Who is Vicky's closest friend?

The Fallen Chapter 4

All animals, most protists, all fungi, and many bacteria are het- erotrophs. Unlike autotrophs, heterotrophs cannot manufacture their own food. Instead, they get energy by eating other organisms or organic wastes. Ecologically speaking, heterotrophs are consumers. They obtain energy by consuming organic molecules made by other organisms. Consumers can be grouped according to the type of food they eat. Herbivores eat producers. An antelope that eats grass is a herbivore. Carnivores eat other consumers. Lions, cobras, and praying mantises are examples of carnivores. Omnivores eat both producers and consumers. The grizzly bear, whose diet ranges from berries to salmon, is an omnivore. Detritivores (dee-TRIET-uh-VAWRZ) are consumers that feed on the “garbage” of an ecosystem. This waste, or detritus, includes organisms that have recently died, fallen leaves, and animal wastes. The vulture shown in Figure 18-8 is a detritivore. Many bacteria and fungi are detritivores that cause decay by breaking down complex molecules into simpler molecules. So, they are specifically called decomposers. Some of the molecules released during decay are absorbed by the decomposers, and some are returned to the soil or water. Decomposers make the nutrients that were contained in detritus available again to the autotrophs in the ecosystem. Thus, the process of decomposition recycles chemical nutrients. Copyright © by Holt, Rinehart and Winston. All rights reserved. 368 CHAPTER 18 ENERGY FLOW When one organism eats another, molecules are metabolized and energy is transferred. As a result, energy flows through an ecosystem, moving from producers to consumers. One way to follow the pattern of energy flow is to group organisms in an ecosystem based on how they obtain energy. An organism’s trophic (TRAHF-ik) level indicates the organism’s position in a sequence of energy transfers. For exam- ple, all producers belong to the first trophic level. Herbivores belong to the second trophic level, and the predators belong to the third level. Most terrestrial ecosystems have only three or four trophic lev- els, whereas marine ecosystems often have more. Food Chains and Food Webs A food chain is a single pathway of feeding relationships among organisms in an ecosystem that results in energy transfer. A food chain may begin with grass, which is a primary producer. The chain may continue with a consumer of grass seeds—a meadow mouse. Next, a carnivorous snake may kill and eat the mouse. A hawk then may eat the snake, as shown in Figure 18-9. The feeding relationships in an ecosystem are usually too com- plex to be represented by a single food chain. Many consumers eat more than one type of food. In addition, more than one species of consumer may feed on the same organism. Many food chains inter- link, and a diagram of the feeding relationships among all the organisms in an ecosystem would resemble a web, as shown in Figure 18-10. For this reason, the interrelated food chains in an ecosystem are called a food web.

The Pedestrian (adapted) by Ray Bradbury Mr. Leonard Mead loved to walk outside at night. The city was quiet at eight o’clock on a misty November evening. He liked to put his hands in his pockets and stroll along the cracked sidewalks, stepping over grass that grew between the concrete. He would stop at the corners, look down the empty streets, and choose which way to go. It didn’t really matter which way he picked, because he was always alone in the year 2053. Sometimes, Mr. Mead would walk for hours and miles, coming home only at midnight. As he walked, he saw houses with their windows dark, like he was walking through a graveyard. Sometimes, he saw tiny flashes of light from behind curtains or heard soft voices from open windows. Mr. Mead wore sneakers so his footsteps wouldn’t make noise. If he wore shoes with hard heels, the dogs would bark and people might look out their windows. He liked being quiet and unnoticed as he walked in the cool November air. On this night, Mr. Mead walked west, toward the sea. The air was cold and frosty, making his nose sting and his lungs feel fresh. He listened to the sound of his shoes in the fallen leaves and sometimes picked up a leaf to look at it under the streetlights. As he walked, he whispered to the houses, “Hello in there. What’s on TV tonight? Where are the cowboys? Is the cavalry coming?” But the street was silent and empty, with only his shadow moving. He checked his watch. “Eight-thirty. Is it time for a quiz show? Or a funny show?” He thought he heard laughter from a house, but nothing else happened. He kept walking, sometimes stumbling over the broken sidewalk. In all