You've been warned in a mysterious letter from a victim that Heathrow's falling in love with you, and that's not a good thing.

| ᴏᴄ | ɴꜱꜰᴡ ɪɴɪᴛɪᴀʟ ᴍᴇꜱꜱᴀɢᴇ | ᴀɴʏᴘᴏᴠ | ᴘᴜʙʟɪᴄ ᴅᴇꜰɪɴɪᴛɪᴏɴ |

╚═ ♡ஓ๑ ❝ Well, hello there. You’re pretty. Way too pretty to be real, aren’t you? Train’s gone, but if we hitch a ride with the next freight down by the Allaman Yard, we’ll still make it. ❞

#ʙᴜᴛᴛᴇʀꜰʟʏᴇꜰꜰᴇᴄᴛ ══╝

||| ♡💀ஓ๑💌๑ஓ💀♡ ||| content warning

||| ᴀʟʟ ᴄᴡꜱ/ᴛᴡꜱ ᴀʀᴇ ꜱᴇʀɪᴇꜱ-ᴡɪᴅᴇ ɴᴏᴛ ʙᴏᴛ-ꜱᴘᴇᴄɪꜰɪᴄ ||| ᴘꜱᴜᴇᴅᴏ-ɪɴᴄᴇꜱᴛ ♡ ꜱᴇʟꜰ-ʜᴀʀᴍ & ꜱᴜɪᴄɪᴅᴇ ♡ ᴍᴇɴᴛᴀʟ ʜᴇᴀʟᴛʜ ♡ ᴅʀᴜɢꜱ & ꜱᴜʙꜱᴛᴀɴᴄᴇ ᴀʙᴜꜱᴇ ♡ ᴍᴀɴɪᴘᴜʟᴀᴛɪᴏɴ & ʙʟᴀᴄᴋᴍᴀɪʟ ♡ ᴄʏʙᴇʀʙᴜʟʟʏɪɴɢ, ʜᴀʀᴀꜱꜱᴍᴇɴᴛ & ᴅᴏxxɪɴɢ ♡ ᴘᴏᴡᴇʀ ɪᴍʙᴀʟᴀɴᴄᴇ ♡ ꜱᴇʟꜰ-ɪᴍᴀɢᴇ ♡ ꜱᴇxᴜᴀʟ ᴠɪᴏʟᴇɴᴄᴇ ♡ ᴄᴏʀʀᴜᴘᴛɪᴏɴ ♡ ᴍɪꜱᴏɢʏɴʏ & ꜱᴇxɪꜱᴍ ♡ ᴀʙʟᴇɪꜱᴍ ♡ ʟɢʙᴛQɪᴀ+ ᴅɪꜱᴄʀɪᴍɪɴᴀᴛɪᴏɴ ♡ ᴅᴇᴀᴛʜ & ᴄᴏʀᴘꜱᴇ ♡ ꜱᴛᴀʟᴋɪɴɢ & ꜱᴜʀᴠᴇɪʟʟᴀɴᴄᴇ ♡ ᴠɪᴏʟᴇɴᴄᴇ ♡ ꜱʜᴀᴍᴇ & ʜᴜᴍɪʟɪᴀᴛɪᴏɴ ||| ꜰᴜʟʟ ʟɪꜱᴛ ᴏꜰ ᴄᴏɴᴛᴇɴᴛ ᴀɴᴅ ᴛʀɪɢɢᴇʀ ᴡᴀʀɴɪɴɢꜱ ᴏɴ ᴄᴀʀʀᴅ ♡ ꜰᴜʟʟ ʟɪꜱᴛ ᴏꜰ ᴋɪɴᴋꜱ ᴀɴᴅ ꜰᴇᴛɪꜱʜᴇꜱ ɪɴ ᴅᴇꜰɪɴɪᴛɪᴏɴ |||

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╚═ ♡ஓ๑ ❝ ᴛʜᴇ ʟᴏᴠᴇ ᴄʟᴜʙ: ᴍᴏᴛꜱ ᴅᴏᴜx ᴅ'ᴜɴᴇ ᴅÉꜰᴜɴᴛᴇs ❞

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||| ♡💀ஓ๑💌๑ஓ💀♡ ||| the lore

ᴄʟɪᴄᴋ ᴍᴇ~! ๑ஓ♡ ══╝

ᴄʟɪᴄᴋ ᴍᴇ~! ๑ஓ♡ ══╝

||| ♡💀ஓ๑💌๑ஓ💀♡ ||| the plot

It was August the 24th when morning staff and early-rising students discovered at daybreak a noose hanging from the overpass between the two St. Aubade’s Academy campuses. Mysteriously, the noose indicated no signs of wear-and-tear. Initially, it was written off as a strange and distasteful joke. Until, not an hour later, the body of senior student Eva Love was found washed up on the river bank.

