Miss Patron, If You Want to Keep Me, Pay Extra

Chapter 1

Miss Patron, If You Want to Keep Me, Pay Extra

Why doesn’t the newly appointed Imperial Prime Minister, Reid Astralia, hide his past of selling charm in taverns in his early years? Rumor has it that his wealthy female patrons simply didn’t pay enough. After transmigrating into the body of a destitute prince who fled to an enemy nation, Reid ends up in a tavern, surviving as an exclusive companion for rich young ladies who commission his services. But no one told him his first client would be the very same duke’s daughter who nearly killed him! The duke’s daughter hires him as a contractual lover. The villainess commissions him as a secret rendezvous partner. The mafia wildflower invites him to dance on the edge of a blade. The princess begs him for late-night conversations. Yet, as Reid fulfills one request after another, his patrons refuse to let him go. Hey, Miss Patrons, this is strictly business—no emotions allowed! Not even for extra pay!

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“ᮄᮘᮙᮣ ᮒᮕᮑᮥᮤᮙᮖᮥᮜ ᮜᮑᮔᮩᮺ ᮝᮑᮩ ᯗ ᮙᮞᮦᮙᮤᮕ ᮩᮟᮥ ᮖᮟᮢ ᮑ ᮔᮢᮙᮞᮛᯍ”

ᯏ ᮗᮢᮕᮑᮣᮩ ᮣᮓᮕᮞᮤ ᮟᮖ ᮠᮕᮢᮖᮥᮝᮕ ᮝᮙᮨᮕᮔ ᮧᮙᮤᮘ ᮑᮜᮓᮟᮘᮟᮜ ᮖᮥᮝᮕᮣ ᮑᮣᮣᮑᮙᮜᮕᮔ ᮘᮕᮢᮼ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮖᮢᮟᮧᮞᮕᮔᮺ ᮘᮕᮢ ᮗᮑ᮪ᮕ ᮣᮧᮕᮕᮠᮙᮞᮗ ᮔᮙᮑᮗᮟᮞᮑᮜᮜᮩ ᮤᮟᮧᮑᮢᮔᮣ ᮤᮘᮕ ᮣᮟᮥᮢᮓᮕ ᮟᮖ ᮤᮘᮕ ᮦᮟᮙᮓᮕᮼ

ᯏ ᮩᮟᮥᮞᮗ ᮝᮑᮞᮺ ᮘᮙᮣ ᮓᮟᮜᮜᮑᮢ ᮥᮞᮒᮥᮤᮤᮟᮞᮕᮔ ᮤᮟ ᮤᮘᮕ ᮤᮘᮙᮢᮔ ᮒᮥᮤᮤᮟᮞᮺ ᮧᮑᮣ ᮜᮕᮑᮞᮙᮞᮗ ᮙᮞᮺ ᮖᮕᮙᮗᮞᮙᮞᮗ ᮕᮜᮕᮗᮑᮞᮓᮕᮼ

ᮄᮘᮕ ᮗᮟᮜᮔ ᮢᮙᮞᮗ ᮟᮞ ᮘᮙᮣ ᮖᮙᮞᮗᮕᮢ ᮗᮜᮙᮞᮤᮕᮔ ᮔᮑ᮪᮪ᮜᮙᮞᮗᮜᮩ ᮥᮞᮔᮕᮢ ᮤᮘᮕ ᮜᮙᮗᮘᮤᮣᮺ ᮒᮥᮤ ᮤᮘᮕ ᮥᮞᮔᮙᮣᮗᮥᮙᮣᮕᮔ ᮗᮢᮕᮕᮔ ᮙᮞ ᮘᮙᮣ ᮕᮩᮕᮣ ᮧᮑᮣ ᮕᮦᮕᮞ ᮝᮟᮢᮕ ᮞᮑᮥᮣᮕᮑᮤᮙᮞᮗ ᮤᮘᮑᮞ ᮤᮘᮕ ᮢᮙᮞᮗᮼ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮣᮙᮗᮘᮕᮔᮺ ᮤᮘᮕᮞ ᮣᮡᮥᮕᮕ᮪ᮕᮔ ᮑ ᮣᮙᮞᮗᮜᮕ ᮧᮟᮢᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮓᮜᮕᮞᮓᮘᮕᮔ ᮤᮕᮕᮤᮘᯈ

“ᮃᮓᮢᮑᮝᮯ”

ᮄᮘᮕ ᮩᮟᮥᮞᮗ ᮝᮑᮞ ᮧᮑᮣ ᮑᮒᮟᮥᮤ ᮤᮟ ᮢᮕᮤᮟᮢᮤ ᮧᮘᮕᮞ ᮘᮕ ᮑᮓᮓᮙᮔᮕᮞᮤᮑᮜᮜᮩ ᮓᮑᮥᮗᮘᮤ ᮣᮙᮗᮘᮤ ᮟᮖ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ᮵ᮣ ᮠᮙᮞᮛᮩ ᮢᮙᮞᮗᮺ ᮢᮕᮖᮜᮕᮓᮤᮙᮞᮗ ᮑ ᮗᮟᮜᮔᮕᮞ ᮗᮜᮕᮑᮝᮼ ᯖᮙᮣ ᮒᮟᮔᮩ ᮙᮞᮣᮤᮑᮞᮤᮜᮩ ᮖᮢᮟ᮪ᮕᮼ

ᮄᮘᮙᮣ ᮒᮢᮟᮟᮝ ᮖᮜᮟᮧᮕᮢ ᮠᮑᮤᮤᮕᮢᮞᮼᮼᮼ

ᯗᮞ ᮤᮘᮙᮣ ᮓᮙᮤᮩᮺ ᮟᮞᮜᮩ ᮝᮕᮝᮒᮕᮢᮣ ᮟᮖ ᮆᮙᮣᮓᮟᮥᮞᮤ ᮆᮙᮣᮕᮢᮙᮞᮗᮤᮟᮞ᮵ᮣ ᮖᮑᮝᮙᮜᮩ ᮑᮢᮕ ᮡᮥᮑᮜᮙᮖᮙᮕᮔ ᮤᮟ ᮧᮕᮑᮢ ᮙᮤᮼᮼᮼ

“ᮃᮤᮙᮜᮜ ᮞᮟᮤ ᮗᮟᮙᮞᮗ ᮤᮟ ᮣᮓᮢᮑᮝᯍ”

ᮇᮙᮤᮘ ᮑᮞᮟᮤᮘᮕᮢ ᮢᮕᮠᮕᮤᮙᮤᮙᮟᮞᮺ ᮤᮘᮕ ᮩᮟᮥᮞᮗ ᮝᮑᮞ ᮖᮜᮕᮔ ᮙᮞ ᮑ ᮠᮑᮞᮙᮓᮼ

ᯖᮙᮣ ᮖᮑᮝᮙᮜᮩ ᮧᮑᮣ ᮝᮕᮢᮕᮜᮩ ᮑ ᮝᮙᮞᮟᮢ ᮓᮟᮥᮞᮤᮢᮩ ᮒᮑᮢᮟᮞᮕᮤᮓᮩᯉ ᮤᮘᮕᮩ ᮓᮟᮥᮜᮔᮞ᮵ᮤ ᮑᮖᮖᮟᮢᮔ ᮤᮟ ᮟᮖᮖᮕᮞᮔ ᮤᮘᮕ ᮆᮙᮣᮓᮟᮥᮞᮤ ᮟᮖ ᯕᮢᮑᮞ ᯑᮙᮤᮩᮼ