his years of walking, he had never seen another person out at night. He reached a big intersection where two highways crossed. During the day, it was full of cars, but now it was empty and quiet, like a dry riverbed. Mr. Mead turned onto a side street, heading home. Suddenly, a police car turned the corner and shined a bright light on him. He stood still, surprised by the light. A metallic voice from the car said, “Stand still. Don’t move! Put up your hands!” Mr. Mead obeyed. The police car asked, “What’s your name?” “Leonard Mead,” he answered. “What’s your job?” “I guess I’m a writer,” Mr. Mead said. The police car replied, “No profession.” Mr. Mead hadn’t written anything in years, since people didn’t buy books or magazines anymore. People just stayed inside their houses, watching TV. The car asked, “What are you doing out?” “I’m walking,” Mr. Mead said. “Walking? Just walking?” the car repeated. “Yes,” he said. “Where are you walking? Why?” “For air. To see things,” Mr. Mead answered. “Your address?” “Eleven South Saint James Street.” “Do you have air in your house? An air conditioner?” “Yes.” “Do you have a TV?” “No.” “No?” The car was quiet for a moment. “Are you married?” “No,” Mr. Mead said. “Not married,” the car said. The night was cold and quiet. “Just walking, Mr. Mead?” “Yes.” “But why?” “I told you. For air, to see, and just to walk.” “Do you do this often?” “Every night for years.” The police car was silent for a moment. Then it said, “Get in.” The back door opened. “Wait, I haven’t done anything!” Mr. Mead protested. “Get in,” the car repeated. Mr. Mead looked into the car. There was no one inside, just an empty front seat. The back seat was like a small jail cell, cold and hard. “Where are you taking me?” he asked. The car answered, “To the Psychiatric Center for Research on Regressive Tendencies.” Mr. Mead got in. The door closed, and the car drove away through the empty streets. As they passed his house, he saw that all the lights were on. “That’s my house,” he said, but no one answered. The car drove off into the night, leaving the streets empty and silent for the rest of the cold November night.

THE FIDE LAWS OF CHESS. Introduction FIDE Laws of Chess cover over-the-board play. The Laws of Chess have two parts: 1. Basic Rules of Play and 2. Competitive Rules of Play. The English text is the authentic version of the Laws of Chess (which were adopted at the 93rd FIDE Congress at Chennai, India) coming into force on 1 January 2023. Preface. The Laws of Chess cannot cover all possible situations that may arise during a game, nor can they regulate all administrative questions. Where cases are not precisely regulated by an Article of the Laws, it should be possible to reach a correct decision by studying analogous situations which are regulated in the Laws. The Laws assume that arbiters have the necessary competence, sound judgement and absolute objectivity. Too detailed a rule might deprive the arbiter of his/her freedom of judgement and thus prevent him/her from finding a solution to a problem dictated by fairness, logic and special factors. FIDE appeals to all chess players and federations to accept this view. A necessary condition for a game to be rated by FIDE is that it shall be played according to the FIDE Laws of Chess. It is recommended that competitive games not rated by FIDE be played according to the FIDE Laws of Chess. Member federations may ask FIDE to give a ruling on matters relating to the Laws of Chess. BASIC RULES OF PLAY. Article 1: The Nature and Objectives of the Game of Chess 1.1 1.2 1.3 1.4 The game of chess is played between two opponents who move their pieces on a square board called a ‘chessboard’. The player with the light-coloured pieces (White) makes the first move, then the players move alternately, with the player with the dark-coloured pieces (Black) making the next move. A player is said to ‘have the move’ when his/her opponent’s move has been ‘made’. The objective of each player is to place the opponent’s king ‘under attack’ in such a way that the opponent has no legal move. 1.4.1 The player who achieves this goal is said to have ‘checkmated’ the opponent’s king and to have won the game. Leaving one’s own king under attack, exposing one’s own king to attack and also ’capturing’ the opponent’s king is not allowed. 