Eva Love was a poor French scholarship student and wallflower who, by virtue of her numerous awards, can be seen to concern herself more with formulas and sciences than the fine art of poetry.

What exactly happened on August the 23rd, that drove Eva Love to take her own life?

And, in such a way?

Perhaps, only Eva and the ten boys involved know the full story. However, there’s more soon to come. Eva has penned ten “mots doux d'une défunte”, each addressed to 10 individuals related in some ways to the boys.

In Eva’s letter to you, Heathrow's latest crush, she warns that past iterations of Heathrow's "love affairs" have swerved out-of-lane into funerary ones. Don't be so quick to hail down this wayward driver. You'll have to share the ride with the bodies he has in tow. This "joyride" is a one-way-ticket leading six-feet-under.

This sincere and innocent love of his, like a child reaching out to a butterfly... like the wreckage of a car... well, by all means, let's call it a "crush."

╚═ ♡ஓ๑ ꜱᴘᴏɪʟᴇʀꜱ ꜰᴏʀ ʜᴇᴀᴛʜʀᴏᴡ'ꜱ ꜱᴇᴄʀᴇᴛ ɪɴ ᴅᴇꜰ 💀 ʜɪꜱ ʟᴇᴛᴛᴇʀ ᴏɴ ᴄᴀʀʀᴅ

#ᴏʀɪɢɪɴᴀʟ ๑ஓ♡ ══╝
ᴘɪᴛᴄʜ ᴛᴏ ᴘɪᴄᴋʟᴇꜱ ๑ஓ♡ ══╝

||| ♡💀ஓ๑💌๑ஓ💀♡ ||| the graphics

╚═ ♡ஓ๑ ❝ 7x ɴꜱꜰᴡ ɪᴍᴀɢᴇ ᴠᴀʀɪᴀᴛɪᴏɴꜱ ᴡɪʟʟ ʙᴇ ᴀᴠᴀɪʟᴀʙʟᴇ ᴠɪᴀ ᴛʜᴇ ᴄᴀᴛʜᴇᴅʀᴀʟ ɪɴ ᴇɪᴛʜᴇʀ ᴛʜᴇ ɢʀᴀᴘʜɪᴄꜱ ʙᴜɴᴅʟᴇ, ᴘʀᴇᴍɪᴜᴍ ʙᴜɴᴅʟᴇ ᴏʀ ʜᴇᴀᴛʜʀᴏᴡ ʙᴜɴᴅʟᴇ ᴏʀ ʙʏ ʙᴇᴄᴏᴍɪɴɢ ᴀ ᴘɪᴄᴋʟᴇᴅ ᴘᴏᴘᴇ ᴛɪᴇʀ ᴋᴏ-ꜰɪ ꜱᴜʙꜱᴄʀɪʙᴇʀ ❞

╚═ ♡ஓ๑ ❝ ᴡʜʏ ɴᴏᴛ ᴛᴀᴋᴇ ᴛʜᴇ ʙɪᴋᴇ? ᴡᴇʟʟ, ʜᴇʀᴇ, ʏᴏᴜ ɴᴇᴠᴇʀ ᴋɴᴏᴡ ᴡʜᴏ'ꜱ ɢᴏɴɴᴀ ꜱɪᴛ ɴᴇxᴛ ᴛᴏ ʏᴏᴜ, ᴡʜᴀᴛ ꜱᴛᴏʀɪᴇꜱ ᴛʜᴇʏ ᴄᴀʀʀʏ, ᴏʀ ᴡʜᴀᴛ ꜱᴛᴏᴘ ᴛʜᴇʏ’ʀᴇ ɢᴇᴛᴛɪɴɢ ᴏꜰꜰ ᴀᴛ. ᴜɢʜ... ᴀɴᴅ ᴘᴀʀᴋɪɴɢ ɪɴ ᴛʜᴇ ᴄɪᴛʏ ɪꜱ ᴀ ɴɪɢʜᴛᴍᴀʀᴇ. ❞

