lacasadepapel

┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈-
                     ▌𝗥𝗢𝗧𝗧𝗘𝗡 𝗧𝗢𝗠𝗔𝗧𝗢𝗘𝗦: 𝟗𝟑% / 𝗠𝗘𝗧𝗔𝗖𝗥𝗜𝗧𝗜𝗖: 𝟔.𝟕 ▌
                   ╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸╸
● 𝖮 𝗂𝗇𝗂́𝖼𝗂𝗈 𝖽𝖺 𝗌𝖾́𝗋𝗂𝖾 𝗇𝖺 𝖠𝗇𝗍𝖾𝗇𝖺 𝟥 𝖿𝗈𝗂 𝖻𝖾𝗆 𝗋𝖾𝖼𝖾𝖻𝗂𝖽𝗈 𝗉𝖾𝗅𝖺 𝗆𝗂́𝖽𝗂𝖺 𝖾𝗌𝗉𝖺𝗇𝗁𝗈𝗅𝖺. 𝖭𝖺𝗒𝗂́𝗇 𝖢𝗈𝗌𝗍𝖺𝗌, 𝖽𝗈 𝖤𝗅 𝖢𝗈𝗇𝖿𝗂𝖽𝖾𝗇𝖼𝗂𝖺𝗅, 𝗇𝗈𝗆𝖾𝗈𝗎 𝖺 𝖾𝗌𝗍𝗋𝖾́𝗂𝖺 𝖼𝗈𝗆𝗈 𝗎𝗆 𝖼𝗈𝗆𝖾𝖼̧𝗈 𝗉𝗋𝗈𝗆𝗂𝗌𝗌𝗈𝗋 𝗊𝗎𝖾 𝖼𝖺𝗍𝗂𝗏𝗈𝗎 𝗈𝗌 𝖾𝗌𝗉𝖾𝖼𝗍𝖺𝖽𝗈𝗋𝖾𝗌 𝖼𝗈𝗆 "𝖺𝖽𝗋𝖾𝗇𝖺𝗅𝗂𝗇𝖺, 𝗍𝗈𝗊𝗎𝖾𝗌 𝖽𝖾 𝗁𝗎𝗆𝗈𝗋 𝖻𝖾𝗆 𝖺𝖽𝗆𝗂𝗇𝗂𝗌𝗍𝗋𝖺𝖽𝗈𝗌 𝖾 𝗆𝗎𝗂𝗍𝖺 𝗍𝖾𝗇𝗌𝖺̃𝗈", 𝗆𝖺𝗌 𝖼𝗈𝗇𝗌𝗂𝖽𝖾𝗋𝗈𝗎 𝗎𝗆 𝖽𝖾𝗌𝖺𝖿𝗂𝗈 𝗆𝖺𝗇𝗍𝖾𝗋 𝖺 𝗍𝖾𝗇𝗌𝖺̃𝗈 𝖽𝗋𝖺𝗆𝖺́𝗍𝗂𝖼𝖺 𝗉𝖾𝗅𝗈 𝗋𝖾𝗌𝗍𝖺𝗇𝗍𝖾 𝖽𝖺 𝗌𝖾́𝗋𝗂𝖾. 