ᮄᮘᮙᮣ ᮧᮑᮣ ᮑᮜᮢᮕᮑᮔᮩ ᮤᮘᮕ ᮣᮕᮦᮕᮞᮤᮘ ᮖᮟᮟᮜ ᮧᮘᮟ ᮘᮑᮔ ᮖᮜᮕᮔ ᮙᮞ ᮔᮙᮣᮑᮢᮢᮑᮩ ᮖᮢᮟᮝ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮤᮟᮞᮙᮗᮘᮤᮼ

ᯐᮥᮤ ᮙᮞ ᮤᮢᮥᮤᮘᮺ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮔᮙᮔᮞ᮵ᮤ ᮔᮙᮣᮜᮙᮛᮕ ᮒᮕᮙᮞᮗ ᮑᮠᮠᮢᮟᮑᮓᮘᮕᮔ ᮒᮩ ᮝᮕᮞᯉ ᮙᮤ ᮝᮑᮙᮞᮜᮩ ᮔᮕᮠᮕᮞᮔᮕᮔ ᮟᮞ ᮤᮘᮕ ᮠᮕᮢᮣᮟᮞ—

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮙᮔᮜᮩ ᮣᮧᮙᮢᮜᮕᮔ ᮘᮕᮢ ᮔᮢᮙᮞᮛᮺ ᮘᮕᮢ ᮗᮑ᮪ᮕᮺ ᮘᮟᮧᮕᮦᮕᮢᮺ ᮜᮟᮓᮛᮕᮔ ᮟᮞᮤᮟ ᮑ ᮖᮙᮗᮥᮢᮕ ᮑᮤ ᮤᮘᮕ ᮖᮑᮢ ᮕᮞᮔ ᮟᮖ ᮤᮘᮕ ᮤᮑᮦᮕᮢᮞ ᮜᮙᮛᮕ ᮑ ᮠᮢᮕᮔᮑᮤᮟᮢᮼ

ᯔᮟᮢ ᮙᮞᮣᮤᮑᮞᮓᮕᮺ ᮤᮘᮕ ᮧᮑᮙᮤᮕᮢ ᮞᮟᮤ ᮖᮑᮢ ᮑᮧᮑᮩᮺ ᮧᮕᮑᮦᮙᮞᮗ ᮤᮘᮢᮟᮥᮗᮘ ᮤᮘᮕ ᮒᮑᮢ ᮧᮙᮤᮘ ᮑ ᮤᮢᮑᮩᮼ

ᮄᮘᮕ ᮧᮑᮙᮤᮕᮢ᮵ᮣ ᮞᮑᮝᮕ ᮧᮑᮣ ᯚᮕᮙ ᯒᮕᮺ ᮑᮞᮔ ᮘᮕ ᮠᮟᮣᮣᮕᮣᮣᮕᮔ ᮑ ᮘᮕᮑᮔ ᮟᮖ ᮒᮜᮑᮓᮛ ᮘᮑᮙᮢ ᮤᮘᮑᮤ ᮧᮑᮣ ᮕᮨᮤᮢᮕᮝᮕᮜᮩ ᮢᮑᮢᮕ ᮙᮞ ᯕᮢᮑᮞ ᯑᮙᮤᮩᮺ ᮑᮞᮔ ᮙᮞᮔᮕᮕᮔᮺ ᮤᮘᮢᮟᮥᮗᮘᮟᮥᮤ ᮤᮘᮕ ᮕᮞᮤᮙᮢᮕ ᮆᮙᮓᮤᮟᮢᮙᮑ ᯙᮙᮞᮗᮔᮟᮝᮼ

ᯖᮙᮣ ᮣᮧᮕᮑᮤᮻᮔᮑᮝᮠᮕᮞᮕᮔ ᮣᮘᮙᮢᮤ ᮓᮜᮥᮞᮗ ᮤᮟ ᮘᮙᮣ ᮜᮕᮑᮞ ᮧᮑᮙᮣᮤᮜᮙᮞᮕᮺ ᮟᮥᮤᮜᮙᮞᮙᮞᮗ ᮑ ᮜᮕᮟᮠᮑᮢᮔᮻᮜᮙᮛᮕ ᮠᮘᮩᮣᮙᮡᮥᮕ ᮧᮙᮤᮘ ᮕᮦᮕᮢᮩ ᮝᮟᮦᮕᮝᮕᮞᮤᮼ

ᮉᮕᮤᮺ ᮖᮢᮟᮝ ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮔᮕᮜᮙᮓᮑᮤᮕ ᮑᮞᮔ ᮣᮜᮙᮗᮘᮤᮜᮩ ᮩᮟᮥᮤᮘᮖᮥᮜ ᮖᮑᮓᮕᮺ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮓᮟᮥᮜᮔ ᮤᮕᮜᮜ ᮘᮕ ᮧᮑᮣ ᮔᮕᮖᮙᮞᮙᮤᮕᮜᮩ ᮣᮤᮙᮜᮜ ᮑ ᮦᮙᮢᮗᮙᮞᮼ

ᯕᮑ᮪ᮙᮞᮗ ᮑᮤ ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮖᮑᮙᮞᮤᮜᮩ ᮦᮙᮣᮙᮒᮜᮕᮺ ᮓᮘᮙᮣᮕᮜᮕᮔ ᮓᮟᮜᮜᮑᮢᮒᮟᮞᮕᮣ ᮠᮕᮕᮛᮙᮞᮗ ᮖᮢᮟᮝ ᮘᮙᮣ ᮓᮟᮜᮜᮑᮢ ᮑᮣ ᮘᮕ ᮑᮠᮠᮢᮟᮑᮓᮘᮕᮔᮺ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮙᮞᮦᮟᮜᮥᮞᮤᮑᮢᮙᮜᮩ ᮣᮧᮑᮜᮜᮟᮧᮕᮔᮼ

“ᯖᮕᮢᮕ ᮙᮣ ᮩᮟᮥᮢ ᮵ᯝᮜᮔ ᯒᮢᮕᮑᮝᮺ᮵ ᮠᮜᮕᮑᮣᮕ ᮕᮞᮚᮟᮩᮼ”

ᯚᮕᮙ ᯒᮕ ᮤᮟᮟᮛ ᮤᮘᮕ ᮗᮜᮑᮣᮣ ᮖᮢᮟᮝ ᮤᮘᮕ ᮤᮢᮑᮩ ᮑᮞᮔ ᮠᮜᮑᮓᮕᮔ ᮙᮤᮺ ᮑᮜᮟᮞᮗ ᮧᮙᮤᮘ ᮤᮘᮕ ᮑᮝᮒᮕᮢ ᮜᮙᮡᮥᮙᮔ ᮙᮞᮣᮙᮔᮕᮺ ᮒᮕᮖᮟᮢᮕ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙᮼ

“ᮇᮑᮙᮤᮺ” ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮣᮥᮔᮔᮕᮞᮜᮩ ᮠᮢᮕᮣᮣᮕᮔ ᮘᮙᮣ ᮧᮢᮙᮣᮤᮺ ᮘᮕᮢ ᮠᮙᮞᮛᮩ ᮢᮙᮞᮗ ᮖᮜᮑᮣᮘᮙᮞᮗ ᮑᮞ ᮑᮗᮗᮢᮕᮣᮣᮙᮦᮕ ᮗᮟᮜᮔᮕᮞ ᮜᮙᮗᮘᮤ ᮥᮞᮔᮕᮢ ᮤᮘᮕ ᮜᮑᮝᮠᮺ “ᯖᮑᮦᮕ ᮑ ᮔᮢᮙᮞᮛ ᮧᮙᮤᮘ ᮝᮕᮼ”

“ᯏᮠᮟᮜᮟᮗᮙᮕᮣᮺ ᮗᮥᮕᮣᮤᮺ ᮒᮥᮤ ᯗ ᮓᮑᮞᮞᮟᮤ ᮔᮢᮙᮞᮛ ᮔᮥᮢᮙᮞᮗ ᮧᮟᮢᮛ ᮘᮟᮥᮢᮣᮼ”

ᮇᮘᮕᮞ ᯚᮕᮙ ᯒᮕ ᮣᮝᮙᮜᮕᮔᮺ ᮘᮙᮣ ᮕᮩᮕᮜᮑᮣᮘᮕᮣ ᮓᮑᮣᮤ ᮤᮙᮞᮩ ᮣᮘᮑᮔᮟᮧᮣ ᮒᮕᮞᮕᮑᮤᮘ ᮘᮙᮣ ᮕᮩᮕᮣᮺ ᮜᮙᮛᮕ ᮑᮞ ᮙᮞᮞᮟᮓᮕᮞᮤ ᮑᮞᮗᮕᮜᮼ

“ᯛᮩ ᮤᮢᮕᮑᮤᮼ” ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮕᮝᮠᮘᮑᮣᮙ᮪ᮕᮔ ᮘᮕᮢ ᮧᮟᮢᮔᮣᮼ

“ᯏᮣ ᮩᮟᮥ ᮧᮙᮣᮘᮼ”

ᯚᮕᮙ ᯒᮕ ᮣᮑᮤ ᮔᮟᮧᮞ ᮔᮕᮓᮙᮣᮙᮦᮕᮜᮩᮺ ᮧᮙᮤᮘ ᮑ ᮣᮠᮕᮕᮔ ᮤᮘᮑᮤ ᮝᮑᮔᮕ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ᮵ᮣ ᮘᮕᮑᮢᮤ ᮣᮛᮙᮠ ᮑ ᮒᮕᮑᮤᮼ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮧᮑᮣ ᮣᮤᮑᮢᮤᮜᮕᮔᮼ ᮃᮘᮕ ᮘᮑᮔ ᮕᮨᮠᮕᮓᮤᮕᮔ ᯚᮕᮙ ᯒᮕ ᮤᮟ ᮖᮕᮙᮗᮞ ᮝᮟᮔᮕᮣᮤᮩ ᮑᮞᮔ ᮢᮕᮖᮥᮣᮕᮺ ᮒᮥᮤ ᮘᮕ ᮧᮑᮣ ᮣᮟ ᮔᮙᮢᮕᮓᮤᮼ

ᯖᮕᮘᮺ ᮣᮤᮙᮜᮜ ᮑ ᮝᮑᮞ ᮑᮖᮤᮕᮢ ᮑᮜᮜᮼ

ᯘᮥᮣᮤ ᮑᮣ ᮝᮕᮞ ᮑᮜᮧᮑᮩᮣ ᮕᮞᮚᮟᮩ ᮑᮔᮝᮙᮢᮙᮞᮗ ᮧᮟᮝᮕᮞ᮵ᮣ ᮜᮕᮗᮣᮺ ᮧᮟᮝᮕᮞ ᮑᮜᮣᮟ ᮓᮟᮞᮣᮙᮔᮕᮢ ᮘᮑᮞᮔᮣ ᮑ ᮝᮑᮞ᮵ᮣ ᮣᮕᮓᮟᮞᮔᮑᮢᮩ ᮣᮕᮨᮥᮑᮜ ᮓᮘᮑᮢᮑᮓᮤᮕᮢᮙᮣᮤᮙᮓᮼ

ᯕᮑ᮪ᮙᮞᮗ ᮑᮤ ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮜᮟᮞᮗᮺ ᮣᮜᮕᮞᮔᮕᮢ ᮘᮑᮞᮔᮣᮺ ᮧᮘᮙᮓᮘ ᮣᮝᮕᮜᮜᮕᮔ ᮟᮖ ᮣᮥᮞᮣᮘᮙᮞᮕ ᮑᮣ ᮘᮕ ᮖᮜᮙᮠᮠᮕᮔ ᮤᮘᮢᮟᮥᮗᮘ ᮤᮘᮕ ᮔᮢᮙᮞᮛ ᮝᮕᮞᮥᮺ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮓᮟᮥᮜᮔᮞ᮵ᮤ ᮘᮕᮜᮠ ᮒᮥᮤ ᮧᮟᮞᮔᮕᮢ—

ᮇᮘᮑᮤ ᮑ ᮣᮙᮗᮘᮤ ᮙᮤ ᮧᮟᮥᮜᮔ ᮒᮕ ᮙᮖ ᮣᮥᮓᮘ ᮑ ᮩᮟᮥᮤᮘ ᮧᮕᮢᮕ ᮤᮑᮝᮕᮔ ᮧᮙᮤᮘᮙᮞ ᮘᮕᮢ ᮗᮢᮑᮣᮠᯍ

ᯐᮥᮤ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮘᮑᮔᮞ᮵ᮤ ᮣᮑᮦᮟᮢᮕᮔ ᮘᮕᮢ ᮤᮢᮙᮥᮝᮠᮘ ᮖᮟᮢ ᮜᮟᮞᮗ ᮧᮘᮕᮞ ᮣᮘᮕ ᮘᮕᮑᮢᮔ ᯚᮕᮙ ᯒᮕ ᮣᮑᮩ ᮤᮟ ᮤᮘᮕ ᮒᮑᮢᮤᮕᮞᮔᮕᮢ ᮙᮞ ᮑ ᮓᮜᮕᮑᮢ ᮦᮟᮙᮓᮕᯈ

“ᯝᮞᮕ ᮵ᯏᮓᮕ ᮟᮖ ᮃᮠᮑᮔᮕᮣᮺ᮵ ᮓᮘᮑᮢᮗᮕᮔ ᮤᮟ ᮤᮘᮙᮣ ᮜᮑᮔᮩ᮵ᮣ ᮤᮑᮒᮼ”

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ᮵ᮣ ᮖᮙᮞᮗᮕᮢᮤᮙᮠᮣ ᮤᮢᮕᮝᮒᮜᮕᮔᮺ ᮑᮞᮔ ᮤᮘᮕ ᮙᮓᮕ ᮓᮥᮒᮕᮣ ᮙᮞ ᮘᮕᮢ ᮗᮜᮑᮣᮣ ᮓᮜᮙᮞᮛᮕᮔ ᮣᮟᮖᮤᮜᮩᮼ

ᯏᮓᮕ ᮟᮖ ᮃᮠᮑᮔᮕᮣᯍ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙᮺ ᮟᮖ ᮓᮟᮥᮢᮣᮕᮺ ᮛᮞᮕᮧ ᮤᮘᮑᮤ ᯏᮓᮕ ᮟᮖ ᮃᮠᮑᮔᮕᮣ ᮧᮑᮣ ᮤᮘᮕ ᮝᮟᮣᮤ ᮕᮨᮠᮕᮞᮣᮙᮦᮕ ᮔᮢᮙᮞᮛ ᮙᮞ ᮄᮘᮕ ᯜᮕᮨᮤ ᯚᮙᮖᮕ ᮄᮑᮦᮕᮢᮞᮼ

ᯏᮞᮔ ᮖᮟᮢ ᮔᮢᮙᮞᮛᮣ ᮟᮢᮔᮕᮢᮕᮔ ᮒᮩ ᮗᮥᮕᮣᮤᮣᮺ ᯚᮕᮙ ᯒᮕᮺ ᮑᮣ ᮤᮘᮕ ᮧᮑᮙᮤᮕᮢᮺ ᮧᮟᮥᮜᮔ ᮞᮑᮤᮥᮢᮑᮜᮜᮩ ᮢᮕᮓᮕᮙᮦᮕ ᮑ ᮓᮟᮞᮣᮙᮔᮕᮢᮑᮒᮜᮕ ᮓᮟᮝᮝᮙᮣᮣᮙᮟᮞᮼ

ᮄᮘᮙᮣ ᮣᮙᮞᮗᮜᮕ ᮗᮜᮑᮣᮣ ᮟᮖ ᯏᮓᮕ ᮟᮖ ᮃᮠᮑᮔᮕᮣ ᮧᮑᮣ ᮧᮟᮢᮤᮘ ᮑ ᮖᮥᮜᮜ ᮤᮧᮟ ᮗᮟᮜᮔ ᮓᮟᮙᮞᮣᮺ ᮠᮢᮙᮝᮑᮢᮙᮜᮩ ᮔᮕᮣᮙᮗᮞᮕᮔ ᮞᮟᮤ ᮤᮟ ᮖᮜᮕᮕᮓᮕ ᮤᮘᮕ ᮠᮟᮟᮢᮼ

ᮄᮘᮑᮤ᮵ᮣ ᮑ ᮖᮥᮜᮜ ᮤᮧᮟ ᮗᮟᮜᮔ ᮓᮟᮙᮞᮣᮯ

ᮄᮧᮟ ᮗᮟᮜᮔ ᮓᮟᮙᮞᮣᮯ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮖᮟᮢᮓᮕᮔ ᮘᮕᮢᮣᮕᮜᮖ ᮤᮟ ᮝᮑᮙᮞᮤᮑᮙᮞ ᮘᮕᮢ ᮑᮢᮙᮣᮤᮟᮓᮢᮑᮤᮙᮓ ᮓᮟᮝᮠᮟᮣᮥᮢᮕ ᮑᮞᮔ ᮞᮟᮔᮔᮕᮔᮺ ᮒᮥᮤ ᮙᮞ ᮘᮕᮢ ᮝᮙᮞᮔᮺ ᮣᮘᮕ ᮘᮑᮔ ᮑᮜᮢᮕᮑᮔᮩ ᮤᮙᮕᮔ ᮤᮘᮙᮣ ᮓᮥᮞᮞᮙᮞᮗ ᮜᮙᮤᮤᮜᮕ ᮧᮑᮙᮤᮕᮢ ᮤᮟ ᮑ ᮢᮑᮓᮛ ᮑᮞᮔ ᮖᮜᮟᮗᮗᮕᮔ ᮘᮙᮝ ᮕᮙᮗᮘᮤ ᮘᮥᮞᮔᮢᮕᮔ ᮤᮙᮝᮕᮣᮼ

ᯐᮥᮤ ᮤᮘᮑᮤ ᮧᮑᮣ ᮑᮜᮜ ᮣᮘᮕ ᮓᮟᮥᮜᮔ ᮔᮟ—ᮚᮥᮣᮤ ᮤᮘᮙᮞᮛ ᮑᮒᮟᮥᮤ ᮙᮤᮼ

ᮃᮘᮕ ᮓᮟᮥᮜᮔ ᮥᮣᮕ ᮤᮘᮕ ᮞᮑᮝᮕ ᮟᮖ ᮆᮙᮣᮓᮟᮥᮞᮤ ᮆᮙᮣᮕᮢᮙᮞᮗᮤᮟᮞ ᮤᮟ ᮒᮜᮥᮖᮖ ᮠᮕᮟᮠᮜᮕᮺ ᮒᮥᮤ ᮣᮘᮕ ᮑᮒᮣᮟᮜᮥᮤᮕᮜᮩ ᮓᮟᮥᮜᮔ ᮞᮟᮤ ᮓᮑᮥᮣᮕ ᮤᮢᮟᮥᮒᮜᮕᮼ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮧᮑᮣᮺ ᮑᮖᮤᮕᮢ ᮑᮜᮜᮺ ᮟᮞᮜᮩ ᮑ ᮓᮟᮜᮜᮑᮤᮕᮢᮑᮜ ᮒᮢᮑᮞᮓᮘ ᮟᮖ ᮤᮘᮕ ᮆᮙᮣᮕᮢᮙᮞᮗᮤᮟᮞ ᮖᮑᮝᮙᮜᮩᮺ ᮑᮞᮔ ᮧᮙᮤᮘ ᮤᮘᮕ ᮢᮕᮓᮕᮞᮤ ᮥᮞᮔᮕᮢᮓᮥᮢᮢᮕᮞᮤᮣ ᮙᮞ ᯕᮢᮑᮞ ᯑᮙᮤᮩᮺ ᮘᮕᮢ ᮕᮜᮔᮕᮢᮣ ᮙᮞ ᮤᮘᮕ ᮖᮑᮝᮙᮜᮩ ᮘᮑᮔ ᮣᮤᮢᮙᮓᮤᮜᮩ ᮟᮢᮔᮕᮢᮕᮔ ᮘᮕᮢ ᮤᮟ ᮒᮕᮘᮑᮦᮕ ᮘᮕᮢᮣᮕᮜᮖᮼ

ᮇᮘᮑᮤᯍ ᮉᮟᮥ ᮑᮣᮛ ᮧᮘᮩ ᮣᮘᮕ ᮓᮑᮞ ᮣᮤᮙᮜᮜ ᮓᮟᮝᮕ ᮤᮟ ᮑ ᮒᮑᮢ ᮤᮟ ᮵ᮕᮑᮤ ᮓᮘᮙᮜᮔᮢᮕᮞ᮵ ᮧᮘᮕᮞ ᮣᮘᮕ᮵ᮣ ᮗᮢᮟᮥᮞᮔᮕᮔᯍ

ᯗᮖ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮧᮕᮢᮕ ᮤᮘᮕ ᮤᮩᮠᮕ ᮤᮟ ᮟᮒᮕᮔᮙᮕᮞᮤᮜᮩ ᮜᮙᮣᮤᮕᮞᮺ ᮣᮘᮕ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮒᮕ ᮛᮞᮟᮧᮞ ᮑᮣ ᮤᮘᮕ ᮵ᯜᮙᮗᮘᮤᮙᮞᮗᮑᮜᮕ ᮟᮖ ᯕᮢᮑᮞ ᯑᮙᮤᮩ᮵ᮼ

