˆ ᔃ˹ ʰᔉ Ëąá”—á”ƒÊłá”—á”‰á”ˆ á”—á”’ Ê·á”ƒá”á”‰âżâ€§ Ꮁʞᔉ á¶ ËĄá”˜á”—á”—á”‰Êłâ±âżá” ᔒᔖᔉⁿ➎ ʰᔉ Ê·á”‰á”ƒá”ËĄÊž á”—Êłâ±á”‰á”ˆ á”—á”’ ᔗᔃᔏᔉ ⁱⁿ Ê°â±Ëą Ëąá”˜ÊłÊłá”’á”˜âżá”ˆâ±âżá”Ëąâ€§ "Ꮁᔘʰ–" "áŽŸËĄá”ƒâżá”á”—á”’âżâ€œ" ᔀʰᔉ ᔈᔘ˥˥ á”–á”ƒâ±âż ⁱⁿ Ê°â±Ëą ʰᔉᔃᔈ â±âżá¶œÊłá”‰á”ƒËąá”‰á”ˆ á”’á”›á”‰Êł ʰⁱᔐ ᔃ˹ Ê·Ê°á”‰Êłá”‰ ᔗʰᔉ Ëąá”ƒá¶ á”‰ ʰⁱᔗ ʰⁱᔐ ᶠᔉ˥ᔗ ᔗʰᔉ Ê·á”’ÊłËąá”— ᔒᶠ ⁱᔗ‧ "ᔁᔍʰ‧‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż á”—Êłâ±á”‰á”ˆ á”—á”’ ᔐᔒᔛᔉ➎ ᔇᔘᔗ á”˜âżá”ƒá”‡ËĄá”‰ ᔗᔒ‧ "ʞᔃᔍ➎ ʷʰᔃ‧ áŽčÊž ʰᔉᔃᔈ; ʷʰᔃᔗ ⁱ˹ Ê°á”ƒá”–á”–á”‰âżâ±âżá”â€§â€§â€§" "ʞᔒᔘ'Êłá”‰ ⁱⁿ Êžá”’á”˜Êł Êłá”’á”’á”â€§ ʞᔒᔘ ᔗᔒᔒᔏ ᑫᔘⁱᔗᔉ ᔉ ʰⁱᔗ Êžá”‰Ëąá”—á”‰Êł ᔈᔃʞ! Ꮀᔒ ʞᔒᔘ Ê·á”ƒâżá”— Ëąá”’á”á”‰á”—Ê°â±âżá” á”—á”’ á”ˆÊłâ±âżá”?" "᎔'ËĄËĄ Ëąá”—á”ƒÊž ʷⁱᔗʰ ʰⁱᔐ ᔃⁿᔈ ᔃ˹ ʞᔒᔘ ᔍᔉᔗ ˹ᔒᔐᔉ Ê·á”ƒá”—á”‰Êłâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ â±âżá”—á”‰ÊłÊłá”˜á”–á”—á”‰á”ˆ áŽ·á”ƒÊłá”‰âżâ€§ "áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ ᎔ á”‡Êłá”˜âżá” ʞᔒᔘ á”—á”’ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ á”ƒá¶ á”—á”‰Êł ʞᔒᔘ Ëąá”—Êłá”˜á¶œá” Êžá”’á”˜Êł ʰᔉᔃᔈ á”ƒá”á”ƒâ±âżËąá”— ᔗʰᔉ Ëąá”ƒá¶ á”‰ Ê·Ê°á”‰âż áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”—Êłâ±á”‰á”ˆ á”—á”’ Ëąá”—á”’á”– ʞᔒᔘ Ëąá”—á”‰á”ƒËĄâ±âżá” ᔗʰᔉ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—Ëąâ€§ ᎔'ᔐ Ëąá”’ Ëąá”’ÊłÊłÊžâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”—á”’ËĄá”ˆ ʰⁱᔐ‧ "Ꮀⁱᔈ ᎔ ᔍᔉᔗ‧‧‧" "ʞᔒᔘ ᔈⁱᔈ ⁿᔒᔗ; ᔐʞ á”ƒá”–á”’ËĄá”’á”â±á”‰Ëąâ€§" áŽŸËĄá”ƒâżá”á”—á”’âż Ëąá”ƒÊ· áŽ·á”ƒÊłá”‰âż ᶜᔒᔐᔉ ᔇᔃᶜᔏ ⁱⁿ‧ "᎔ Ê°á”‰ËĄá”– ʞᔒᔘ ˹ⁱᔗ ᔘᔖ Ëąá”—Êłá”ƒâ±á”Ê°á”— á”—á”’ ᔗᔃᔏᔉ ᔃ ˹ⁱᔖ ᔒᶠ á”ˆÊłâ±âżá”â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Ê°á”‰ËĄá”–á”‰á”ˆ ʰⁱᔐ á”˜á”–Êłâ±á”Ê°á”— ᔖᔒ˹ⁱᔗⁱᔒⁿ‧ áŽŸËĄá”ƒâżá”á”—á”’âż ᔍᔒᔗ á¶ Êłá”˜Ëąá”—Êłá”ƒá”—á”‰á”ˆ Ê·Ê°á”‰âż ʰᔉ ˹ᔖⁱ˥ᔗ Ê°â±Ëą Ê·á”ƒá”—á”‰ÊłâžŽ ˹ᔗⁱ˥˥ Êłá”‰á¶œá”’á”›á”‰Êłâ±âżá” á¶ Êłá”’á” ᔗʰᔉ â±âżá¶œâ±á”ˆá”‰âżá”—â€§ "Ꮀᔒⁿ'á”— Ê·á”’ÊłÊłÊžâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶œá”’á”ƒËŁá”‰á”ˆâ€§ "ʞᔒᔘ Ê·á”ƒâżá”— ᔐᔉ á”—á”’ Ê°á”’ËĄá”ˆ ⁱᔗ á”’Êł Ê°á”‰ËĄá”– ʞᔒᔘ Ê°á”’ËĄá”ˆ ⁱᔗ?" áŽčᔃᔈ ᔃᔗ Ê°â±á”Ëąá”‰ËĄá¶  á¶ á”’Êł ⁿᔒᔗ á”‡á”‰â±âżá” á”ƒá”‡ËĄá”‰ ᔗᔒ➎ áŽŸËĄá”ƒâżá”á”—á”’âż ᔈⁱᔈⁿ'á”— ʰᔃᔛᔉ ᔗʰᔉ á”‰âżá”‰Êłá”Êž á”—á”’ á”ƒÊłá”á”˜á”‰â€§ ᎎᔉ á”ƒËĄËąá”’ ᔈⁱᔈⁿ'á”— Ê·á”ƒâżá”— á”—á”’ ᔍᔉᔗ á”ƒâżá”ÊłÊž ᔃᔗ ᔗʰᔉᔐ➎ ᔉᔛᔉⁿ ᔗʰᔒᔘᔍʰ ʰᔉ ᶠᔉ˥ᔗ Ëąá”’á”á”‰Ê·Ê°á”ƒá”— á”˜á”–Ëąá”‰á”—â€§ "á”†á”–á”’âżá”á”‰á”‡á”’á”‡â€§â€§â€§" áŽŸËĄá”ƒâżá”á”—á”’âż á”ƒËąá”á”‰á”ˆâžŽ Ê°á”ƒá”›â±âżá” ⁿᔒ á”‰âżá”‰Êłá”Êžâ€§ "á¶œá”ƒâż ʞᔒᔘ Ëąá”—á”ƒÊž ᔇʞ ʷⁱᔗʰ ᔐᔉ á”–ËĄá”‰á”ƒËąá”‰â€§â€§â€§" "á”†á”˜Êłá”‰âžŽ ᔇᔘᔈ; ÊČá”˜Ëąá”— Êłá”‰Ëąá”—â€§" "á”€Ê°á”ƒâżá”â€§â€§â€§" "ËĄá”‰á”ƒâż ᔇᔃᶜᔏ‧" ᎎᔉ ᶠᔉ˥˥ á”ƒËąËĄá”‰á”‰á”– ᔃ˹ Ê°â±Ëą ʰᔉᔃᔈ Ê°â±á”—á”—â±âżá” ᔗʰᔉ á”–â±ËĄËĄá”’Ê·â€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”—á”‰ËŁá”—á”‰á”ˆ Ê°â±Ëą ᔇᔒ˹˹ '᎔ ᔃᔐ Êłá”‰Ëąâ±á”âżâ±âżá”' á”—á”’ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡ËąâžŽ á”›á”’Ê·â±âżá” á”—á”’ ᔇᔉᶜᔒᔐᔉ ᔃ á¶ ÊłÊž ᶜᔒᔒᔏ ᔃᔗ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ ᔒⁿ‧ áŽ·á”ƒÊłá”‰âż ᶜᔃᔐᔉ ⁱⁿ ᔗʰᔉ Êłá”’á”’á” ʷⁱᔗʰ á”†á”ƒâżá”ˆÊžâ€§ "᎔ Ê°á”‰á”ƒÊłá”ˆ ᔃᔇᔒᔘᔗ ᔗʰᔉ â±âżá¶œâ±á”ˆá”‰âżá”—âžŽ ᔃⁿᔈ ᎔ ᶠᔉ˥ᔗ ᔇᔃᔈ ᔃᔇᔒᔘᔗ áŽ·á”ƒÊłá”‰âż ʷⁱᔗʰ ᔐᔉ ᔃⁿᔈ ⁿᔒᔗ ʷⁱᔗʰ‧‧‧" "ᑫᔘⁱᔉᔗ➎ á”†á”ƒâżá”ˆÊžâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”–á”’â±âżá”—á”‰á”ˆ ᔃᔗ áŽŸËĄá”ƒâżá”á”—á”’âż ʷⁱᔗʰ á”á”‰Ëąá”—á”˜Êłá”‰â€§ "áŽżâ±á”Ê°á”—; Ëąá”’ÊłÊłÊžâ€§" "áŽșá”‰á”›á”‰Êł ᔗʰᔒᔘᔍʰᔗ ᎔'ᔈ Ëąá”ƒÊž ⁱᔗ➎ ᔇᔘᔗ ᎔ á¶œá”ƒâż'á”— ʷᔃⁱᔗ á¶ á”’Êł ʰⁱᔐ á”—á”’ Ëąá”—á”ƒÊłá”— âżá”ƒá”á”â±âżá” ᔐᔉ á”ƒá”á”ƒâ±âżâ€§â€§" áŽ·á”ƒÊłá”‰âż Ëąâ±á”Ê°á”‰á”ˆâ€§ "᎔ á”—Ê°â±âżá” ʰᔉ'Ëą ᔒⁿ ᔗʰᔉ á”á”‰âżá”ˆâ€§â€§â€§" "᎔ á”âżá”’Ê·âžŽ ᔃⁿᔈ ʞᔒᔘ Ëąá”ƒá”›á”‰á”ˆ ʰⁱᔐ‧ ʞᔒᔘ á”âżá”’Ê·âžŽ ᎔ á”—Ê°â±âżá” ʰᔉ ˹ᔉᔉ˹ ʞᔒᔘ ᔃ˹ ᔃ á¶ Êłâ±á”‰âżá”ˆâžŽ á”ˆá”‰Ëąá”–â±á”—á”‰ ⁿᔒᔗ Ê·á”ƒâżá”—â±âżá” á”—á”’ ᔃᔈᔐⁱᔗ‧‧‧" "᎔ á”ƒËĄËąá”’ á”á”‰á”á”’Êłâ±Ëąá”‰á”ˆ ᔗʰᔉ ᔖᔃᔗᔗʞ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—ËąâžŽ ʷʰⁱᶜʰ ᎔'ᔐ á”á”’âżâżá”ƒ ᔍⁱᔛᔉ ʰⁱᔐ!" "ʞᔒᔘ Ëąá”˜Êłá”‰?" "ᎏ˹ Ê°â±Ëą á¶ Êłâ±á”‰âżá”ˆâžŽ ᎔'ᔈ ᔈᔒ ⁱᔗ➎ á”’Êł Ê°á”‰ËĄá”– ʰⁱᔐ ᔈᔒ ⁱᔗ!" ᔀʰᔉ áŽ·Êłá”ƒá”‡'Ëą ⁿᔒ á”á”’Êłá”‰â€§
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new sleepcore sleepicore sleepovercore fallasleepcore plabs code page 437
"We removed Plankton's wisdom teeth. He's still asleep, you can stay with him." Said the oral surgeon to Karen. They've just finished and lead Karen into the room. Plankton is lying in the hospital bed, his face a mask of peace, the only signs of the recent surgery being the gauze in his mouth and the drool seeping out the side. His cheeks are slightly swollen, and she wonders when he'll wake up. The doctor said it could take a while. The IV line snakes up his arm. Karen pulls a chair up beside the bed. She takes his hand and holds it gently, feeling the warmth of his skin contrast with the coolness of her own palm. The room is sterile, the air conditioning humming steadily in the background. The faint smell of disinfectant fills the space. She looks around