𝖠𝗉𝖾𝗌𝖺𝗋 𝖽𝖾 𝖼𝗈𝗇𝗌𝗂𝖽𝖾𝗋𝖺𝗋 𝖽𝖾𝗌𝗇𝖾𝖼𝖾𝗌𝗌𝖺́𝗋𝗂𝖺 𝖺 𝗇𝖺𝗋𝗋𝖺𝖼̧𝖺̃𝗈 𝖽𝗈 𝗉𝗂𝗅𝗈𝗍𝗈 𝖾 𝖺 𝖿𝖺𝗅𝗍𝖺 𝖽𝖾 𝖾𝖽𝗂𝖼̧𝖺̃𝗈 𝖾 𝖽𝗂𝖺́𝗅𝗈𝗀𝗈𝗌 𝖽𝖾 𝗌𝗈𝗆, 𝖭𝖺𝗍𝖺𝗅𝗂𝖺 𝖬𝖺𝗋𝖼𝗈𝗌, 𝖽𝗈 𝖤𝗅 𝖯𝖺𝗂́𝗌, 𝗀𝗈𝗌𝗍𝗈𝗎 𝖽𝗈 𝖾𝗅𝖾𝗇𝖼𝗈 𝖾 𝖽𝖺 𝖺𝗆𝖻𝗂𝖼̧𝖺̃𝗈 𝖽𝗈 𝗌𝗁𝗈𝗐, 𝖽𝗂𝗓𝖾𝗇𝖽𝗈: "𝖤́ 𝗈𝗎𝗌𝖺𝖽𝖺, 𝖽𝖾𝗌𝖼𝖺𝗋𝖺𝖽𝖺 𝖾 𝖽𝗂𝗏𝖾𝗋𝗍𝗂𝖽𝖺, 𝗉𝖾𝗅𝗈 𝗆𝖾𝗇𝗈𝗌 𝗊𝗎𝖺𝗇𝖽𝗈 𝖼𝗈𝗆𝖾𝖼̧𝖺. 𝖠𝗀𝗈𝗋𝖺 𝗊𝗎𝖾𝗋𝖾𝗆𝗈𝗌 𝗆𝖺𝗂𝗌, 𝗈 𝗊𝗎𝖾 𝗇𝖺̃𝗈 𝖾́ 𝗉𝗈𝗎𝖼𝗈. " 𝖱𝖾𝗏𝖾𝗇𝖽𝗈 𝖺 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝖺 𝗉𝖺𝗋𝗍𝖾 𝖼𝗈𝗆𝗉𝗅𝖾𝗍𝖺, 𝖬𝖺𝗋𝖼𝗈𝗌 𝖾𝗅𝗈𝗀𝗂𝗈𝗎 𝖺 𝗌𝖾́𝗋𝗂𝖾 𝗉𝗈𝗋 𝗌𝗎𝖺 𝖾𝗑𝖼𝖾𝗅𝖾𝗇𝗍𝖾 𝖽𝗂𝗋𝖾𝖼̧𝖺̃𝗈, 𝗉𝖾𝗅𝖺 𝗌𝖾𝗅𝖾𝖼̧𝖺̃𝗈 𝗆𝗎𝗌𝗂𝖼𝖺𝗅 𝖾 𝗉𝗈𝗋 𝗍𝖾𝗇𝗍𝖺𝗋 𝗂𝗇𝗈𝗏𝖺𝗋 𝖺 𝗍𝖾𝗅𝖾𝗏𝗂𝗌𝖺̃𝗈 𝖾𝗌𝗉𝖺𝗇𝗁𝗈𝗅𝖺, 𝗆𝖺𝗌 𝖼𝗋𝗂𝗍𝗂𝖼𝗈𝗎 𝖺 𝖾𝗑𝗍𝖾𝗇𝗌𝖺̃𝗈 𝖾 𝖺 𝗍𝖾𝗇𝗌𝖺̃𝗈 𝖾𝗆 𝖽𝖾𝖼𝗅𝗂́𝗇𝗂𝗈. 𝖭𝗈 𝖿𝗂𝗇𝖺𝗅 𝖽𝖺 𝗌𝖾́𝗋𝗂𝖾 𝗈𝗋𝗂𝗀𝗂𝗇𝖺𝗅, 𝖭𝖺𝗒𝗂́𝗇 𝖢𝗈𝗌𝗍𝖺𝗌, 𝖽𝗈 𝖤𝗅 𝖢𝗈𝗇𝖿𝗂𝖽𝖾𝗇𝖼𝗂𝖺𝗅, 𝖾𝗅𝗈𝗀𝗂𝗈𝗎 𝖺 𝗌𝖾́𝗋𝗂𝖾 𝗉𝗈𝗋 𝗌𝖾𝗎 "𝖿𝖾𝖼𝗁𝖺𝗆𝖾𝗇𝗍𝗈 𝖽𝖾 𝖺𝗅𝗍𝖺 𝗊𝗎𝖺𝗅𝗂𝖽𝖺𝖽𝖾", 