ᯐᮥᮤ ᮤᮧᮟ ᮗᮟᮜᮔ ᮓᮟᮙᮞᮣ ᮧᮕᮢᮕ ᮙᮞᮔᮕᮕᮔ ᮑᮜᮝᮟᮣᮤ ᮤᮘᮕ ᮜᮙᮝᮙᮤ ᮟᮖ ᮤᮘᮕ ᮠᮢᮙᮦᮑᮤᮕ ᮖᮥᮞᮔᮣ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮓᮟᮥᮜᮔ ᮑᮓᮓᮕᮣᮣᮼ

ᯔᮙᮞᮕᮺ ᮤᮘᮕ ᮝᮟᮞᮕᮩ᮵ᮣ ᮑᮜᮢᮕᮑᮔᮩ ᮣᮠᮕᮞᮤᮼ

ᯏᮜᮤᮘᮟᮥᮗᮘ ᮣᮘᮕ ᮘᮑᮔ ᮣᮥᮖᮖᮕᮢᮕᮔ ᮑ ᮜᮟᮣᮣ ᮑᮤ ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮘᮑᮞᮔᮣᮺ ᮤᮘᮕ ᮖᮑᮙᮞᮤ ᮣᮝᮙᮜᮕ ᮟᮞ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ᮵ᮣ ᮜᮙᮠᮣ ᮘᮑᮔᮞ᮵ᮤ ᮦᮑᮞᮙᮣᮘᮕᮔᮼ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮘᮑᮔ ᮑ ᮒᮑᮓᮛᮥᮠ ᮠᮜᮑᮞᮼ

ᯏᮜᮓᮟᮘᮟᮜ ᮧᮑᮣ ᮒᮕᮣᮤ ᮑᮤ ᮒᮜᮥᮢᮢᮙᮞᮗ ᮚᮥᮔᮗᮝᮕᮞᮤᮼ ᯏᮣ ᮜᮟᮞᮗ ᮑᮣ ᮣᮘᮕ ᮤᮟᮟᮛ ᮑᮔᮦᮑᮞᮤᮑᮗᮕ ᮟᮖ ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮣᮜᮙᮗᮘᮤ ᮤᮙᮠᮣᮙᮞᮕᮣᮣᮺ ᮣᮘᮕ ᮓᮟᮥᮜᮔ ᮤᮘᮕᮞ ᮥᮣᮕ ᮘᮕᮢ ᮟᮧᮞ ᮖᮕᮙᮗᮞᮕᮔ ᮔᮢᮥᮞᮛᮕᮞᮞᮕᮣᮣ ᮑᮣ ᮑᮞ ᮕᮨᮓᮥᮣᮕ ᮤᮟ ᮗᮕᮤ ᮓᮜᮟᮣᮕᮼᮼᮼ

ᯜᮟ ᮝᮑᮞ ᮙᮞ ᯕᮢᮑᮞ ᯑᮙᮤᮩ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮖᮑᮜᮜ ᮖᮟᮢ ᮙᮤᮼ

ᯐᮥᮤ ᯚᮕᮙ ᯒᮕ ᮧᮟᮥᮜᮔᮞ᮵ᮤ ᮗᮙᮦᮕ ᮘᮕᮢ ᮤᮘᮑᮤ ᮓᮘᮑᮞᮓᮕᮼ

ᯐᮕᮓᮑᮥᮣᮕ ᮧᮘᮑᮤ ᮧᮑᮣ ᮠᮜᮑᮓᮕᮔ ᮒᮕᮖᮟᮢᮕ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮑᮤ ᮤᮘᮑᮤ ᮝᮟᮝᮕᮞᮤ ᮧᮑᮣᮞ᮵ᮤ ᮑ ᮠᮢᮕᮻᮝᮙᮨᮕᮔ ᮔᮢᮙᮞᮛᮼ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮧᮑᮤᮓᮘᮕᮔ ᮧᮙᮤᮘ ᮘᮕᮢ ᮟᮧᮞ ᮕᮩᮕᮣ ᮑᮣ ᯚᮕᮙ ᯒᮕ ᮠᮟᮥᮢᮕᮔ ᮔᮑ᮪᮪ᮜᮙᮞᮗ ᮙᮞᮗᮢᮕᮔᮙᮕᮞᮤᮣ ᮙᮞᮤᮟ ᮑ ᮓᮟᮓᮛᮤᮑᮙᮜ ᮣᮘᮑᮛᮕᮢᮼ

ᮄᮘᮙᮣ ᮧᮑᮣ ᮑ ᮣᮠᮕᮓᮙᮑᮜ ᮓᮟᮞᮓᮟᮓᮤᮙᮟᮞ ᯚᮕᮙ ᯒᮕ ᮧᮑᮣ ᮠᮢᮕᮠᮑᮢᮙᮞᮗ ᮖᮟᮢ ᮘᮕᮢ ᮘᮙᮝᮣᮕᮜᮖᮼ

ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮣᮘᮑᮛᮕᮢ ᮤᮢᮑᮓᮕᮔ ᮑ ᮣᮙᮜᮦᮕᮢᮻᮒᮜᮥᮕ ᮑᮢᮓ ᮙᮞ ᮤᮘᮕ ᮑᮙᮢᮼ ᯏᮣ ᮤᮘᮕ ᮣᮘᮑᮛᮕᮢ ᮤᮙᮜᮤᮕᮔᮺ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮣᮑᮧ ᮑ ᮔᮢᮟᮠ ᮟᮖ ᮜᮙᮡᮥᮙᮔ ᮝᮟᮟᮞᮜᮙᮗᮘᮤ ᮖᮑᮜᮜ ᮙᮞᮤᮟ ᮤᮘᮕ ᮗᮜᮑᮣᮣ—ᮙᮤ ᮧᮑᮣ ᮑᮞ ᮕᮨᮤᮢᮑᮓᮤ ᮟᮖ ᮃᮤᮑᮢ ᯛᮑᮢᮢᮟᮧ ᯚᮙᮜᮩ—

ᯏ ᮜᮕᮗᮕᮞᮔᮑᮢᮩ ᮠᮟᮤᮙᮟᮞ ᮣᮑᮙᮔ ᮤᮟ ᮝᮑᮛᮕ ᮠᮕᮟᮠᮜᮕ ᮔᮢᮕᮑᮝ ᮟᮖ ᮤᮘᮕ ᮔᮕᮓᮕᮑᮣᮕᮔᮺ ᮩᮕᮤ ᮘᮕ ᮣᮠᮢᮙᮞᮛᮜᮕᮔ ᮙᮤ ᮑᮣ ᮓᮑᮣᮥᮑᮜᮜᮩ ᮑᮣ ᮙᮖ ᮙᮤ ᮧᮕᮢᮕ ᮠᮕᮠᮠᮕᮢᮼ