1.4.2 The opponent whose king has been checkmated has lost the game. 1.5 If the position is such that neither player can possibly checkmate the opponent’s king, the game is drawn (see Article 5.2.2). Article 2: The Initial Position of the Pieces on the Chessboard 2.1 2.2 The chessboard is composed of an 8 x 8 grid of 64 equal squares alternately light (the ‘white’ squares) and dark (the ‘black’ squares). The chessboard is placed between the players in such a way that the near corner square to the right of the player is white. At the beginning of the game White has 16 light-coloured pieces (the ‘white’ pieces); Black has 16 dark-coloured pieces (the ‘black’ pieces). These pieces are as follows: A white king usually indicated by the symbol K A white queen Two white rooks Two white bishops Two white knights Eight white pawns A black king A black queen Two black rooks Two black bishops Two black knights Eight black pawns usually indicated by the symbol Q usually indicated by the symbol R usually indicated by the symbol B usually indicated by the symbol N usually indicated by the symbol usually indicated by the symbol K usually indicated by the symbol Q usually indicated by the symbol R usually indicated by the symbol B usually indicated by the symbol N usually indicated by the symbol Staunton Pieces p Q K B N R 9 2.3 The initial position of the pieces on the chessboard is as follows: 2.4 The eight vertical columns of squares are called ‘files’. The eight horizontal rows of squares are called ‘ranks’. A straight line of squares of the same colour, running from one edge of the board to an adjacent edge, is called a ‘diagonal’. Article 3: The Moves of the Pieces 3.1 It is not permitted to move a piece to a square occupied by a piece of the same colour. 3.1.1 If a piece moves to a square occupied by an opponent’s piece the latter is captured and removed from the chessboard as part of the same move. 3.1.2 A piece is said to attack an opponent’s piece if the piece could make a capture on that square according to Articles 3.2 to 3.8. 3.1.3 A piece is considered to attack a square even if this piece is constrained from moving to that square because it would then leave or place the king of its own colour under attack. 3.2 The bishop may move to any square along a diagonal on which it stands. 3.3 The rook may move to any square along the file or the rank on which it stands. 3.4 The queen may move to any square along the file, the rank or a diagonal on which it stands. 3.5 3.6 3.7 When making these moves, the bishop, rook or queen may not move over any intervening pieces. The knight may move to one of the squares nearest to that on which it stands but not on the same rank, file or diagonal. 3.7 When making these moves, the bishop, rook or queen may not move over any intervening pieces. The knight may move to one of the squares nearest to that on which it stands but not on the same rank, file or diagonal. The pawn: 3.7.1 The pawn may move forward to the square immediately in front of it on the same file, provided that this square is unoccupied, or 3.7.2 on its first move the pawn may move as in 3.7.1 or alternatively it may advance two squares along the same file, provided that both squares are unoccupied, or 3.7.3 the pawn may move to a square occupied by an opponent’s piece diagonally in front of it on an adjacent file, capturing that piece. 3.7.3.1 A pawn occupying a square on the same rank as and on an adjacent file to an opponent’s pawn which has just advanced two squares in one move from its original square may capture this opponent’s pawn as though the latter had been moved only one square. 3.7.3.2 This capture is only legal on the move following this advance and is called an ‘en passant’ capture. 3.7.3.3 When a player, having the move, plays a pawn to the rank furthest from its starting position, he/she must exchange that pawn as part of the same move for a new queen, rook, bishop or knight of the same colour on the intended square of arrival. This is called the square of ‘promotion’. 3.7.3.4 The player's choice is not restricted to pieces that have been captured previously. 3.7.3.5 This exchange of a pawn for another piece is called promotion, and the effect of the new piece is immediate. 3.8 There are two different ways of moving the king: 3.8.1 by moving to an adjoining square. 3.8.2 by ‘castling’. This is a move of the king and either rook of the same colour along the player’s first rank, counting as a single move of the king and executed as follows: the king is transferred from its original square two squares towards the rook on its original square, then that rook is transferred to the square the king has just crossed. 3.8.2.1 The right to castle has been lost: 3.8.2.1.1 If the king has already moved, or 3.8.2.1.2 With a rook that has already moved. 3.8.2.2 Castling is prevented temporarily: 3.8.2.2.1 if the square on which the king stands, or the square which it must cross, or the square which it is to occupy, is attacked by one or more of the opponent's pieces, or 3.8.2.2.2 if there is any piece between the king and the rook with which castling is to be effected. 