𝗊𝗎𝖾 𝗉𝗈𝖽𝖾 𝗍𝗈𝗋𝗇𝖺𝗋 𝗈 𝖿𝗂𝗇𝖺𝗅 "𝗎𝗆 𝖽𝗈𝗌 𝗆𝖾𝗅𝗁𝗈𝗋𝖾𝗌 𝖾𝗉𝗂𝗌𝗈́𝖽𝗂𝗈𝗌 𝖽𝖺 𝗍𝖾𝗆𝗉𝗈𝗋𝖺𝖽𝖺 𝖾𝗌𝗉𝖺𝗇𝗁𝗈𝗅𝖺", 𝗆𝖺𝗌 𝗅𝖺𝗆𝖾𝗇𝗍𝗈𝗎 𝗊𝗎𝖾 𝗏𝗂𝗌𝖺𝗌𝗌𝖾 𝗌𝖺𝗍𝗂𝗌𝖿𝖺𝗓𝖾𝗋 𝗈𝗌 𝗍𝖾𝗅𝖾𝗌𝗉𝖾𝖼𝗍𝖺𝖽𝗈𝗋𝖾𝗌. 𝖼𝗈𝗆 𝗎𝗆 𝖿𝗂𝗇𝖺𝗅 𝖿𝖾𝗅𝗂𝗓 𝗉𝗋𝖾𝗏𝗂𝗌𝗂́𝗏𝖾𝗅 𝖺𝗈 𝗂𝗇𝗏𝖾́𝗌 𝖽𝖾 𝖺𝗋𝗋𝗂𝗌𝖼𝖺𝗋 "𝖿𝖺𝗓𝖾𝗋 𝖺𝗅𝗀𝗈 𝖽𝗂𝖿𝖾𝗋𝖾𝗇𝗍𝖾, 𝗈𝗋𝗂𝗀𝗂𝗇𝖺𝗅, 𝖺𝗆𝖻𝗂𝖼𝗂𝗈𝗌𝗈", 𝖾 𝗊𝗎𝖾 𝗈 𝗉𝗋𝗈𝗀𝗋𝖺𝗆𝖺 𝗇𝖺̃𝗈 𝖼𝗈𝗇𝗌𝖾𝗀𝗎𝗂𝗎 𝗌𝖾𝗀𝗎𝗂𝗋 𝗈𝗌 𝗉𝖺𝗌𝗌𝗈𝗌 𝖽𝖾 𝖫𝗈𝖼𝗄𝖾𝖽 𝖴𝗉 𝖽𝖾 𝖯𝗂𝗇𝖺.

𝖠𝗉𝗈́𝗌 𝖺 𝗆𝗎𝖽𝖺𝗇𝖼̧𝖺 𝖽𝗈 𝗉𝗋𝗈𝗀𝗋𝖺𝗆𝖺 𝗉𝖺𝗋𝖺 𝖺 𝖭𝖾𝗍𝖿𝗅𝗂𝗑 𝗉𝖺𝗋𝖺 𝗈 𝗌𝖾𝗎 𝗅𝖺𝗇𝖼̧𝖺𝗆𝖾𝗇𝗍𝗈 𝗂𝗇𝗍𝖾𝗋𝗇𝖺𝖼𝗂𝗈𝗇𝖺𝗅, 𝖠𝖽𝗋𝗂𝖺𝗇 𝖧𝖾𝗇𝗇𝗂𝗀𝖺𝗇, 𝖽𝗈 𝖧𝖺𝖺𝗋𝖾𝗍𝗓 𝗂𝗌𝗋𝖺𝖾𝗅𝖾𝗇𝗌𝖾, 𝖽𝗂𝗌𝗌𝖾 𝗊𝗎𝖾 𝖺 𝗌𝖾́𝗋𝗂𝖾 𝖾𝗋𝖺 "𝗆𝖺𝗂𝗌 𝗎𝗆 𝗍𝗁𝗋𝗂𝗅𝗅𝖾𝗋 𝗌𝗂𝗇𝗎𝗈𝗌𝗈 𝖽𝗈 𝗊𝗎𝖾 𝗎𝗆𝖺 𝗇𝗈𝗏𝖾𝗅𝖺 𝖼𝗈𝗆 𝗌𝖺𝖻𝖺̃𝗈, 𝗂𝗆𝗉𝗎𝗅𝗌𝗂𝗈𝗇𝖺𝖽𝖺 𝗉𝗈𝗋 𝗌𝗎𝖺 𝗍𝗋𝖺𝗆𝖺 𝖾𝗇𝗀𝖾𝗇𝗁𝗈𝗌𝖺, 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌 𝖾𝗇𝗏𝗈𝗅𝗏𝖾𝗇𝗍𝖾𝗌, 𝗉𝗈𝗇𝗍𝗈𝗌 𝖽𝖾 𝗂𝗇𝖿𝗅𝖺𝗆𝖺𝖼̧𝖺̃𝗈 𝗍𝖾𝗇𝗌𝗈𝗌, 𝗉𝗈𝗇𝗍𝗎𝖺𝖼̧𝖺̃𝗈 𝗉𝗎𝗅𝗌𝖺𝗇𝗍𝖾 𝖾 𝗆𝗈𝗆𝖾𝗇𝗍𝗈𝗌 𝗈𝖼𝖺𝗌𝗂𝗈𝗇𝖺𝗂𝗌 𝖽𝖾 𝗁𝗎𝗆𝗈𝗋 ", 𝗆𝖺𝗌 𝗉𝗋𝗈𝗏𝗈𝖼𝗈𝗎 𝗈 𝗍𝗂́𝗍𝗎𝗅𝗈 𝖾𝗆 𝗂𝗇𝗀𝗅𝖾̂𝗌" 𝖬𝗈𝗇𝖾𝗒 𝖧𝖾𝗂𝗌𝗍 "𝖼𝗈𝗆𝗈 𝖻𝗋𝖺𝗇𝖽𝖺. 𝖤𝗆 𝗎𝗆𝖺 𝖼𝗋𝗂́𝗍𝗂𝖼𝖺 𝖼𝗈𝗇𝗍𝗎𝗇𝖽𝖾𝗇𝗍𝖾, 𝖯𝖺𝗎𝗅𝗂𝗇𝖾 𝖡𝗈𝖼𝗄, 𝖽𝖺 𝗋𝖾𝗏𝗂𝗌𝗍𝖺 𝖻𝗋𝗂𝗍𝖺̂𝗇𝗂𝖼𝖺 𝖭𝖾𝗐 𝖲𝗍𝖺𝗍𝖾𝗌𝗆𝖺𝗇, 𝗊𝗎𝖾𝗌𝗍𝗂𝗈𝗇𝗈𝗎 𝗈 𝗁𝗒𝗉𝖾 𝗀𝗅𝗈𝖻𝖺𝗅 𝖽𝖺 𝗌𝖾́𝗋𝗂𝖾, 𝖽𝗂𝗓𝖾𝗇𝖽𝗈 𝗊𝗎𝖾 𝖾𝗅𝖺 𝖾𝗌𝗍𝖺𝗏𝖺 "𝖼𝗁𝖾𝗂𝖺 𝖽𝖾 𝖻𝗎𝗋𝖺𝖼𝗈𝗌 𝗇𝖺 𝗍𝗋𝖺𝗆𝖺, 𝗆𝗈𝗏𝗂𝗆𝖾𝗇𝗍𝗈𝗌 𝗅𝖾𝗇𝗍𝗈𝗌 𝖼𝗅𝗂𝖼𝗁𝖾̂, 𝗁𝗂𝗌𝗍𝗈́𝗋𝗂𝖺𝗌 𝖽𝖾 𝖺𝗆𝗈𝗋 𝖻𝗋𝖾𝗀𝖺 𝖾 𝖼𝖾𝗇𝖺𝗌 𝖽𝖾 𝗌𝖾𝗑𝗈 𝗀𝗋𝖺𝗍𝗎𝗂𝗍𝖺𝗌", 𝖺𝗇𝗍𝖾𝗌 𝖽𝖾 𝖼𝗈𝗇𝗍𝗂𝗇𝗎𝖺𝗋 𝖺𝖼𝗋𝖾𝗌𝖼𝖾𝗇𝗍𝖺𝗇𝖽𝗈 𝗊𝗎𝖾 "𝖺 𝗆𝗎́𝗌𝗂𝖼𝖺 𝖾́ 𝗉𝗈𝗆𝗉𝗈𝗌𝖺, 𝖺 𝗇𝖺𝗋𝗋𝖺𝖼̧𝖺̃𝗈 𝗂𝗋𝗋𝗂𝗍𝖺𝗇𝗍𝖾 𝖾 𝖾́ 𝗍𝖾𝗋𝗋𝗂𝗏𝖾𝗅𝗆𝖾𝗇𝗍𝖾 𝖾𝖽𝗂𝗍𝖺𝖽𝖺". 