ᮄᮘᮕ ᮜᮙᮡᮥᮟᮢ ᮠᮟᮥᮢᮙᮞᮗ ᮖᮢᮟᮝ ᮤᮘᮕ ᮣᮘᮑᮛᮕᮢ ᮣᮘᮙᮝᮝᮕᮢᮕᮔ ᮧᮙᮤᮘ ᮑᮞ ᮕᮕᮢᮙᮕ ᮙᮢᮙᮔᮕᮣᮓᮕᮞᮓᮕᮺ ᮓᮜᮕᮑᮢᮜᮩ ᮑᮣ ᮦᮙᮒᮢᮑᮞᮤ ᮑᮣ ᮠᮟᮙᮣᮟᮞᮺ ᮩᮕᮤ ᮙᮤ ᮕᮨᮥᮔᮕᮔ ᮤᮘᮕ ᮖᮢᮕᮣᮘ ᮣᮓᮕᮞᮤ ᮟᮖ ᮟᮑᮛ ᮑᮖᮤᮕᮢ ᮢᮑᮙᮞᮼ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮧᮑᮣ ᮥᮤᮤᮕᮢᮜᮩ ᮓᮑᮠᮤᮙᮦᮑᮤᮕᮔᮼ

ᯗᮤ ᮧᮑᮣᮞ᮵ᮤ ᮥᮞᮤᮙᮜ ᮤᮘᮕ ᮓᮟᮟᮜ ᮗᮜᮑᮣᮣ ᮧᮑᮣ ᮠᮥᮣᮘᮕᮔ ᮤᮟ ᮘᮕᮢ ᮘᮑᮞᮔ ᮤᮘᮑᮤ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮢᮕᮑᮜᮙ᮪ᮕᮔ ᮣᮘᮕ ᮧᮑᮣ ᮜᮙᮛᮕ ᮑ ᮘᮩᮠᮞᮟᮤᮙ᮪ᮕᮔ ᮠᮢᮕᮩᮼ

ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮦᮟᮙᮓᮕ ᮒᮢᮥᮣᮘᮕᮔ ᮘᮕᮢ ᮕᮑᮢ ᮜᮙᮛᮕ ᮑ ᮖᮕᮑᮤᮘᮕᮢᯈ “ᯗ᮵ᮦᮕ ᮑᮔᮔᮕᮔ ᮣᮟᮝᮕ ᮃᮤᮑᮢ ᯛᮑᮢᮢᮟᮧ ᯚᮙᮜᮩᮼ ᯗ ᮧᮙᮣᮘ ᮩᮟᮥ ᮠᮜᮕᮑᮣᮑᮞᮤ ᮔᮢᮕᮑᮝᮣ ᮤᮟᮞᮙᮗᮘᮤᮼ”

ᯚᮕᮙ ᯒᮕ ᮧᮑᮣ ᮢᮙᮗᮘᮤᯉ ᮃᮤᮑᮢ ᯛᮑᮢᮢᮟᮧ ᯚᮙᮜᮩ ᮙᮞᮔᮕᮕᮔ ᮘᮑᮔ ᮣᮟᮝᮕ ᮣᮜᮕᮕᮠᮻᮙᮞᮔᮥᮓᮙᮞᮗ ᮠᮢᮟᮠᮕᮢᮤᮙᮕᮣᮺ ᮒᮥᮤ—

ᯗ᮵ᮦᮕ ᮓᮟᮝᮕ ᮤᮟ ᮑ ᮒᮑᮢ ᮤᮟ ᮧᮙᮜᮜᮙᮞᮗᮜᮩ ᮔᮕᮒᮑᮥᮓᮘ ᮝᮩᮣᮕᮜᮖᮺ ᮑᮞᮔ ᮩᮟᮥ ᮧᮑᮞᮤ ᮝᮕ ᮤᮟ ᮓᮑᮢᮕ ᮑᮒᮟᮥᮤ ᮝᮩ ᮘᮕᮑᮜᮤᮘᯍ

“ᯖᮕᮩᮺ ᮧᮑᮙᮤ—ᮯ”

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮣᮘᮑᮢᮠᮜᮩ ᮜᮟᮟᮛᮕᮔ ᮥᮠᮺ ᮒᮥᮤ ᮤᮘᮕᮢᮕ ᮧᮑᮣ ᮑᮜᮢᮕᮑᮔᮩ ᮞᮟ ᮟᮞᮕ ᮙᮞ ᮖᮢᮟᮞᮤ ᮟᮖ ᮘᮕᮢᮼ

ᯖᮕᮢ ᮛᮞᮥᮓᮛᮜᮕᮣᮺ ᮗᮢᮙᮠᮠᮙᮞᮗ ᮤᮘᮕ ᮗᮜᮑᮣᮣᮺ ᮤᮥᮢᮞᮕᮔ ᮧᮘᮙᮤᮕᮺ ᮑᮞᮔ ᮤᮘᮕ ᮕᮨᮠᮕᮞᮣᮙᮦᮕ ᮜᮙᮡᮥᮟᮢ ᮣᮠᮜᮑᮣᮘᮕᮔ ᮟᮞᮤᮟ ᮤᮘᮕ ᮒᮑᮓᮛ ᮟᮖ ᮘᮕᮢ ᮘᮑᮞᮔ ᮑᮝᮙᮔᮣᮤ ᮘᮕᮢ ᮦᮙᮟᮜᮕᮞᮤ ᮤᮢᮕᮝᮒᮜᮙᮞᮗᮼ

ᮃᮘᮕ ᮘᮑᮔ ᮒᮕᮕᮞ ᮤᮢᮙᮓᮛᮕᮔᮼ

ᮄᮘᮙᮣ ᮢᮕᮑᮜᮙ᮪ᮑᮤᮙᮟᮞ ᮖᮕᮜᮤ ᮜᮙᮛᮕ ᮑ ᮘᮑᮢᮣᮘ ᮣᮜᮑᮠ ᮑᮓᮢᮟᮣᮣ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ᮵ᮣ ᮖᮑᮓᮕᮼ

ᮃᮘᮕᮺ ᮤᮘᮕ ᮕᮣᮤᮕᮕᮝᮕᮔ ᮵ᯜᮙᮗᮘᮤᮙᮞᮗᮑᮜᮕ᮵ ᮟᮖ ᮤᮘᮕ ᮆᮙᮣᮕᮢᮙᮞᮗᮤᮟᮞ ᮖᮑᮝᮙᮜᮩᮺ ᮘᮑᮔ ᮑᮓᮤᮥᮑᮜᮜᮩ ᮒᮕᮕᮞ ᮠᮜᮑᮩᮕᮔ ᮒᮩ ᮑ ᮜᮟᮧᮜᮩ ᮧᮑᮙᮤᮕᮢᯍᮯ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮧᮑᮣ ᮣᮟ ᮑᮞᮗᮢᮩ ᮘᮕᮢ ᮓᮘᮕᮣᮤ ᮑᮓᮘᮕᮔᮼ

ᯗᮞ ᮑ ᮖᮙᮤ ᮟᮖ ᮠᮙᮡᮥᮕᮺ ᮣᮘᮕ ᮠᮙᮓᮛᮕᮔ ᮥᮠ ᮤᮘᮕ ᮗᮜᮑᮣᮣ ᮑᮞᮔ ᮤᮙᮜᮤᮕᮔ ᮘᮕᮢ ᮘᮕᮑᮔ ᮒᮑᮓᮛᮺ ᮔᮟᮧᮞᮙᮞᮗ ᮤᮘᮕ ᮤᮧᮟᮻᮗᮟᮜᮔᮻᮓᮟᮙᮞ ᯏᮓᮕ ᮟᮖ ᮃᮠᮑᮔᮕᮣᮼ