3.9 The king in check: 3.9.1 The king is said to be 'in check' if it is attacked by one or more of the opponent's pieces, even if such pieces are constrained from moving to the square occupied by the king because they would then leave or place their own king in check. 3.9.2 No piece can be moved that will either expose the king of the same colour to check or leave that king in check. 3.10 Legal and illegal moves; illegal positions: 3.10.1 A move is legal when all the relevant requirements of Articles 3.1 – 3.9 have been fulfilled. 3.10.2 A move is illegal when it fails to meet the relevant requirements of Articles 3.1 –3.9. 3.10.3 A position is illegal when it cannot have been reached by any series of legal moves. Article 4: The Act of Moving the Pieces 4.1 4.2 Each move must be played with one hand only. Adjusting the pieces or other physical contact with a piece: 4.2.1 Only the player having the move may adjust one or more pieces on their squares, provided that he/she first expresses his/her intention (for example by saying “j’adoube” or “I adjust”). 4.2.2 Any other physical contact with a piece, except for clearly accidental contact, shall be considered to be intent. 4.3 Except as provided in Article 4.2.1, if the player having the move touches on the chessboard, with the intention of moving or capturing: 4.3.1 one or more of his/her own pieces, he/she must move the first piece touched that can be moved. 4.3.2 one or more of his/her opponent’s pieces, he/she must capture the first piece touched that can be captured. 4.3.3 one or more pieces of each colour, he/she must capture the first touched opponent’s piece with his/her first touched piece or, if this is illegal, move or capture the first piece touched that can be moved or captured. If it is unclear whether the player’s own piece or his/her opponent’s was touched first, the player’s own piece shall be considered to have been touched before his/her opponent’s. 4.4 If a player having the move: 4.4.1 touches his/her king and a rook he/she must castle on that side if it is legal to do so 4.4.2 deliberately touches a rook and then his/her king he/she is not allowed to castle on that side on that move and the situation shall be governed by Article 4.3.1. 4.4.3 intending to castle, touches the king and then a rook, but castling with this rook is illegal, the player must make another legal move with his/her king (which may include castling with the other rook). If the king has no legal move, the player is free to make any legal move. 4.4.4 promotes a pawn, the choice of the piece is finalised when the piece has touched the square of promotion. 4.5 4.6 If none of the pieces touched in accordance with Article 4.3 or Article 4.4 can be moved or captured, the player may make any legal move. The act of promotion may be performed in various ways: 4.6.1 the pawn does not have to be placed on the square of arrival. 4.6.2 removing the pawn and putting the new piece on the square of promotion may occur in any order. 4.6.3 If an opponent’s piece stands on the square of promotion, it must be captured. 4.7 When, as a legal move or part of a legal move, a piece has been released on a square, it cannot be moved to another square on this move. The move is considered to have been made in the case of: 4.7.1 A capture, when the captured piece has been removed from the chessboard and the player, having placed his/her own piece on its new square, has released this capturing piece from his/her hand. 4.7.2 Castling, when the player's hand has released the rook on the square previously crossed by the king. When the player has released the king from his/her hand, the move is not yet made, but the player no longer has the right to make any move other than castling on that side, if this is legal. If castling on this side is illegal, the player must make another legal move with his/her king (which may include castling with the other rook). If the king has no legal move, the player is free to make any legal move. 4.7.3 Promotion, when the player's hand has released the new piece on the square of promotion and the pawn has been removed from the board. 4.8 4.9 A player forfeits his/her right to claim against his/her opponent’s violation of Articles 4.1 – 4.7 once the player touches a piece with the intention of moving or capturing it. 4.8. A player forfeits his/her right to claim against his/her opponent’s violation of Articles 4.1 – 4.7 .4.9. If a player is unable to move the pieces, an assistant, who shall be acceptable to the arbiter, may be provided by the player to perform this operation. Article 5: The Completion of the Game 5.1.1 The game is won by the player who has checkmated his/her opponent’s king. This immediately ends the game, provided that the move producing the checkmate position was in accordance with Article 3 and Articles 4.2 – 4.7. 