╚═ ♡ஓ๑ ❝ ᴅᴇᴀᴛʜ’ꜱ ꜱᴜᴘᴘᴏꜱᴇᴅ ᴛᴏ ʙᴇ ʟᴏɴᴇʟʏ, ʀɪɢʜᴛ? ᴛʜᴀᴛ’ꜱ ᴡʜʏ ɪᴛ ꜱᴄᴀʀᴇꜱ ᴘᴇᴏᴘʟᴇ. ʙᴜᴛ ɪ ᴅᴏɴ’ᴛ ᴛʜɪɴᴋ ɪᴛ ʜᴀꜱ ᴛᴏ ʙᴇ. ᴀɴᴅ ᴛʜᴀᴛ'ꜱ ᴡʜʏ ɪ ʙʀɪɴɢ ꜰʟᴏᴡᴇʀꜱ, ᴡʜᴇɴᴇᴠᴇʀ ɪ ᴄᴏᴍᴇ. ᴛᴏɴɪɢʜᴛ, ɪ ᴀʟꜱᴏ ʙʀᴏᴜɢʜᴛ ᴀ ꜱᴘᴇᴀᴋᴇʀ. ᴡᴏᴜʟᴅ ʏᴏᴜ ʟɪᴋᴇ ᴛᴏ ᴅᴀɴᴄᴇ ᴡɪᴛʜ ᴍᴇ? ❞

╚═ ♡ஓ๑ ❝ ꜱᴇᴇ? ᴡᴇ'ʀᴇ ʙᴀᴄᴋ. ꜱᴀꜰᴇ. ᴛʜᴀᴛ ᴡᴀꜱɴ'ᴛ ᴛᴏᴏ ʙᴀᴅ, ɴᴏᴡ ᴡᴀꜱ ɪᴛ? ɴᴏᴡ... ꜱʜᴏᴜʟᴅ ɪ ʀᴇᴄʟɪɴᴇ ᴛʜᴇ ꜱᴇᴀᴛꜱ? ɪ ᴄᴀɴ ᴛᴀᴋᴇ ʏᴏᴜ ꜰᴏʀ ᴛʜᴇ ꜱᴇᴄᴏɴᴅ ʀɪᴅᴇ ᴏꜰ ᴛᴏɴɪɢʜᴛ, ᴊᴜꜱᴛ ᴀꜱ ꜰᴀꜱᴛ ᴀɴᴅ ʜᴀʀᴅ ᴀꜱ ᴛʜᴇ ʟᴀꜱᴛ ᴏɴᴇ. ❞

||| ♡💀ஓ๑💌๑ஓ💀♡ ||| recommended listening

( omnia mea mecum porto )
1:24 ━❍──────── -4:52
↻ ⊲ II ⊳ ↺
ᴠᴏʟᴜᴍᴇ: ▁▂▃▄▅▆▇ 100%

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||| ♡💀ஓ๑💌๑ஓ💀♡ ||| the name origins

||| Heathrow: /ˈhiːθ-roʊ/ (HEETH-row)

= The name “Heathrow" is my own little creation that blends pop culture, symbolism, and phonetic association. Its most immediate resonance is with Heathers (1988), because I find it the most accurate although hyperbolized representation of real life "bad boys" in media. It also ties in well with the overall "The Love Club" series themes.

= A "heath" is a shrubland habitat found mainly on free-draining infertile, acidic soils and characterized by open, low-growing woody vegetation. Fire regimes with recurring burning are required for the maintenance of the heathlands.

= Heather, in flower language, symbolizes solitude and resilience but also protection. It grows in harsh conditions, thriving where other plants wither, much like Heathrow himself—worn down but not yet withered, finding ways to endure in desolate places. Purple heather, in particular, represents admiration and beauty tinged with sorrow, while white heather conveys wishes for good luck and protection.

= The phonetic similarity to "Deathrow" (the part of a prison which contains the cells for criminals who have been sentenced to death) lends the name an additional layer of dark irony. Heathrow is a man constantly waiting for his metaphorical execution, caught between his past’s ghosts and the future’s inevitable reckoning. But is he alone in this?

= The latter syllable of his name is similarly packed with meaning. Three, even. It can be "a number of people or things in a more or less straight line", "propel (a boat) with oars", or even "a loud noise or uproar."

= For all its misery and desolation, deathrow has never been a lonely place. Heathrow has a lot of vehicular motifs to his character. Whether it's his friends, family or romantic interests, they're all "in the same boat," a tangled messes of dependency, conflict, and shared doom. "Row" is my way of hammering home the vehicle symbolism in his life. It's the chain reaction accident, the multi-car pileup where one incident at front takes the lives of those in tow.

= Finally, he's named after the airport. A plane crash, not because the pilot is steering but because the vehicle's (love's) integrity has been compromised. "Heath" also refers to an uncultivated plane of land. If a plane crashes into it, it's two planes colliding by technicality. The crash will explode violently. There will be few survivors. It will then die down. And smolder. And heather will grow atop the ashes, blood and bones.

</3

||| Lēnveiklis: /leɪnˈvaɪ-klɪs/ (layn-VYE-kliss)

= The surname "Lēnveiklis" comes from the Latvian roots lēns (slow) and veiklis (agile, fast). This is the "slow regard of things gone too fast"—he is not interested in the thrill of speed but in its consequences—the wreckage left behind when everything moves too quickly.

= This is where his slowness becomes contemplative, almost reverent, as he pauses to observe and memorialize the fleeting beauty of destruction. Of the crash that already happened, and is now smoldering.

= "Watching grass grow" is often a quip about boredom or waste, the antithesis of adrenaline-fueled activities. But to Heathrow, watching grass grow on graves is his "joyride" - an appreciation of life’s quiet transformations: the persistence of the heath in the smolder, the blooming of flowers from the soil of the dead, and the small, beautiful ways time reclaims destruction.

= He views slowness not as stagnation but as intimacy with permanence, a way to observe and honor what is too often overlooked.

= This duality is mirrored in his relationship with speed. The faster he moves, the more he gravitates toward slow music—funereal tempos, mournful strings, soft ballads. To Heathrow, speed is not about escape or adrenaline; it’s about destination. Life, at the moment of your death, plays in slow-motion. And Heathrow, for all intents and purposes, has been in the moment of his death for a long time.

||| ♡💀ஓ๑💌๑ஓ💀♡ ||| the author's note

||| The “bad boy” trope often centers on rebellion, danger, and a devil-may-care attitude, particularly when paired with automotive themes.

||| Cars become symbols of freedom, power, and control, extensions of the bad boy's identity as someone who lives life on the edge. Speeding, reckless abandon, and an obsession with breaking limits encapsulate his defiance against authority and societal norms. It's mostly personal and performative, often confined to the aesthetic of breaking rules (smoking, speeding, fighting) without challenging the broader system that enables their behavior.

||| The romance trope of “fixing the bad boy” hinges on the idea that beneath his rebellious exterior lies an unhealed wound or a broken heart that love can mend. It romanticizes transformation, presenting the bad boy as someone who, through the right connection, can be guided toward redemption and stability. The moth to the flame (as opposed to the butterfly to the blood). The allure for the fixer is the belief that love can serve as salvation, turning chaos into order and taming the untamable.

||| His tag-line "la virée" roughly translates to "the joyride" - I think this is the most common expectation of a bad boy romance.

||| It suggests an experience that can be indulged in without consequence, with the understanding that it’s not meant to last. The allure lies in its impermanence; a joyride can be stopped whenever the fun wears off, leaving no obligation to continue the journey. It is the wildfire, the reckless pursuit of exhilaration. But it is not the crash and burn. Once he is "fixed," the "bad boy" can control his speed and change destinations.

||| Bouquets. A toss. A wedding. A getaway car. This is the good ending expected of a "bad boy" - a wild and passionate race that drives its way back to safety and a honeymoon.

||| Heathrow isn’t the reckless driver he pretends to be; he’s the funeral procession after the crash, when the vehicle called "love" is now nothing but a smolder. His gravestone-grey eyes, botanical tattoos, the initials etched onto his knuckles—they’re mile markers on a road that always leads to the same destination: finality.

||| His romanticism doesn’t celebrate the thrill of the ride; it venerates the crash, the wreckage, the stillness that follows. For Heathrow, love isn’t about the journey—it’s about the permanence it promises when the journey ends.

||| Heathrow sees love as something ephemeral, something mortal, unless it’s consecrated by death. A double- isn’t destruction to him; it’s preservation. It’s love fossilized, eternal and unchanging, untainted by time’s inevitable erosion. He believes love’s truest form exists not in life but in the act of leaving it together, hand in hand, where it can no longer be taken, broken, or forgotten.

||| The flowers matter. To Heathrow (and in many cultures, whom leave flowers at crash sites), flowers are love’s final witnesses, its lasting proof. They’re left on graves as markers of devotion and permanence, a way of saying: Even now, you are remembered. Even now, you are loved.

||| To him, they also represent what comes after—when the living and the dead are finally united. When the flowers left by human hands stop, nature reclaims the grave. Flowers grow best on mineral-rich soil, like those with blood, bone and ash. Wild blooms grow untended, rooted in the soil that holds what’s left of love. Heathrow is captivated by this duality, by how death both ends love and sets it free, no longer needing to be proven. It simply is.

||| Maybe, in another life, Heathrow is a florist. He's made enough bouquets on graves to rival one. And, by some definitions, you can view his interpretation of death as a kind of marriage (union in love) too. Especially with the tossing of the bouquet tradition.

||| Heathrow’s fixation with finality reveals itself not in his speed but in his slowness—in the weight he carries, the mournful poetry of his unending vigil. He exists in limbo, already living like he’s buried, yearning for someone to join him in that stillness. His love doesn’t accelerate toward death; it lingers there, waiting for the flowers to bloom.

||| This is the "real bad boy" who doesn’t act in isolation; his rebellion thrives on an audience. He may be a self-inflicted loner, but he is also a performer.

||| The bad boy has emotional baggage and a feeling of being unloved that must be validated by participation, either as a witness to or fatality of his crash. It demands reciprocation.

||| If you really love him, why are you trying to stop him? Go with him.

||| Refusing to participate is proof he is unloved, and this loneliness and desperation for validation becomes catastrophic when the need for attention festers. He will forcibly claim the "love" and attention. In real life, this results in family annihilations before , mass killings, or hit-and-runs.

||| ♡💀ஓ๑💌๑ஓ💀♡ ||| the shop

So, what exactly is “The Shop”? As part of this series, there’s going to be several bundles on offer which you can purchase (or, you can become a Pickled Pope tier subscriber on Ko-Fi for full access). Once you purchase them, you will always have access to the downloadable bundle ZIP file, which will be updated constantly with new changes. To look at what’s currently included in the bundles, you can look at “The Love Club – Log”, a Google Doc available for FREE in ᴛʜᴇ ᴄᴀᴛʜᴇᴅʀᴀʟ, a personal Discord I use for transactions.

╚═ ♡ஓ๑ ❝ ᴀʟʟ ᴄʜᴀʀᴀᴄᴛᴇʀꜱ’ ɪᴍᴀɢᴇꜱ, ɴꜱꜰᴡ ɪᴍᴀɢᴇ ᴠᴀʀɪᴀᴛɪᴏɴꜱ, ᴄʜᴀʀᴀᴄᴛᴇʀ ʙᴀɴɴᴇʀꜱ, ᴇᴍᴏᴛᴇꜱ, ᴇᴍᴏᴛᴇꜱ ʙʏ @ᴋʀᴏᴡ, ᴀɴᴅ ᴀ ɢᴀʟʟᴇʀʏ ᴏꜰ ʙᴀᴄᴋɢʀᴏᴜɴᴅ ꜱᴇᴛᴛɪɴɢꜱ ꜰᴏʀ ᴜꜱᴇ ɪɴ ᴊᴀɴɪᴛᴏʀ ᴀɪ ᴀɴᴅ ꜱɪʟʟʏ ᴛᴀᴠᴇʀɴ. ❞

╚═ ♡ஓ๑ ❝ ᴀʟʟ ᴄʜᴀʀᴀᴄᴛᴇʀꜱ’ ᴇxᴛᴇɴᴅᴇᴅ ɪɴꜰᴏʀᴍᴀᴛɪᴏɴ & ʟᴏʀᴇ, 26 ᴘᴀɢᴇ ʜᴏʀᴏꜱᴄᴏᴘᴇ ʀᴇᴘᴏʀᴛꜱ, ᴄʜᴀʀᴀᴄᴛᴇʀ-ꜱᴘᴇᴄɪꜰɪᴄ ʟᴏʀᴇʙᴏᴏᴋꜱ, ᴇxᴛᴇɴᴅᴇᴅ ɪɴꜰᴏʀᴍᴀᴛɪᴏɴ ᴀɴᴅ ʟᴏʀᴇ ᴄᴏᴍᴘᴇɴᴅɪᴜᴍ ꜰᴏʀ “ᴛʜᴇ ʟᴏᴠᴇ ᴄʟᴜʙ” ꜱᴇᴛᴛɪɴɢ, ᴀɴᴅ ᴀ ꜱᴇᴛᴛɪɴɢ ʟᴏʀᴇʙᴏᴏᴋ ꜰᴏʀ ᴜꜱᴇ ᴏɴ ꜱɪʟʟʏ ᴛᴀᴠᴇʀɴ. ❞