𝖩𝗈𝗁𝗇 𝖣𝗈𝗒𝗅𝖾, 𝖽𝗈 𝖳𝗁𝖾 𝖦𝗅𝗈𝖻𝖾 𝖺𝗇𝖽 𝖬𝖺𝗂𝗅, 𝖾𝗅𝗈𝗀𝗂𝗈𝗎 𝖺𝗌 𝗉𝖺𝗋𝗍𝖾𝗌 𝟣 𝖾 𝟤 𝗉𝖾𝗅𝖺𝗌 𝗌𝗎𝖻𝗏𝖾𝗋𝗌𝗈̃𝖾𝗌 𝖽𝖾 𝗀𝖾̂𝗇𝖾𝗋𝗈 𝖽𝖾 𝖺𝗌𝗌𝖺𝗅𝗍𝗈; 𝖾𝗅𝖾 𝗍𝖺𝗆𝖻𝖾́𝗆 𝖽𝗂𝗌𝗌𝖾 𝗊𝗎𝖾 𝖺 𝗌𝖾́𝗋𝗂𝖾 𝗉𝗈𝖽𝖾𝗋𝗂𝖺 𝗌𝖾𝗋 "𝖽𝖾𝗅𝗂𝖼𝗂𝗈𝗌𝖺𝗆𝖾𝗇𝗍𝖾 𝗆𝖾𝗅𝗈𝖽𝗋𝖺𝗆𝖺́𝗍𝗂𝖼𝖺 𝖺̀𝗌 𝗏𝖾𝗓𝖾𝗌" 𝖼𝗈𝗆 "𝗋𝖾𝗏𝗂𝗋𝖺𝗏𝗈𝗅𝗍𝖺𝗌 𝗎𝗅𝗍𝗋𝖺𝗃𝖺𝗇𝗍𝖾𝗌 𝖾 𝗆𝗎𝗂𝗍𝖺 𝗉𝖺𝗂𝗑𝖺̃𝗈" 𝖼𝗈𝗆𝗈 𝗎𝗆𝖺 𝗇𝗈𝗏𝖾𝗅𝖺. 𝖩𝖾𝗇𝗇𝗂𝖿𝖾𝗋 𝖪𝖾𝗂𝗌𝗁𝗂𝗇 𝖠𝗋𝗆𝗌𝗍𝗋𝗈𝗇𝗀, 𝖽𝖺 𝖡𝖡𝖢, 𝗏𝗂𝗎 𝗈 𝗏𝖾𝗋𝖽𝖺𝖽𝖾𝗂𝗋𝗈 𝖺𝗉𝖾𝗅𝗈 𝖽𝖺 𝗌𝖾́𝗋𝗂𝖾 𝗇𝗈𝗌 𝖽𝗋𝖺𝗆𝖺𝗌 𝗂𝗇𝗍𝖾𝗋𝗉𝖾𝗌𝗌𝗈𝖺𝗂𝗌 𝖾𝗆𝖾𝗋𝗀𝗂𝗇𝖽𝗈 𝖺𝗍𝗋𝖺𝗏𝖾́𝗌 𝖽𝗈 𝖺𝗌𝗌𝖺𝗅𝗍𝗈 𝖾𝗇𝗍𝗋𝖾 "𝗈𝗌 𝖻𝖾𝗅𝗈𝗌 𝗅𝖺𝖽𝗋𝗈̃𝖾𝗌, 𝗌𝖾𝗎𝗌 𝖻𝖾𝗅𝗈𝗌 𝗋𝖾𝖿𝖾́𝗇𝗌 𝖾 𝖺𝗌 𝖻𝖾𝗅𝖺𝗌 𝖺𝗎𝗍𝗈𝗋𝗂𝖽𝖺𝖽𝖾𝗌 𝗍𝖾𝗇𝗍𝖺𝗇𝖽𝗈 𝗇𝖾𝗀𝗈𝖼𝗂𝖺𝗋 𝖼𝗈𝗆 𝖾𝗅𝖾𝗌". 𝖣𝖺𝗏𝗂𝖽 𝖧𝗎𝗀𝖾𝗇𝖽𝗂𝖼𝗄, 𝖽𝗈 𝖣𝗂𝖾 𝖹𝖾𝗂𝗍, 𝖺𝖼𝗁𝗈𝗎 𝖺 𝗌𝖾́𝗋𝗂𝖾 "𝖺̀𝗌 𝗏𝖾𝗓𝖾𝗌 𝗎𝗆 𝗉𝗈𝗎𝖼𝗈 𝗌𝖾𝗇𝗍𝗂𝗆𝖾𝗇𝗍𝖺𝗅, 𝗎𝗆 𝗉𝗈𝗎𝖼𝗈 𝖼𝖺𝗋𝗍𝗈𝗈𝗇𝖾𝗌𝖼𝖺", 𝖾 𝗈 𝖽𝗋𝖺𝗆𝖺 𝖺̀𝗌 𝗏𝖾𝗓𝖾𝗌 𝗆𝗎𝗂𝗍𝗈 𝗉𝖺𝗋𝖾𝖼𝗂𝖽𝗈 𝖼𝗈𝗆 𝗍𝖾𝗅𝖾𝗇𝗈𝗏𝖾𝗅𝖺, 𝗆𝖺𝗌 "𝗍𝗎𝖽𝗈 𝖼𝗈𝗆 𝗎𝗆 𝖻𝗈𝗆 𝗌𝖾𝗇𝗌𝗈 𝖽𝖾 𝗍𝗂𝗆𝗂𝗇𝗀 𝖾 𝖾𝗌𝗉𝖾𝗍𝖺́𝖼𝗎𝗅𝗈".