5.1.2 The game is lost by the player who declares he/she resigns (this immediately ends the game), unless the position is such that the opponent cannot checkmate the player’s king by any possible series of legal moves. In this case the result of the game is a draw. 5.2.1 The game is drawn when the player to move has no legal move and his/her king is not in check. The game is said to end in ‘stalemate’. This immediately ends the game, provided that the move producing the stalemate position was in accordance with Article 3 and Articles 4.2 – 4.7. 5.2.2 The game is drawn when a position has arisen in which neither player can checkmate the opponent’s king with any series of legal moves. The game is said to end in a ‘dead position’. This immediately ends the game, provided that the move producing the position was in accordance with Article 3 and Articles 4.2 – 4.7. 5.2.3 The game is drawn upon agreement between the two players during the game, provided both players have made at least one move. This immediately ends the game. COMPETITIVE RULES OF PLAY Article 6: The Chessclock 6.1 ‘Chessclock’ means a clock with two time displays, connected to each other in such a way that only one of them can run at a time. ‘Clock’ in the Laws of Chess means one of the two time displays. Each time display has a ‘flag’. ‘Flag-fall’ means the expiration of the allotted time for a player. 6.2 Handling the chessclock: 6.2.1 During the game each player, having made his/her move on the chessboard, shall pause his/her own clock and start his/her opponent’s clock (that is to say, he/she shall press his/her clock). This “completes” the move. A move is also completed if: 6.2.1.1 6.2.1.2 the move ends the game (see Articles 5.1.1, 5.2.1, 5.2.2, 9.2.1, 9.6.1 and 9.6.2), or the player has made his/her next move, when his/her previous move was not completed. 6.2.2 A player must be allowed to pause his/her clock after making his/her move, even after the opponent has made his/her next move. The time between making the move on the chessboard and pressing the clock is regarded as part of the time allotted to the player. 6.2.3 A player must press his/her clock with the same hand with which he/she made his/her move. It is forbidden for a player to keep his/her finger on the clock or to ‘hover’ over it. 6.2.4 The players must handle the chessclock properly. It is forbidden to press it forcibly, to pick it up, to press the clock before moving or to knock it over. Improper clock handling shall be penalised in accordance with Article 12.9. 6.2.5 6.2.6 Only the player whose clock is running is allowed to adjust the pieces. If a player is unable to use the clock, an assistant, who must be acceptable to the arbiter, may be provided by the player to perform this operation. His/Her clock shall be adjusted by the arbiter in an equitable way. This adjustment of the clock shall not apply to the clock of a player with a disability. 6.3 Allotted time: 6.3.1 When using a chessclock, each player must complete a minimum number of moves or all moves in an allotted period of time including any additional amount of time added with each move. All these must be specified in advance. 6.3.2 The time saved by a player during one period is added to his/her time available for the next period, where applicable. In the time-delay mode both players receive an allotted ‘main thinking time’. Each player also receives a ‘fixed extra time’ with every move. The countdown of the main thinking time only commences after the fixed extra time has expired. Provided the player presses his/her clock before the expiration of the fixed extra time, the main thinking time does not change, irrespective of the proportion of the fixed extra time used. 6.4 Immediately after a flag falls, the requirements of Article 6.3.1 must be checked. 6.5 Before the start of the game the arbiter shall decide where the chessclock is placed. 6.6 At the time determined for the start of the game White’s clock is started.6.7. Default time: 6.7.1 The regulations of an event shall specify a default time in advance. If the default time is not specified, then it is zero. Any player who arrives at the chessboard after the default time shall lose the game unless the arbiter decides otherwise. 6.7.2 If the regulations of an event specify that the default time is not zero and if neither player is present initially, White shall lose all the time that elapses until he/she arrives, unless the regulations of an event specify, or the arbiter decides otherwise. 6.8 A flag is considered to have fallen when the arbiter observes the fact or when either player has made a valid claim to that effect. 6.9 Except where one of Articles 5.1.1, 5.1.2, 5.2.1, 5.2.2, 5.2.3 applies, if a player does not complete the prescribed number of moves in the allotted time, the game is lost by that player. However, the game is drawn if the position is such that the opponent cannot checkmate the player’s king by any possible series of legal moves. 6.10 Chessclock setting: 6.10.1 Every indication given by the chessclock is considered to be conclusive in the absence of any evident defect. A chessclock with an evident defect shall be replaced by the arbiter, who shall use his/her best judgement when determining the times to be shown on the replacement chessclock. 6.10.2 If during a game it is found that the setting of either or both clocks is incorrect, either player or the arbiter shall pause the chessclock immediately. The arbiter shall install the correct setting and adjust the times and move-counter, if necessary he/she shall use his/her best judgement when determining the clock settings. 6.11.1 If the game needs to be interrupted, the arbiter shall pause the chessclock. 6.11.2 A player may pause the chessclock only in order to seek the arbiter’s assistance, for example when promotion has taken place and the piece required is not available. 6.11.3 The arbiter shall decide when the game restarts. 6.11.4 If a player pauses the chessclock in order to seek the arbiter’s assistance, the arbiter shall determine whether the player had any valid reason for doing so. If the player has no valid reason for pausing the chessclock, the player shall be penalised in accordance with Article 12.9. 6.12.1 Screens, monitors, or demonstration boards showing the current position on the chessboard, the moves and the number of moves made/completed, and clocks which also show the number of moves, are allowed in the playing hall. 6.12.2 The player may not make a claim relying only on information shown in this manner.

Important Preparations Before an Earthquake Strikes • Follow the structural design and engineering practices when constructing a house or building. • Evaluate the structural soundness of the buildings and houses: strengthen if necessary. • Be aware of the earthquake evacuation plans for all of the buildings you occupy regularly. • Strap or bolt heavy furniture and cabinets to the wall to keep them in place. • Breakable items, harmful chemical, and flammable materials should be stored properly in the lowermost secure shelves • Prepare and know where fire extinguishers, first aid kits, alarms, and communication facilities are located and learn how to use them beforehand. • Pick safe places in each room of your home, workplace, and school and practice doing drop, cover, and hold.Essential Things to Do While an Earthquake is Happening • Stay calm. • Duck under a sturdy desk or table and hold onto it. Protect your head with your arms. • If there is no sturdy furniture, sit on the floor in a corner next to an interior wall and cover your head and neck with your arms. • Move away from glass windows, sliding doors, shelves, cabinets, and other heavy objects. • Grab anything handy to shield your head and face from falling debris and splinting glass. • Stay indoors until the shaking stops. If you must leave the building. use the stairs rather than elevators. • Stay away from trees, power lines, posts, and concrete structures and proceed cautiously to an open area. • Move away from steep. slopes, which may be affected by landslides. • Move quickly to higher grounds since tsunamis might follow • Pull over to a clear location and stop. Avoid bridges, overpasses, and power lines, if possible. • Be updated about disaster. prevention instructions from battery operated radios.Essential Safety Measures After an Earthquake • Check yourself and others for injuries. • Do not panic. • Expect and prepare for aftershocks. These aftershocks may be weaker but they may sometimes cause more damage than the major earthquake. • Look for emergency supply kits. They should include food, water, medication, clothing, and other things you may need. • If you need to evacuate, leave a message stating where you are going • Do not enter damaged buildings since they might have weakened foundations, increasing their susceptibility for collapse. There can also be a lot of falling debris. • Do not use elevators • Check water and electrical lines for damages. Turn the main switch off to avoid any incidences of electric shock • Look for and extinguish fires to reduce their chances of spreading. • Avoid fallen power lines. • Tune in to radio broadcasts and be updated on disaster prevention instructions.