the room, noticing the monitors beeping in rhythm with Plankton's breathing and heart rate. The nurse comes in and checks the machines, making a few quiet notes on a clipboard. She smiles at Karen, "He's doing well. Just let him sleep. It's the best thing right now." Karen nods, squeezing Plankton's hand slightly, willing him to feel her presence. She wonders what dreams he's having, if any, behind his closed lid. Time seems to crawl as Karen watches him sleep. She tries to read a book, but the words blur together. Her thoughts drift to their lives before this moment, their shared laughter, their arguments, the quiet moments of understanding. Her gaze lingers on his swollen cheeks, his chest rising and falling with each breath. A soft groan escapes his lips and his eye begins to flutter open. Slowly, Plankton comes to, his vision blurred by the anesthesia's last hangover. He blinks, trying to focus on Karen's face. She sets aside her book and smiles at him, her screen welcoming him back to the world of the conscious. "Hi," she says softly. "How are you feeling?" Plankton makes a sound that's somewhere between a whine and a grunt. His eye wanders the room before finally settling on hers. "What...what happened?" he slurs, the words barely audible through the gauze. Karen's smile widens a bit. "You had your wisdom teeth removed, remember?" He nods slightly. The nurse reappears, checking his vitals again with a gentle touch. "Time to go home," she says, removing the gauze. They make their way out of the hospital, Karen supporting Plankton gently as he stumbles, his legs still wobbly from the anesthesia. The sun is setting, casting long shadows across the parking lot. Karen helps Plankton into the car, buckling him in and adjusting the seat so he can lean back and rest. He nods off almost immediately, his breathing evening out as the car starts and they pull away from the hospital. The drive home is quiet, Plankton's snores punctuating the hum of the engine. Karen keeps glancing over, checking on him, her concern etched into every line on her screen. The pain medication is strong, keeping him in a half-awake state. Each time he wakes, he looks around, disoriented, before his eye finds hers and his expression relaxes. Once they arrive, Karen guides him to the couch, his body feeling heavier than ever before. He slumps into the cushions