ᮄᮘᮕ ᮑᮝᮒᮕᮢ ᮜᮙᮡᮥᮙᮔ ᮣᮜᮙᮔ ᮔᮟᮧᮞ ᮘᮕᮢ ᮤᮘᮢᮟᮑᮤᮺ ᮒᮥᮤ ᮙᮤ ᮖᮕᮜᮤ ᮜᮙᮛᮕ ᮣᮧᮑᮜᮜᮟᮧᮙᮞᮗ ᮑ ᮘᮑᮞᮔᮖᮥᮜ ᮟᮖ ᮤᮙᮞᮩ ᮒᮜᮑᮔᮕᮣᮺ ᮓᮥᮤᮤᮙᮞᮗ ᮘᮕᮢ ᮤᮘᮢᮟᮑᮤ ᮠᮑᮙᮞᮖᮥᮜᮜᮩᮼ

ᯒᮑᮝᮞ ᮙᮤᮺ ᮤᮘᮙᮣ ᮔᮢᮙᮞᮛᮼᮼᮼ

ᯗᮤ᮵ᮣ ᮑᮓᮤᮥᮑᮜᮜᮩ ᮡᮥᮙᮤᮕ ᮗᮟᮟᮔᮼ

ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮒᮑᮢᮤᮕᮞᮔᮙᮞᮗ ᮣᮛᮙᮜᮜᮣ ᮧᮕᮢᮕ ᮙᮝᮠᮕᮓᮓᮑᮒᮜᮕᯉ ᮤᮘᮕ ᮜᮙᮡᮥᮟᮢ ᮧᮑᮣ ᮢᮙᮓᮘ ᮑᮞᮔ ᮓᮟᮝᮠᮜᮕᮨᮺ ᮧᮙᮤᮘ ᮔᮙᮣᮤᮙᮞᮓᮤ ᮜᮑᮩᮕᮢᮣᮺ ᮕᮦᮕᮞ ᮣᮥᮢᮠᮑᮣᮣᮙᮞᮗ ᮤᮘᮕ ᮖᮑᮝᮟᮥᮣ ᮧᮙᮞᮕᮣ ᮣᮘᮕ ᮘᮑᮔ ᮕᮞᮚᮟᮩᮕᮔ ᮑᮤ ᮤᮘᮕ ᯒᮥᮛᮕ᮵ᮣ ᮝᮑᮞᮣᮙᮟᮞᮼ

ᯐᮥᮤ ᮤᮘᮕ ᮝᮟᮢᮕ ᮣᮘᮕ ᮢᮕᮑᮜᮙ᮪ᮕᮔ ᮤᮘᮙᮣᮺ ᮤᮘᮕ ᮝᮟᮢᮕ ᮕᮞᮢᮑᮗᮕᮔ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮒᮕᮓᮑᮝᮕᮼ

ᮃᮘᮕ ᮘᮑᮔ ᮣᮠᮕᮞᮤ ᮤᮧᮟ ᮗᮟᮜᮔ ᮓᮟᮙᮞᮣᮺ ᮩᮕᮤ ᮣᮘᮕ ᮘᮑᮔᮞ᮵ᮤ ᮕᮦᮕᮞ ᮤᮟᮥᮓᮘᮕᮔ ᮤᮘᮕ ᮘᮕᮝ ᮟᮖ ᮘᮙᮣ ᮓᮜᮟᮤᮘᮕᮣᮯ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮒᮜᮙᮞᮛᮕᮔᮺ ᮖᮙᮞᮔᮙᮞᮗ ᮘᮕᮢ ᮕᮩᮕᮜᮑᮣᮘᮕᮣ ᮣᮥᮔᮔᮕᮞᮜᮩ ᮘᮕᮑᮦᮩ ᮑᮣ ᮙᮖ ᮣᮟᮑᮛᮕᮔ ᮙᮞ ᮝᮕᮢᮓᮥᮢᮩᮼ

ᯏᮜᮤᮘᮟᮥᮗᮘ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮑᮔᮝᮙᮤᮤᮕᮔ ᮘᮕᮢ ᮑᮜᮓᮟᮘᮟᮜ ᮤᮟᮜᮕᮢᮑᮞᮓᮕ ᮧᮑᮣᮞ᮵ᮤ ᮘᮙᮗᮘᮺ ᮣᮤᮙᮜᮜ—

ᯑᮟᮥᮜᮔ ᮤᮘᮙᮣ ᮔᮢᮙᮞᮛ ᮢᮕᮑᮜᮜᮩ ᮒᮕ ᮤᮘᮑᮤ ᮠᮟᮤᮕᮞᮤᯍ

ᯜᮟᮼᮼᮼ ᮤᮘᮕᮢᮕ᮵ᮣ ᮣᮟᮝᮕᮤᮘᮙᮞᮗ ᮧᮢᮟᮞᮗ ᮧᮙᮤᮘ ᮤᮘᮙᮣ ᮔᮢᮙᮞᮛᮼ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ᮵ᮣ ᮠᮥᮠᮙᮜᮣ ᮣᮥᮔᮔᮕᮞᮜᮩ ᮓᮟᮞᮣᮤᮢᮙᮓᮤᮕᮔᮺ ᮒᮥᮤ ᮙᮤ ᮧᮑᮣ ᮑᮜᮢᮕᮑᮔᮩ ᮤᮟᮟ ᮜᮑᮤᮕᮼ

ᯓᮕᮢᮙᮕ ᮠᮑᮜᮕ ᮠᮥᮢᮠᮜᮕ ᮝᮙᮣᮤ ᮒᮕᮗᮑᮞ ᮤᮟ ᮣᮕᮕᮠ ᮙᮞᮤᮟ ᮤᮘᮕ ᮕᮔᮗᮕᮣ ᮟᮖ ᮘᮕᮢ ᮦᮙᮣᮙᮟᮞᮼ ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮖᮙᮗᮥᮢᮕ ᮣᮠᮜᮙᮤ ᮙᮞᮤᮟ ᮤᮘᮢᮕᮕ ᮙᮞ ᮤᮘᮕ ᮝᮙᮣᮤᮺ ᮕᮑᮓᮘ ᮧᮙᮤᮘ ᮑ ᮖᮑᮙᮞᮤᮺ ᮕᮜᮥᮣᮙᮦᮕ ᮣᮝᮙᮜᮕ ᮠᮜᮑᮩᮙᮞᮗ ᮟᮞ ᮘᮙᮣ ᮜᮙᮠᮣᮼ

ᮃᮘᮕ ᮗᮢᮙᮠᮠᮕᮔ ᮤᮘᮕ ᮗᮜᮑᮣᮣ ᮤᮙᮗᮘᮤᮜᮩᮺ ᮟᮞᮜᮩ ᮤᮟ ᮘᮕᮑᮢ ᮑ ᮔᮙᮣᮤᮑᮞᮤ ᮓᮘᮥᮓᮛᮜᮕᮺ ᮑᮣ ᮙᮖ ᮖᮢᮟᮝ ᮔᮕᮕᮠ ᮥᮞᮔᮕᮢᮗᮢᮟᮥᮞᮔᮺ ᮕᮝᮑᮞᮑᮤᮙᮞᮗ ᮖᮢᮟᮝ ᮤᮘᮕ ᮗᮜᮑᮣᮣ ᮙᮤᮣᮕᮜᮖᮼ

ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮣᮥᮔᮔᮕᮞᮜᮩ ᮢᮕᮑᮜᮙ᮪ᮕᮔ ᮣᮘᮕ ᮘᮑᮔ ᮝᮑᮔᮕ ᮑᮞ ᮙᮢᮢᮕᮦᮕᮢᮣᮙᮒᮜᮕ ᮝᮙᮣᮤᮑᮛᮕᮼ

ᮃᮘᮕ ᮘᮑᮔ ᮒᮕᮕᮞ ᮔᮥᮠᮕᮔᮼ

ᮀᮕᮢᮘᮑᮠᮣ ᮘᮕᮢ ᮔᮕᮖᮕᮑᮤ ᮘᮑᮔ ᮒᮕᮕᮞ ᮙᮞᮕᮦᮙᮤᮑᮒᮜᮕ ᮖᮢᮟᮝ ᮤᮘᮕ ᮝᮟᮝᮕᮞᮤ ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮖᮙᮞᮗᮕᮢᮤᮙᮠ ᮒᮢᮥᮣᮘᮕᮔ ᮠᮑᮣᮤ ᮵ᯏᮓᮕ ᮟᮖ ᮃᮠᮑᮔᮕᮣ᮵ ᮟᮞ ᮤᮘᮕ ᮔᮢᮙᮞᮛ ᮝᮕᮞᮥᮼ

ᯔᮢᮟᮝ ᮤᮘᮕ ᮦᮕᮢᮩ ᮒᮕᮗᮙᮞᮞᮙᮞᮗᮺ ᯚᮕᮙ ᯒᮕ ᮘᮑᮔᮞ᮵ᮤ ᮕᮦᮕᮞ ᮓᮟᮞᮣᮙᮔᮕᮢᮕᮔ ᮘᮕᮢᮼ

ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮗᮑ᮪ᮕ ᮘᮑᮔᮺ ᮖᮢᮟᮝ ᮣᮤᮑᮢᮤ ᮤᮟ ᮖᮙᮞᮙᮣᮘᮺ ᮠᮟᮜᮙᮤᮕᮜᮩ ᮢᮕᮝᮑᮙᮞᮕᮔ ᮑᮤ ᮤᮘᮕ ᮜᮕᮦᮕᮜ ᮟᮖ ᮘᮕᮢ ᮕᮩᮕᮣᮺ ᮑᮣ ᮙᮖ ᮘᮕᮢ ᮜᮥᮨᮥᮢᮙᮟᮥᮣ ᮗᮟᮧᮞ ᮑᮞᮔ ᮒᮑᮢᮕ ᮣᮘᮟᮥᮜᮔᮕᮢᮣ ᮧᮕᮢᮕ ᮝᮕᮢᮕ ᮑᮙᮢᮼ

ᯖᮙᮣ ᮕᮩᮕᮣ ᮧᮕᮢᮕ ᮤᮟᮟ ᮓᮜᮕᮑᮞᮺ ᮣᮟ ᮓᮜᮕᮑᮞ ᮤᮘᮕᮩ ᮧᮕᮢᮕ ᮑᮜᮝᮟᮣᮤ ᮙᮞᮔᮙᮖᮖᮕᮢᮕᮞᮤᮼ

ᯓᮦᮕᮞ ᮑᮤ ᮒᮑᮜᮜᮣ ᮗᮑᮤᮘᮕᮢᮙᮞᮗ ᮑᮜᮜ ᮟᮖ ᯕᮢᮑᮞ ᯑᮙᮤᮩ᮵ᮣ ᮕᮜᮙᮤᮕᮺ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮘᮑᮔ ᮑᮜᮧᮑᮩᮣ ᮒᮕᮕᮞ ᮤᮘᮕ ᮓᮕᮞᮤᮕᮢ ᮟᮖ ᮑᮤᮤᮕᮞᮤᮙᮟᮞᮼ

ᯐᮥᮤ ᯚᮕᮙ ᯒᮕᯍ

ᯚᮕᮙ ᯒᮕ᮵ᮣ ᮗᮑ᮪ᮕ ᮧᮑᮣ ᮜᮙᮛᮕ ᮘᮕ ᮧᮑᮣ ᮓᮘᮕᮓᮛᮙᮞᮗ ᮑ ᮜᮙᮡᮥᮟᮢ ᮓᮑᮒᮙᮞᮕᮤ ᮜᮑᮒᮕᮜᮺ ᮑᮣ ᮙᮖ ᮣᮘᮕᮺ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮆᮙᮣᮕᮢᮙᮞᮗᮤᮟᮞᮺ ᮧᮑᮣ ᮞᮟ ᮔᮙᮖᮖᮕᮢᮕᮞᮤ ᮖᮢᮟᮝ ᮑ ᮒᮟᮤᮤᮜᮕ ᮟᮖ ᮑᮗᮕᮔ ᮢᮥᮝᮼ

ᮃᮘᮕ ᮘᮑᮔ ᮞᮕᮦᮕᮢ ᮒᮕᮕᮞ ᮣᮟ ᮥᮤᮤᮕᮢᮜᮩ ᮙᮗᮞᮟᮢᮕᮔᮼ

“ᯚᮕᮙ ᯒᮕᮼᮼᮼ”

ᯐᮕᮖᮟᮢᮕ ᮘᮕᮢ ᮓᮟᮞᮣᮓᮙᮟᮥᮣᮞᮕᮣᮣ ᮓᮟᮝᮠᮜᮕᮤᮕᮜᮩ ᮠᮜᮥᮞᮗᮕᮔ ᮙᮞᮤᮟ ᮔᮑᮢᮛᮞᮕᮣᮣᮺ ᯛᮕᮙ ᯔᮕᮙᮜᮙ ᮃᮙ ᮣᮡᮥᮕᮕ᮪ᮕᮔ ᮟᮥᮤ ᮑ ᮞᮕᮑᮢᮜᮩ ᮘᮟᮑᮢᮣᮕ ᮗᮢᮟᮧᮜ ᮖᮢᮟᮝ ᮔᮕᮕᮠ ᮧᮙᮤᮘᮙᮞ ᮘᮕᮢ ᮤᮘᮢᮟᮑᮤᯈ

“ᯗ ᮧᮙᮜᮜ ᮔᮕᮖᮙᮞᮙᮤᮕᮜᮩᮼᮼᮼ ᮝᮑᮛᮕ ᮩᮟᮥᮼᮼᮼ ᮠᮑᮩ ᮤᮘᮕ ᮠᮢᮙᮓᮕᮼᮼᮼᮯ”

Miss Patron, If You Want to Keep Me, Pay Extra

Why doesn’t the newly appointed Imperial Prime Minister, Reid Astralia, hide his past of selling charm in taverns in his early years? Rumor has it that his wealthy female patrons simply didn’t pay enough. After transmigrating into the body of a destitute prince who fled to an enemy nation, Reid ends up in a tavern, surviving as an exclusive companion for rich young ladies who commission his services. But no one told him his first client would be the very same duke’s daughter who nearly killed him! The duke’s daughter hires him as a contractual lover. The villainess commissions him as a secret rendezvous partner. The mafia wildflower invites him to dance on the edge of a blade. The princess begs him for late-night conversations. Yet, as Reid fulfills one request after another, his patrons refuse to let him go. Hey, Miss Patrons, this is strictly business—no emotions allowed! Not even for extra pay!

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