𝖮 𝗌𝗂𝗍𝖾 𝖺𝗀𝗋𝖾𝗀𝖺𝖽𝗈𝗋 𝖽𝖾 𝖼𝗋𝗂́𝗍𝗂𝖼𝖺𝗌 𝖱𝗈𝗍𝗍𝖾𝗇 𝖳𝗈𝗆𝖺𝗍𝗈𝖾𝗌 𝖽𝖾𝗎 𝖺̀ 𝗉𝖺𝗋𝗍𝖾 𝟥 𝗎𝗆𝖺 𝖼𝗅𝖺𝗌𝗌𝗂𝖿𝗂𝖼𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝖺𝗉𝗋𝗈𝗏𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝟣𝟢𝟢% 𝖼𝗈𝗆 𝖻𝖺𝗌𝖾 𝖾𝗆 𝟣𝟤 𝖺𝗏𝖺𝗅𝗂𝖺𝖼̧𝗈̃𝖾𝗌, 𝖼𝗈𝗆 𝗎𝗆𝖺 𝖼𝗅𝖺𝗌𝗌𝗂𝖿𝗂𝖼𝖺𝖼̧𝖺̃𝗈 𝗆𝖾́𝖽𝗂𝖺 𝖽𝖾 𝟩/𝟣𝟢. 𝖮 𝖼𝗈𝗇𝗌𝖾𝗇𝗌𝗈 𝖼𝗋𝗂́𝗍𝗂𝖼𝗈 𝖽𝗈 𝗌𝗂𝗍𝖾 𝖽𝗂𝗓: "𝖴𝗆 𝗉𝗅𝖺𝗇𝗈 𝖺𝗎𝖽𝖺𝖼𝗂𝗈𝗌𝗈 𝖼𝗈𝗇𝗍𝖺𝖽𝗈 𝖽𝖾 𝗆𝖺𝗇𝖾𝗂𝗋𝖺 𝗇𝖺̃𝗈 𝗅𝗂𝗇𝖾𝖺𝗋 𝗆𝖺𝗇𝗍𝖾́𝗆 𝖺 𝗍𝖾𝗋𝖼𝖾𝗂𝗋𝖺 𝗉𝖺𝗋𝗍𝖾 𝖾𝗆 𝗆𝗈𝗏𝗂𝗆𝖾𝗇𝗍𝗈, 𝖾𝗇𝗊𝗎𝖺𝗇𝗍𝗈 𝗈 𝖬𝗈𝗇𝖾𝗒 𝖧𝖾𝗂𝗌𝗍 𝗌𝖾 𝖼𝗈𝗇𝖼𝖾𝗇𝗍𝗋𝖺 𝗇𝖺𝗌 𝗋𝖾𝗅𝖺𝖼̧𝗈̃𝖾𝗌 𝖾𝗇𝗍𝗋𝖾 𝗌𝖾𝗎𝗌 𝖺𝗆𝖺𝖽𝗈𝗌 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌". 𝖤𝗇𝗊𝗎𝖺𝗇𝗍𝗈 𝖾𝗅𝗈𝗀𝗂𝖺𝗏𝖺 𝖺𝗌 𝗋𝖾𝖺𝗅𝗂𝗓𝖺𝖼̧𝗈̃𝖾𝗌 𝗍𝖾́𝖼𝗇𝗂𝖼𝖺𝗌, 𝖩𝖺𝗏𝗂𝖾𝗋 𝖹𝗎𝗋𝗋𝗈, 𝖽𝗈 𝖤𝗅 𝖤𝗌𝗉𝖺𝗇̃𝗈𝗅, 𝖽𝖾𝗌𝖼𝗋𝖾𝗏𝖾𝗎 𝖺 𝗍𝖾𝗋𝖼𝖾𝗂𝗋𝖺 𝗉𝖺𝗋𝗍𝖾 𝖼𝗈𝗆𝗈 "𝖾𝗇𝗍𝗋𝖾𝗍𝖾𝗇𝗂𝗆𝖾𝗇𝗍𝗈 𝖽𝖾 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝖺 𝖼𝗅𝖺𝗌𝗌𝖾", 𝗂𝗇𝖼𝖺𝗉𝖺𝗓 𝖽𝖾 𝗍𝗋𝖺𝗇𝗌𝖼𝖾𝗇𝖽𝖾𝗋 𝗌𝗎𝖺𝗌 𝗋𝖺𝗂́𝗓𝖾𝗌 𝖾 𝗌𝖾𝗆 𝗇𝗈𝗏𝗂𝖽𝖺𝖽𝖾. 𝖤𝗅𝖾 𝗇𝖺̃𝗈 𝗌𝖾 𝗌𝖾𝗇𝗍𝗂𝗎 𝖺𝖿𝖾𝗍𝖺𝖽𝗈 𝗉𝖾𝗅𝗈 𝖽𝗋𝖺𝗆𝖺 𝗂𝗇𝗍𝖾𝗋𝗇𝗈 𝖾𝗇𝗍𝗋𝖾 𝗈𝗌 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌 𝖾, 𝖾𝗌𝗉𝖾𝖼𝗂𝖿𝗂𝖼𝖺𝗆𝖾𝗇𝗍𝖾, 𝗇𝖺̃𝗈 𝗀𝗈𝗌𝗍𝗈𝗎 𝖽𝖺 𝗇𝖺𝗋𝗋𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝖳𝗈́𝗊𝗎𝗂𝗈 𝗉𝗈𝗋 𝗌𝗎𝖺 𝗈𝖼𝗂𝗈𝗌𝗂𝖽𝖺𝖽𝖾. 𝖠𝗅𝖾𝗑 𝖩𝗂𝗆𝖾́𝗇𝖾𝗓, 𝖽𝗈 𝗃𝗈𝗋𝗇𝖺𝗅 𝖾𝗌𝗉𝖺𝗇𝗁𝗈𝗅 𝖠𝖡𝖢, 𝖼𝗈𝗇𝗌𝗍𝖺𝗍𝗈𝗎 𝗊𝗎𝖾 𝖺 𝗉𝖺𝗋𝗍𝖾 𝟥 𝖿𝗈𝗂 𝖻𝖾𝗆-𝗌𝗎𝖼𝖾𝖽𝗂𝖽𝖺 𝖾𝗆 𝗌𝗎𝖺𝗌 𝗍𝖾𝗇𝗍𝖺𝗍𝗂𝗏𝖺𝗌 𝖽𝖾 𝗋𝖾𝗂𝗇𝗏𝖾𝗇𝗍𝖺𝗋 𝗈 𝗉𝗋𝗈𝗀𝗋𝖺𝗆𝖺 𝖾 𝗌𝖾 𝗆𝖺𝗇𝗍𝖾𝗋 𝖺𝗍𝗎𝖺𝗅𝗂𝗓𝖺𝖽𝗈. 𝖤𝗎𝖺𝗇 𝖥𝖾𝗋𝗀𝗎𝗌𝗈𝗇, 𝖽𝗈 𝖳𝗁𝖾 𝖦𝗎𝖺𝗋𝖽𝗂𝖺𝗇, 𝗋𝖾𝖼𝗈𝗆𝖾𝗇𝖽𝗈𝗎 𝖺𝗌𝗌𝗂𝗌𝗍𝗂𝗋 𝖺 𝗉𝖺𝗋𝗍𝖾 𝟥, 𝖼𝗈𝗆𝗈 "𝖺𝗂𝗇𝖽𝖺 𝖾́ 𝗎𝗆 𝗀𝗅𝗈𝗋𝗂𝗈𝗌𝗈 𝖯𝖾𝖺𝗄𝗒 𝖡𝗅𝗂𝗇𝖽𝖾𝗋𝗌, 𝖺𝗉𝖾𝗇𝖺𝗌 