and she grabs the ice pack from the cooler. "Hold this to your cheeks," she instructs, placing the cold compress against his skin. He nods obediently, his eye already glazing over with the promise of sleep. The TV flickers on, its blue light washing over the room. Karen finds a sitcom they both enjoy, hoping the familiar laughter will ease his pain and keep them both company. But Plankton's snores soon overpower the TV's audio, his head lolling to the side. She smiles, knowing he's in a deep slumber, and covers him with a blanket. The house is eerily quiet except for the steady tick of the clock on the wall. Karen moves around the kitchen, preparing a soft meal for when he wakes, her mind racing with thoughts of what the next few days will be like. Plankton's recovery will be slow, but she's ready to take care of him. She's his rock, his support, and she'll do anything to help him feel better.
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SLEEPING WHUMPEES leyswhumpdump: Sleeping whumpees. Curled up on cold cell floors, seeking the only escape they can get. Eyes red behind their closed lids because they cried themselves to sleep. Tucked up under warm blankets. Cradled by a caretaker. Peaceful and smiling even in slumber, or screaming from night terrors. Restless from fever. Exhausted in the back of a car, their mind and body just given out. Falling asleep after fighting it for so long. Just an adorable trope all round.
new sleepcore writercore fallasleepcore whumplr
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new sleepcore sleepercore code page 437
ˏˋ ♫ ˚ ÌŸđŸŒ sℓeeρover ρoℓicy .ᐟ đŸ§žđŸ’€ ®ˎ˗ mᯓᥣ𐭩
new sleepover policy sleepcore
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3378217/
new sleepicore sleepcore
◠ . ─ · ◠ . ─ · ◠ . ─ · ◠ . ─ · ê’°đŸ’€â—ž 。@name⠀.ᐟ⠀prns ☁₊ ˚âŠč ɞ⠀.⠀txt ☕ ⠀mbti ïč— à»’ê’±ÛȘ
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á”‚á”ƒËĄá”â±âżá” ᔗʰᔉ áŽŸÊłá”ƒâżá” âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ "áŽŸá”‰á”ƒÊłËĄ Ê°á”ƒËąâż'á”— Ê°á”‰ËĄá”–á”‰á”ˆ ᔘ˹ ʷⁱᔗʰ á”–Êłá”ƒâżá”â±âżá” ᔗʰᔉ á”‡á”’ÊžËą á”‡á”‰á¶ á”’Êłá”‰!" ᔀʰᔉ Ꮃᔃ˥ áŽŸá”ƒËĄËą Ê·á”‰Êłá”‰ Ê°á”ƒá”›â±âżá” á”ƒâżá”’á”—Ê°á”‰Êł á”â±ÊłËĄËą âżâ±á”Ê°á”—â€§ "᎔'ᔈ ˥ᔒᔛᔉ á”—á”’ ʰᔃᔛᔉ ᔃ á”–á”ƒÊłá”— ⁱⁿ á”–Êłá”ƒâżá”â±âżá”!" ᔆᔃⁱᔈ áŽŸá”‰á”ƒÊłËĄâ€§ "ᎎᔒʷ ᔃᔇᔒᔘᔗ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą?" ᔀʰᔉʞ Ê·á”‰âżá”— á”—á”’ ᔗʰᔉ á”ƒâżá¶œÊ°á”’Êł ËąÊ°á”ƒá”–á”‰á”ˆ ʰᔒᔐᔉ‧ "áŽč˱‧ ᎟ᔘᶠᶠ‧‧‧" ᔆʰᔉ Ê·á”‰âżá”— á”—á”’ ᔗʰᔉ á”ˆá”’á”’Êłâ€§ "ᎌʰ ʰᔉʞ áŽč˱‧ ᎟ᔘᶠᶠ!" "áŽ±á”˜á”á”‰âżá”‰âžŽ ʞᔒᔘ á¶ á”’Êłá”á”’á”—!" "ᎎᔘʰ?" "áŽŹá”‡á”’á”˜á”— á”’á”˜Êł ᔈᔃᔗᔉ á”—á”’âżâ±á”Ê°á”—â€§â€§â€§" "᎔ á”ˆá”’âż'ᔗ‧‧‧" "ʞᔒᔘ ᔈⁱᔈ á”—á”’ áŽ±á”˜á”á”‰âżá”‰! ᎔'ᔐ á”á”’â±âżá” ʰᔒᔐᔉ‧‧‧" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á¶ á”’ËĄËĄá”’Ê·á”‰á”ˆ Ê°á”‰Êł ᔒᔘᔗ á”—á”’ ˹ᔉᔉ ᔗʰᔉ Êłá”‰Ëąá”— ᔒᶠ ᔗʰᔉ á”á”ƒËĄ á”–á”ƒËĄËąâ€§ "ʞᔒᔘ'ᔛᔉ ᔇᔉᔉⁿ á”–Êłá”ƒâżá”á”‰á”ˆ!" ᔀʰᔉʞ ËĄá”ƒá”˜á”Ê°á”‰á”ˆâ€§ "ᎌʰ!" "᎔'ËĄËĄ á¶œá”ƒËĄËĄ áŽźÊłá”ƒâż á¶ ËĄá”’á”˜âżá”ˆá”‰ÊłËą á¶ Êłá”’á” ᔐᔃᔗʰ á¶œËĄá”ƒËąËąâ€§â€§â€§" áŽŸá”‰á”ƒÊłËĄ ᔍᔒᔗ ᔒᔘᔗ Ê°á”‰Êł á”–Ê°á”’âżá”‰ á”—á”’ ᔈⁱᔃ˥ Ê°â±Ëą âżá”˜á”á”‡á”‰Êłâ€§ "Ꮀⁱᔈ ʞᔒᔘ á¶ â±âżâ±ËąÊ° á”’á”˜Êł Ê°á”’á”á”‰Ê·á”’Êłá”?" "᎔ ᔈⁱᔈⁿ'á”— á”âżá”’Ê· ʷᔉ ʰᔃᔈ á”ƒâżÊžâ€§â€§â€§" "᎔'ᔐ ÊČá”˜Ëąá”— á”–Êłá”ƒâżá”â±âżá” ʞᔒᔘ!" áŽŸá”‰á”ƒÊłËĄ ˹ᔃⁱᔈ Ê°á”ƒâżá”â±âżá” ᔘᔖ‧ "᎔ Ê·á”ƒâżâżá”ƒ ᔍᔒ ʷⁱᔗʰ ᔃ á”á”’Êłá”‰ á”‡â±á”á”á”‰Êł á”–Êłá”ƒâżá”â€§â€§â€§" "á¶œá”ƒâż ʷᔉ ËĄá”‰âżá”á”—Ê°á”‰âż ᔗʰᔉ ⁿᔉˣᔗ á”–Êłá”ƒâżá” ᔒⁿ áŽŸËĄá”ƒâżá”á”—á”’âż?" ᔆᔒ ᔗʰᔉʞ Ëąâżá”‰á”ƒá” á”—á”’ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ‧ "á”†Ê°á”’á”˜ËĄá”ˆ ʷᔉ á”–ËĄá”ƒâż â±âżËąá”—á”‰á”ƒá”ˆ ᔒᶠ Ê·â±âżá”â±âżá” ⁱᔗ? ᎔ á”á”‰á”ƒâż ᔐʞ Ê°á”˜Ëąá”‡á”ƒâżá”ˆâ€§â€§â€§" "᎔ á”—Ê°â±âżá” ʷᔉ'ᔈ á”—Êłâ±á¶œá” ʰⁱᔐ á”—Ê°â±âżá”â±âżá” ᎔'ᔐ ᔃ á¶œá”˜Ëąá”—á”’á”á”‰Êł!" áŽŸá”‰á”ƒÊłËĄ â±âżá”—á”‰ÊłÊłá”˜á”–á”—Ëą áŽ·á”ƒÊłá”‰âżâ€§ "áŽŸËĄá”ƒâżá”á”—á”’âż á¶œá”ƒâż ᔇᔉ ᔐᔃᔈ ᔃⁿᔈ ʰᔉ'Ëą ⁿᔒᔗ Ëąá”’ á”—Êłá”˜Ëąá”—â±âżá”âžŽ Ëąá”’ ⁱᔗ âżá”‰á”‰á”ˆËą á”—á”’ ᔇᔉ‧‧‧" "áŽ·á”ƒÊłá”‰âż á”ˆá”’á”‰Ëą ʰᔉ á”âżá”’Ê· ʞᔒᔘ'Êłá”‰ Ê°á”ƒá”›â±âżá” ᔃ á”â±ÊłËĄËą âżâ±á”Ê°á”—?" á”†á”ƒâżá”ˆÊž á”ƒËąá”á”‰á”ˆ á¶œá”˜á”—á”—â±âżá” ᔒᶠᶠ áŽ·á”ƒÊłá”‰âżâ€§ "᎔ á”—á”’ËĄá”ˆ ʰⁱᔐ ᎔'ᔈ ᔇᔉ á”á”’âżá”‰ ᔒᔘᔗ á”—á”’âżâ±á”Ê°á”—âžŽ ˹ᔒ‧‧‧" "᎔ ᔇᔉᔗ ʰᔉ'ᔈ ˹ᔉᔉ ⁱᔗ á¶œá”’á”â±âżá” ⁱᶠ ʰᔉ Ëąá”ƒÊ· ʞᔒᔘ‧‧‧" "᎔ á”ˆá”’âż'á”— á”âżá”’Ê· ʰⁱᔐ Êłá”‰á”ƒËĄ Ê·á”‰ËĄËĄâžŽ á”‰ËŁá¶œá”‰á”–á”— ʰᔉ'Ëą á”ƒá¶ Êłá”ƒâ±á”ˆ ᔒᶠ ᔐᔉ‧‧‧" "áŽŸËĄá”ƒâżá”á”—á”’âż á”ˆá”’á”‰Ëą Ëąá¶œâ±á”‰âżá¶œá”‰ á”‰ËŁá”–á”‰Êłâ±á”á”‰âżá”—Ëą ᔃⁿᔈ Ê·á”ƒâżá”—Ëą á”—á”’ á”á”ƒâ±âż á”‡á”˜Ëąâ±âżá”‰ËąËą á¶ Êłá”’á” ᔗʰᔉ ᔖᔃᔗᔗʞ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—Ëąâ€§" "ᎎᔉ ᔐⁱᔍʰᔗ Êłá”‰á¶œá”’á”âżâ±Ëąá”‰ á”ƒâżÊž ᔒᶠ á”˜Ëąâ€§â€§â€§" "á”†Ê°á”’á”˜ËĄá”ˆâż'á”— ʷᔉ ˹ᔉᔉ ʷʰᔃᔗ ʰᔉ'Ëą ᔉᔛᔉⁿ á”ˆá”’â±âżá”?" áŽč˱‧ ᎟ᔘᶠᶠ á”ƒËąá”á”‰á”ˆâ€§ "᎔'ËĄËĄ ᔍᔒ ᶜʰᔉᶜᔏ‧‧‧" áŽ·á”ƒÊłá”‰âż á”—á”’ËĄá”ˆ ᔗʰᔉᔐ‧ "áŽŒâżá¶œá”‰ ʷᔉ á”âżá”’Ê· Ê·Ê°á”‰Êłá”‰ ʰᔉ ⁱ˹➎ ʷᔉ á¶œá”ƒâżâ€§â€§â€§" "á”†ËĄá”‰á”‰á”–â±âżá” ⁱⁿ ᔇᔉᔈ‧" áŽ·á”ƒÊłá”‰âż á¶œá”’á”á”‰Ëą ᔇᔃᶜᔏ‧ "᎔ ᔖᔉᔉᔏᔉᔈ ᔃⁿᔈ ᔐʞ Ëąá”‰âżËąá”’ÊłËą â±âżá”ˆâ±á¶œá”ƒá”—á”‰á”ˆ ʰᔉ'Ëą ᔘᔖ⁻ á”†á”—á”ƒâ±ÊłËą ⁱⁿ ᔗʰᔉ á”‡á”‰á”ˆÊłá”’á”’á”â€§â€§â€§" "ᔆᔒ ˥ᔉᔗ'Ëą ˹ᔉᔉ➎ ʷʰᔃᔗ'Ëą Ëąá”’á”á”‰á”—Ê°â±âżá” ʷᔉ á¶œá”ƒâż ᔈᔒ?" "ᔂᔉ á¶œá”ƒâż á¶œÊ°á”ƒâżá”á”‰ ᔃ˥˥ ᔗʰᔉ á¶œËĄá”’á¶œá”Ëą ᔃⁿᔈ ᔉᔛᔉⁿ á¶œá”ƒËĄá”‰âżá”ˆá”ƒÊłËąâ€§â€§â€§" "᎔ ËĄâ±á”á”‰ ⁱᔗ ᔇᔘᔗ á”—Ê°á”‰Êłá”‰'Ëą ᔃ á¶œËĄá”’á¶œá” ᔇʞ ᔗʰᔉ ᔇᔉᔈ‧‧‧" "áŽ·á”ƒÊłá”‰âż ᎔ á¶œá”ƒâż Ëąâżá”‰á”ƒá” ⁱⁿ!" á”†á”ƒâżá”ˆÊž Ëąá”ƒâ±á”ˆâ€§ "ᔂᔉ âżá”‰á”‰á”ˆ á”—á”’ á”ƒá”Êłá”‰á”‰ ᔒⁿ ᔃ ᔗⁱᔐᔉ‧‧‧" "᎔'ᔈ Ëąá”ƒÊž ⁿᔒᔒⁿ!" "áŽșᔒᔒⁿ ⁱᔗ ⁱ˹ á”—Ê°á”‰âż!" "ᔂᔉ'ËĄËĄ á¶œÊ°á”ƒâżá”á”‰ ᔗʰᔉ á¶œá”ƒËĄá”‰âżá”ˆá”ƒÊłËą á”—á”’ á¶œÊ°Êłâ±Ëąá”—á”á”ƒËą ᔈᔃʞ!" áŽŸá”‰á”ƒÊłËĄ ËĄá”ƒá”˜á”Ê°á”‰á”ˆâ€§ "᎔ ËĄâ±á”á”‰ ⁱᔗ! ʞᔒᔘ á¶œá”ƒâż ᔈᔒ ᔗʰᔉ á¶œËĄá”’á¶œá”Ëą á”ˆá”’Ê·âżËąá”—á”ƒâ±ÊłËąâžŽ áŽč˱‧ ᎟ᔘᶠᶠ; ᎔'ËĄËĄ ᔈᔒ ᔃ˥˥ ᔗʰᔉ á”ƒá”–á”–ËĄâ±á”ƒâżá¶œá”‰Ëąâ€§â€§â€§" áŽ·á”ƒÊłá”‰âż Ëąá”ƒÊžËąâ€§ ᔀʰᔉʞ ᔖᔘᔗ á”—Ê°á”‰â±Êł Ê°á”ƒâżá”ˆËą ⁱⁿ ᔗʰᔉ á”â±á”ˆá”ˆËĄá”‰ ᔃⁿᔈ ËĄâ±á¶ á”—á”‰á”ˆ ᔗʰᔉᔐ ᔘᔖ➎ á”—Ê°á”‰âż á”á”’â±âżá” á”—á”’ ᔈᔒ á”—Ê°á”‰â±Êł á”ˆá”‰Ëąâ±á”âżá”ƒá”—á”‰á”ˆ á”—á”ƒËąá”Ëąâ€§ ᔆᔒ Ëąá”ƒâżá”ˆÊž Ê·á”‰âżá”— ⁱⁿ ᔗʰᔉ á”‡á”‰á”ˆÊłá”’á”’á”âžŽ á¶œá”ƒÊłá”‰á¶ á”˜ËĄ ⁿᔒᔗ á”—á”’ ᔐᔃᔏᔉ ⁿᔒⁱ˹ᔉ‧ á”†ËĄá”’Ê·ËĄÊž á”–á”˜ËąÊ°â±âżá” ᔒᔖᔉⁿ ᔗʰᔉ á”ˆá”’á”’Êł á”—á”’ ᔗʰᔉ Êłá”’á”’á”âžŽ ËąÊ°á”‰ Ëąá”—á”’á”’á”ˆ ᔒⁿ Ê°á”‰Êł ᔗᔒᔉ˹ Ëąá”’ ᔃ˹ á”—á”’ ⁿᔒᔗ á”ˆâ±Ëąá”—á”˜Êłá”‡ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ á”†á”ƒâżá”ˆÊž á¶œÊłá”ƒÊ·ËĄá”‰á”ˆ á”—á”’ ᔗʰᔉ á¶œËĄá”’á¶œá” ᔃⁿᔈ á¶œÊ°á”ƒâżá”á”‰á”ˆ ⁱᔗ ᔃ˹ ʰᔉ Ëąâżá”’Êłá”‰âžŽ Ëąá”—â±á¶ ËĄâ±âżá” ᔗʰᔉ á”˜Êłá”á”‰ á”—á”’ á”â±á”á”ËĄá”‰â€§ áŽŹá¶ á”—á”‰Êł á¶ â±ËŁâ±âżá” ᔗʰᔉ á¶œËĄá”’á¶œá” ᔃⁿᔈ ˹ᔉᔉ˹ ᔗʰᔉ Ê·â±âżá”ˆá”’Ê·'Ëą á¶œËĄá”’Ëąá”‰á”ˆâžŽ ËąÊ°á”‰ Ê·á”‰âżá”— ᔇᔃᶜᔏ á”—á”’ ᔐᔉᔉᔗ ᔇᔃᶜᔏ á”ˆá”’Ê·âżâ» Ëąá”—á”ƒâ±ÊłËąâ€§ "᎔ ᔍᔒᔗ ᔃ á¶œÊ°Êłâ±Ëąá”—á”á”ƒËą á”—Êłá”‰á”‰ ᔒᔘᔗ ᔒᶠ á”’á”˜Êł á”á”ƒÊłá”ƒá”á”‰!" áŽ·á”ƒÊłá”‰âż Ëąá”ƒâ±á”ˆâ€§ "᎞ᔉᔗ'Ëą ᔍᔉᔗ ˹ᔒᔐᔉ ᔒᶠ Ê°â±Ëą ⁱⁿᔛᔉⁿᔗⁱᔒⁿ˹ ᔃⁿᔈ Ê·Êłá”ƒá”– ᔗʰᔉᔐ!" "ᎎᔒʷ á”ƒÊłá”‰ ʷᔉ á”—á”’ ᔍᔉᔗ ʰⁱᔐ Ê°á”‰Êłá”‰?" "áŽŸá”‰ÊłÊ°á”ƒá”–Ëą ʷᔉ Ëąâ±âżá” Ê°á”’ËĄâ±á”ˆá”ƒÊž'Ëą á”á”˜Ëąâ±á¶œ Ëąá”’âżá”Ëą ËĄá”’á”˜á”ˆ á”‰âżá”’á”˜á”Ê°â€§â€§â€§" "᎔ ÊČá”˜Ëąá”— á”—á”‰ËŁá”—á”‰á”ˆ ᔐʞ ᔈᔃᔈ á”—á”’ ᔍᔉᔗ ʰⁱᔐ ⁱⁿ ᔒⁿ ᔗʰᔉ á”–Êłá”ƒâżá”! ᎔ ᔐᔃʞ ʰᔃᔛᔉ á”ƒËĄËąá”’ á”—á”‰ËŁá”—á”‰á”ˆ áŽźÊłá”ƒâż á¶ ËĄá”’á”˜âżá”ˆá”‰ÊłËąâ€§â€§â€§" áŽŸá”‰á”ƒÊłËĄ á¶œÊ°á”˜á¶œá”ËĄá”‰á”ˆâžŽ á”—á”˜Êłâżâ±âżá” ᔒⁿ ËĄâ±á”Ê°á”—Ëąâ€§ "á”†á”ƒâżá”—á”ƒ á”†á”ƒâżá”—á”ƒ'Ëą Ê°á”ƒËą ᔍᔒᔗ Ê°â±Ëą ÊČá”’ËĄËĄÊž ˥ⁱᔗᔗ˥ᔉ á”‰Êžá”‰Ëą ᔒⁿ ᔐᔉ‧‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż Ëąá”ƒá”— ᔘᔖ á”ƒá¶ á”—á”‰Êł á”ƒÊ·á”ƒá”á”‰âżâ±âżá”â€§ "ᔂʰᔃᔗ ⁱ˹ á”á”’â±âżá” ᔒⁿ‧‧‧" á¶œÊ°á”‰á¶œá”â±âżá” ᔗʰᔉ ᔈᔃᔗᔉ➎ ʰᔉ Ê·á”ƒËą á”—á”ƒá”á”‰âż ᔃᔇᔃᶜᔏ‧ áŽŸËĄá”ƒâżá”á”—á”’âż Ê·á”‰âżá”— á”ˆá”’Ê·âż ᔃⁿᔈ Ëąá”ƒÊ· ᔖᔉᔒᔖ˥ᔉ ⁱⁿ Ê°á”ƒá”—Ëą ᔃⁿᔈ ËąÊ·á”‰á”ƒá”—á”‰ÊłËąâ€§ "ʞᔒᔘ'Êłá”‰ ᔘᔖ; âżá”’Ê·âžŽ ʷᔉ á¶œá”ƒâż ᔒᔖᔉⁿ á”’á”˜Êł á”â±á¶ á”—Ëą!" áŽ·á”ƒÊłá”‰âż Ê°á”ƒâżá”ˆá”‰á”ˆ ᔒᔘᔗ ᔗʰᔉ á”–Êłá”‰Ëąá”‰âżá”—Ëąâ€§ "áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ ʞᔒᔘ á”’âżËĄÊž ᔍᔃᔛᔉ Ëąá”’á”á”‰á”—Ê°â±âżá” á”—á”’ áŽ·á”ƒÊłá”‰âż? á”‚Ê°á”‰Êłá”‰'Ëą á”’á”˜Êłâ€§â€§â€§" "á”†Ê°á”‰ËĄá”ˆá”’âżâžŽ ⁱᔗ'Ëą ᔗʰᔉ ᔇᔉ˹ᔗ á”—Ê°â±âżá” ʞᔒᔘ'ᔛᔉ á”‰á”›á”‰Êł á”á”’á”—á”—á”‰âż ᔐᔉ!" áŽ·á”ƒÊłá”‰âż ᶜᔘᔗ ⁱⁿ➎ á”˜âżÊ·Êłá”ƒá”–á”–â±âżá” Ê°á”‰ÊłËą ËĄá”ƒá”‡á”‰ËĄËą 'á”—á”’ á”á”ƒÊłá”‰âż á¶ Êłá”’á” á”–ËĄá”ƒâżá”á”—á”’âż' Ê°á”ƒá”–á”–â±ËĄÊžâ€§ "᎔‧‧‧" "áŽŸá”‰á”ƒÊłËĄâžŽ Ê°á”’Ê·'ᔈ ʞᔒᔘ á”âżá”’Ê· ᎔ âżá”‰á”‰á”ˆá”‰á”ˆ ᔃ âżá”‰Ê· ᔛᔃᶜᔘᔘᔐ?" "ᎌʰ➎ áŽźÊłá”ƒâż; ʞᔒᔘ'Êłá”‰ Ê°á”’á”˜Ëąá”‰'Ëą ᔃ ᔐᔉ˹˹!" "᎔ âżá”‰á”‰á”ˆá”‰á”ˆ ᔃ á”á”–Ëą ËąÊžËąá”—á”‰á”!" "ʞᔒᔘ'Êłá”‰ Ê·á”‰ËĄá¶œá”’á”á”‰ áŽč˱‧ ᎟ᔘᶠᶠ!" áŽŸËĄá”ƒâżá”á”—á”’âż á”—Ê°á”‰âż á¶ Êłá”ƒâżá”—â±á¶œá”ƒËĄËĄÊž ᶜʰᔉᶜᔏᔉᔈ ᔃ˥˥ ᔗʰᔉ á”ƒá”–á”–ËĄâ±á”ƒâżá¶œá”‰Ëą á”—á”’ ˹ᔉᔉ ᔗʰᔉ ᔈᔃʞ ˹ᔉᔗ ᔃ˹ á¶œÊ°Êłâ±Ëąá”—á”á”ƒËąâ€§ "᎔ᔗ á¶œá”ƒâż'á”— ᔇᔉ á¶œÊ°Êłâ±Ëąá”—á”á”ƒËą; ᎔ âżá”‰á”›á”‰Êł Ê·Êłá”ƒá”–á”–á”‰á”ˆâžŽ Ê·Ê°Êž á”ƒÊłá”‰ ᔃ˥˥ ᔐʞ ⁱⁿᔛᔉⁿᔗⁱᔒⁿ˹‧‧‧" "áŽŸËĄá”ƒâżá”á”—á”’âż âżá”‰á”‰á”ˆËą á”—á”’ á”˜âżÊ·Êłá”ƒá”– Ê°â±Ëąâ€§â€§â€§" "á”†á”ƒâżá”—á”ƒ á”†á”ƒâżá”—á”ƒ'Ëą Ê°á”ƒËą ᔍᔒᔗ Ê°â±Ëą ÊČá”’ËĄËĄÊž ˥ⁱᔗᔗ˥ᔉ á”‰Êžá”‰Ëą ᔒⁿ ᔐᔉ‧‧‧" á¶ Êłá”˜Ëąá”—Êłá”ƒá”—á”‰á”ˆâžŽ áŽŸËĄá”ƒâżá”á”—á”’âż ᶜʰᔉᶜᔏᔉᔈ á”˜âżá”ˆá”‰Êł ᔗʰᔉ á”—Êłá”‰á”‰ á”—á”’ ᶠⁱⁿᔈ Ê°â±Ëą ËĄá”ƒá”‡á”‰ËĄ 'á”—á”’ á”–ËĄá”ƒâżá”á”—á”’âż á¶ Êłá”’á” á”Êłá”ƒá”‡Ëą' Ê·Êłá”ƒá”–á”–á”‰á”ˆâ€§ áŽŸËĄá”ƒâżá”á”—á”’âż á”˜âżÊ·Êłá”ƒá”–á”–á”‰á”ˆ ⁱᔗ á”—á”’ ˹ᔉᔉ ᔗʰᔉ Ëąá”‰á¶œÊłá”‰á”— ᔇᔒᔗᔗ˥ᔉ ʷⁱᔗʰ ᔗʰᔉ á”–á”ƒá”–á”‰Êł ᔒᶠ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—Ëąâ€§ á”âżá”ƒá”‡ËĄá”‰ á”—á”’ á”ˆâ±ËąËĄá”’á”ˆá”á”‰ ᔗʰᔉ ˥ⁱᔈ➎ ʰᔉ Ëąá”á”ƒËąÊ°á”‰Ëą ᔗʰᔉ á”ËĄá”ƒËąËą á”—á”’ á”‡Êłá”‰á”ƒá” ⁱᔗ ᔒᔖᔉⁿ‧ áŽ±ËŁá¶œâ±á”—á”‰á”ˆËĄÊž á”˜âżá¶ á”’ËĄá”ˆâ±âżá” ᔗʰᔉ ᔖⁱᔉᶜᔉ ᔒᶠ á”–á”ƒá”–á”‰Êł Êłá”’ËĄËĄá”‰á”ˆâžŽ ⁱᔗ Ëąá”ƒÊžËą 'ʞᔒᔘ ÊČá”˜Ëąá”— ᔍᔒᔗ á”–Êłá”ƒâżá”á”‰á”ˆ' ᔒⁿ ⁱᔗ‧ ᎏ˥˥ ᔒᶠ ᔗʰᔉᔐ Ëąá”—á”ƒÊłá”—á”‰á”ˆ ËĄá”ƒá”˜á”Ê°â±âżá” ᔃᔗ áŽŸËĄá”ƒâżá”á”—á”’âż ᔃ˹ ᔗʰᔉʞ á”˜âżá”›á”‰â±ËĄá”‰á”ˆ ᔗʰᔉ Ê·â±âżá”ˆá”’Ê·Ëą ËąÊ°á”’Ê·â±âżá” ˹ᔗⁱ˥˥ á”ˆá”ƒÊłá” âżâ±á”Ê°á”— ᔒᔘᔗ‧ áŽŽá”˜á”â±ËĄâ±á”ƒá”—á”‰á”ˆ ᔃⁿᔈ á”‰á”á”‡á”ƒÊłÊłá”ƒËąËąá”‰á”ˆâžŽ áŽŸËĄá”ƒâżá”á”—á”’âż Êłâ±á”–Ëą ᔘᔖ ᔗʰᔉ Êłá”’ËĄËĄ ᔒᶠ á”–á”ƒá”–á”‰Êł ᔃⁿᔈ á”á”’á”‰Ëą ᔇᔃᶜᔏ á”—á”’ Ê°â±Ëą Êłá”’á”’á” á”˜á”–Ëąá”‰á”—â€§ "ᔆᔉᔉ ʞᔒᔘ ᔃᔗ Ëąá¶œÊ°á”’á”’ËĄ áŽŸá”‰á”ƒÊłËĄâ€§â€§â€§" áŽźÊłá”ƒâż á¶ ËĄá”’á”˜âżá”ˆá”‰ÊłËą ˥ᔉᶠᔗ‧ á”‚Ê°á”‰âż á”’âżËĄÊž ᔃ˥˥ ᔗʰᔉ á”á”ƒËĄ á”–á”ƒËĄËą Êłá”‰á”á”ƒâ±âżá”‰á”ˆ áŽ·á”ƒÊłá”‰âż Ëąâ±á”Ê°á”‰á”ˆâ€§ "ᎎᔉ'ËĄËĄ á¶œá”ƒËĄá” á”ˆá”’Ê·âżâžŽ Êłâ±á”Ê°á”—?" "áŽŽá”ƒÊłá”ˆ á”—á”’ Ëąá”ƒÊžâ€§â€§â€§" ᔆʰᔉ á”ƒá”ˆá”â±á”—Ëą á”á”’â±âżá” á”—á”’ ᶜʰᔉᶜᔏ ᔃ˹ ᔗʰᔉ Êłá”‰Ëąá”— ᔒᶠ ᔗʰᔉᔐ Êłá”‰á”›á”‰Êłá”—á”‰á”ˆ ᔗʰᔉ á”ƒá”–á”–ËĄâ±á”ƒâżá¶œá”‰Ëąâ€§ "áŽŸËĄá”ƒâżá”á”—á”’âż?" áŽ·á”ƒÊłá”‰âż Ê·á”‰âżá”— ⁱⁿ ᔗʰᔉ Êłá”’á”’á” ᔃ˹ ʰᔉ'Ëą Ëąâ±ËĄá”‰âżá”—ËĄÊž ᔒⁿ ᔗʰᔉ ᔇᔉᔈ‧ "ᶜᔒᔐᔉ ᔒⁿ➎ ʷᔉ á”–Êłá”ƒâżá”á”‰á”ˆ á”’á”—Ê°á”‰Êłâ€§â€§â€§" áŽ·á”ƒÊłá”‰âż Ëąá”—á”’á”–á”–á”‰á”ˆ ᔃ˹ ËąÊ°á”‰ Êłá”‰á”ƒËĄâ±Ëąá”‰á”ˆ áŽŸËĄá”ƒâżá”á”—á”’âż ËąÊ°á”‰á”ˆ á”—á”‰á”ƒÊłËąâ€§ ᔀʰᔉ á”’á”—Ê°á”‰Êł á”á”ƒËĄ á”–á”ƒËĄËą ᶜᔃᔘᔍʰᔗ ᔘᔖ‧ "ᎎᔉʞ ᔇᔘᔈ‧‧‧" "ʞᔒᔘ ᔍᔒᔒᔈ?" ᎎᔉ á”˜Ëąá”˜á”ƒËĄËĄÊž ËĄá”ƒËąÊ° ᔒᔘᔗ Ê·Ê°á”‰âż ᔐᔃᔈ➎ ᔇᔘᔗ á”ƒâżá”ÊłÊž á”‰âżá”’á”˜á”Ê° á”—á”’ Ëąá”—á”ƒÊž ᑫᔘⁱᔉᔗ ᔃⁿᔈ ⁿᔒᔗ Ëąá”ƒÊžâ±âżá” ᔃ Ê·á”’Êłá”ˆâ€§â€§â€§ "᎔ â±âżá”›â±á”—á”‰á”ˆ ᔗʰᔉ á”’á”—Ê°á”‰ÊłËąâ€§" áŽŸá”‰á”ƒÊłËĄ á”—á”’ËĄá”ˆ ʰⁱᔐ‧ "Ꮀᔒ ʞᔒᔘ Ê·á”ƒâżá”— Ëąá”–á”ƒá¶œá”‰ á”—á”’ ᔇᔉ á”ƒËĄá”’âżá”‰?" "᎞ᔉᔗ'Ëą á¶œá”ƒËĄËĄ ⁱᔗ ᔃ âżâ±á”Ê°á”— á”á”ƒËĄ á”–á”ƒËĄËąâ€§â€§â€§" áŽ·á”ƒÊłá”‰âż â±âżá¶ á”’Êłá”á”‰á”ˆ ᔗʰᔉ á”’á”—Ê°á”‰Êł á”á”ƒËĄ á”–á”ƒËĄËąâ€§ "ᔂᔉ ÊČá”˜Ëąá”— ᔈⁱᔈ ⁱᔗ á¶ á”’Êł ᔃ˥˥ ⁱⁿ á¶ á”˜âżâ€§â€§" "᎔ á”âżá”’Ê·; ᎔ ÊČá”˜Ëąá”—â€§â€§â€§" "ʞᔒᔘ ᶠᔉᔉ˥ ËĄâ±á”á”‰ Ê°á”˜Êłá”— Êžá”’á”˜Êł á”–Êłâ±á”ˆá”‰?" "Êžá”‰Ëą áŽ·á”ƒÊłá”‰âżâ€§â€§â€§" "᎔ á”ƒá”–á”’ËĄá”’á”â±Ëąá”‰ á¶ á”’Êł Ê·á”ƒá”â±âżá” ʞᔒᔘ‧" "á”€Ê°á”ƒâżá”Ëą; ᎔ ˥ᔒᔛᔉ ʞᔒᔘ‧‧‧" áŽ·á”ƒÊłá”‰âż'Ëą Ëąá”˜Êłá”‰ ËąÊ°á”‰ âżá”‰á”›á”‰Êł Ê°á”‰á”ƒÊłá”ˆ Ê°á”‰Êł Ê°á”˜Ëąá”‡á”ƒâżá”ˆ Ëąá”ƒÊž ᔗʰᔉ Ê·á”’Êłá”ˆ '˥ᔒᔛᔉ' ⁱⁿ ᔃ Ëąá”‰âżá”—á”‰âżá¶œá”‰âžŽ ˥ᔉᔗ á”ƒËĄá”’âżá”‰ á”—á”’ á”’á”—Ê°á”‰ÊłËąâ€§ ᔆʰᔉ á”âżá”‰Ê· ʰᔉ ËąÊ°á”’Ê·á”‰á”ˆ á”ƒá¶ á¶ á”‰á¶œá”—â±á”’âż ᔃᔗ ᔗⁱᔐᔉ˹ ⁱⁿ Ê°â±Ëą á”’Ê·âż ˥ⁱᔗᔗ˥ᔉ ʷᔃʞ‧‧‧ "ʞᔒᔘ'Êłá”‰ Ê·á”‰ËĄá¶œá”’á”á”‰; ˥ᔒᔛᔉ ʞᔒᔘ ᔗᔒ‧‧" ËąÊ°á”‰ ᔗᔘᶜᔏᔉᔈ ʰⁱᔐ ⁱⁿ‧ "ʞᔒᔘ á¶œá”ƒâż ᶠᔉᔉ˥ á¶ Êłá”‰á”‰ á”—á”’ ᔗᔉ˥˥ ᔐᔉ á”ƒâżÊžá”—Ê°â±âżá”â€§â€§â€§" áŽ·á”ƒÊłá”‰âż Ëąá”—á”ƒÊłá”—á”‰á”ˆ á”—á”’ Ëąá”ƒÊžâžŽ ᔇᔘᔗ ËąÊ°á”‰ Êłá”‰á”ƒËĄâ±Ëąá”‰á”ˆ ʰᔉ'Ëą Ëąâżá”’Êłâ±âżá”â€§ "ᔆ˥ᔉᔉᔖ ᔗⁱᔍʰᔗ➎ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§â€§â€§"
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https://www.sleepfoundation.org/parasomnias/hypnic-jerks
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