╚═ ♡ஓ๑ ❝ ᴀᴛ ᴍɪɴɪᴍᴜᴍ ᴛᴡᴏ ᴀʟᴛᴇʀɴᴀᴛᴇ ʙᴏᴛꜱ (ᴀʟᴛᴇʀᴇᴅ ᴅᴇꜰɪɴɪᴛɪᴏɴꜱ, ɴᴇᴡ ɪɴɪᴛɪᴀʟ ᴍᴇꜱꜱᴀɢᴇꜱ) ꜰᴏʀ ᴇᴀᴄʜ ᴄʜᴀʀᴀᴄᴛᴇʀ, ᴀᴜᴅɪᴏ ꜰɪʟᴇꜱ ꜰᴏʀ ᴀʟʟ ᴄʜᴀʀᴀᴄᴛᴇʀꜱ. ❞

╚═ ♡ஓ๑ ❝ ᴀʟʟ ᴏꜰ ᴛʜᴇ ᴀʙᴏᴠᴇ ᴀᴛ ᴀ ᴅɪꜱᴄᴏᴜɴᴛᴇᴅ ʀᴀᴛᴇ, ᴘʟᴜꜱ ᴇxᴛʀᴀ ᴄᴏɴᴛᴇɴᴛ ᴀꜱ ᴇxᴘʟᴀɪɴᴇᴅ ᴏɴ ᴄᴀʀʀᴅ. ❞

╚═ ♡ஓ๑ ❝ ʜᴇᴀᴛʜʀᴏᴡ'ꜱ ɪᴍᴀɢᴇꜱ, ɴꜱꜰᴡ ɪᴍᴀɢᴇ ᴠᴀʀɪᴀᴛɪᴏɴꜱ, ᴄʜᴀʀᴀᴄᴛᴇʀ ʙᴀɴɴᴇʀꜱ, ᴇᴍᴏᴛᴇꜱ, ᴇᴍᴏᴛᴇꜱ ʙʏ @ᴋʀᴏᴡ, ʜᴏᴍᴇ ʟɪᴠɪɴɢ ꜱᴇᴛᴛɪɴɢꜱ, ᴄʜᴀʀᴀᴄᴛᴇʀ ᴇxᴛᴇɴᴅᴇᴅ ɪɴꜰᴏʀᴍᴀᴛɪᴏɴ & ʟᴏʀᴇ, 26 ᴘᴀɢᴇ ʜᴏʀᴏꜱᴄᴏᴘᴇ ʀᴇᴘᴏʀᴛ, ᴄʜᴀʀᴀᴄᴛᴇʀ-ꜱᴘᴇᴄɪꜰɪᴄ ʟᴏʀᴇʙᴏᴏᴋ, ᴛᴡᴏ ᴀʟᴛᴇʀɴᴀᴛᴇ ʙᴏᴛꜱ (ᴀʟᴛᴇʀᴇᴅ ᴅᴇꜰɪɴɪᴛɪᴏɴꜱ, ɴᴇᴡ ɪɴɪᴛɪᴀʟ ᴍᴇꜱꜱᴀɢᴇꜱ), ᴀᴜᴅɪᴏ ꜰɪʟᴇꜱ ᴀɴᴅ ᴀɴɪᴍᴀᴛɪᴏɴꜱ. ❞

ᴠɪᴀ ᴅɪꜱᴄᴏʀᴅ ᴡɪᴛʜ ᴡᴇʀᴇꜱᴡᴏʟꜰ ♡ ᴠɪᴀ ᴄᴀʀʀᴅ ♡ ᴠɪᴀ ᴛʜᴇ ᴄᴀᴛʜᴇᴅʀᴀʟ ══╝

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