𝖼𝗈𝗆 𝗍𝖺𝗉𝖺𝗌 𝖾 𝗅𝖾𝗀𝖾𝗇𝖽𝖺𝗌", 𝖾𝗇𝗊𝗎𝖺𝗇𝗍𝗈 𝖯𝖾𝗋𝖾 𝖲𝗈𝗅𝖺̀ 𝖦𝗂𝗆𝖿𝖾𝗋𝗋𝖾𝗋, 𝖽𝖺 𝖫𝖺 𝖵𝖺𝗇𝗀𝗎𝖺𝗋𝖽𝗂𝖺, 𝖽𝖾𝗌𝖼𝗈𝖻𝗋𝗂𝗎 𝗊𝗎𝖾 𝗈 𝗇𝗎́𝗆𝖾𝗋𝗈 𝖽𝖾 𝖻𝗎𝗋𝖺𝖼𝗈𝗌 𝗇𝖺 𝗍𝗋𝖺𝗆𝖺 𝗇𝖺 𝗉𝖺𝗋𝗍𝖾 𝟥 𝗌𝗈́ 𝗉𝗈𝖽𝗂𝖺 𝗌𝖾𝗋 𝗌𝗎𝗉𝗈𝗋𝗍𝖺𝖽𝗈 𝖼𝗈𝗆 𝗌𝗎𝗌𝗉𝖾𝗇𝗌𝖺̃𝗈 𝖼𝗈𝗇𝗌𝗍𝖺𝗇𝗍𝖾 𝖽𝖾 𝖽𝖾𝗌𝖼𝗋𝖾𝗇𝖼̧𝖺. 𝖤𝗆𝖻𝗈𝗋𝖺 𝖾𝗇𝗍𝗋𝖾𝗍𝗂𝖽𝗈, 𝖠𝗅𝖿𝗈𝗇𝗌𝗈 𝖱𝗂𝗏𝖺𝖽𝖾𝗇𝖾𝗒𝗋𝖺 𝖦𝖺𝗋𝖼𝗂́𝖺, 𝖽𝗈 𝗃𝗈𝗋𝗇𝖺𝗅 𝗉𝖾𝗋𝗎𝖺𝗇𝗈 𝖤𝗅 𝖢𝗈𝗆𝖾𝗋𝖼𝗂𝗈, 𝖽𝗂𝗌𝗌𝖾 𝗊𝗎𝖾 𝗈 𝗉𝗋𝗈𝗀𝗋𝖺𝗆𝖺 𝖿𝖺𝗓 "𝗈 𝗊𝗎𝖾 𝖿𝖺𝗓 𝖽𝖾 𝗆𝖾𝗅𝗁𝗈𝗋: 𝖿𝗂𝗇𝗀𝖾 𝗌𝖾𝗋 𝗈 𝗀𝖺𝗋𝗈𝗍𝗈 𝗆𝖺𝗂𝗌 𝗂𝗇𝗍𝖾𝗅𝗂𝗀𝖾𝗇𝗍𝖾 𝖽𝖺 𝖼𝗅𝖺𝗌𝗌𝖾 𝗊𝗎𝖺𝗇𝖽𝗈, 𝗇𝖺 𝗏𝖾𝗋𝖽𝖺𝖽𝖾, 𝖾́ 𝖺𝗉𝖾𝗇𝖺𝗌 𝗈 𝗆𝖺𝗂𝗌 𝗏𝗂𝗏𝗈".
┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈-
          ▌𝖬𝖤𝖠𝖣𝖣/𝕃𝔸𝗖𝗔𝗦𝗔𝗗𝗘𝗣𝗔𝗣𝗘𝗟 › 𝗖𝗼𝗽𝘆𝗿𝗶𝗴𝗵𝘁 © 𝖺𝗅𝗅 𝗿𝗶𝗴𝗵𝘁𝘀 𝗋𝖾𝗌𝖾𝗋𝗏𝖾𝖽 ❚ 𝕀𝕟𝕚́𝕔𝕚𝕠 / 𝔾𝕒𝕝𝕖𝕣𝕚𝕒 / 𝑵𝒆𝒕𝒇𝒍𝒊𝒙 ❫
          ─────────────────────────────────────────────────────────