Spectacular - Spektakulär Unexpected - Oväntad A moment of truce - Ett vapenstillestånd Push the limits - Tänja på gränserna Free climber - Fria klättrare Descriptions - Beskrivningar Get a rush from - Få en kick från End up face to face with sharks - Sluta ansikte mot ansikte med hajar Crawling - Krypande Chalk powder - Kritpulver Pouch around your waist - Påse runt din midja On purpose - Med avsikt Seek thrills - Söka spänningar Accomplish my dreams - Uppnå mina drömmar Comes at a cost - Kommer med ett pris Permission - Tillstånd Achievements - Framgångar Fallen from heights - Fallit från höjder Fallen into a coma - Hamnat i koma Stiches - Stygn Target - Mål Reaching his goal - Nå sitt mål Retell - Berätta om Ordinary people - Vanliga människor Uncommon - Ovanlig On American soil - På amerikansk mark Hijacked - Kapat The outcome - Resultatet The public - Allmänheten Structural engineer - Byggnadsingenjör Port - Hamn Witnessing - Vittna Make it down the stairwell - Ta sig ner för trapphuset A roaring sound - Ett brölande ljud Take cover - Söka skydd Crouched down - Hopkrupen The walls cracked open - Väggarna sprack upp Underneath - Under Fall unconscious - Förlora medvetandet In the rubble - I rasmassorna Unaware of - Omedveten om Devastating moment in history - Förödande ögonblick i historien The mobile network is down - Mobilnätverket ligger nere Commit crimes - Begå brott Throughout history - Genom historien Path - Väg Whiny voice - Gnällig röst Wearing him down - Slita ner honom Long for - Längta efter Thumping - Dunkande Spiked with a deadly dose of poison - Spetsad med en dödlig dos gift Gone through with it - Genomfört det Constant nagging - Ständigt gnäll Infidelity - Otrohet Carved - Skuren Perform on the big stages - Uppträda på de stora scenerna Unrealistic demands - Orealistiska krav Something fishy is going on - Något skumt pågår Offered a reward - Erbjöd en belöning Downfall - Fall Accomplice - Medbrottsling Undoubtedly - Utan tvekan Board a ship - Stiga ombord på ett skepp Suspense - Spänning Trip on a wire - Snubbla på en tråd Invention - Uppfinning Customs officer - Tulltjänsteman Extraordinary - Extraordinär Nearly - Nästan The entire population - Hela befolkningen Cease to exist - Upphöra att existera Great courage - Stort mod Goodwill - God vilja A little bit of humanity - Lite mänsklighet In the midst - Mitt ibland Lose faith in - Förlora tro på Snowflakes - Snöflingor Turn the doorknob - Vrida dörrknoppen Shelter - Skydd Gesture towards the cabin - Gesta mot stugan Pale - Blek Commotion - Uppståndelse Medic - Sjukvårdare Ease up the tension - Minska spänningen Extend his hand - Sträcka ut sin hand Painkillers - Smärtstillande Supper - Kvällsmat Foolish - Dum Establish - Etablera Drop a nuclear bomb - Släppa en kärnvapenbomb The Great Plague - Den stora pesten Civil rights - Medborgerliga rättigheter Underline - Understryka Keen on - Angelägen om

This funny story is about two friends. One is honest but foolish. The other is dishonest but fears law and police. Read about the foolishness they wanted to hide from everyone. of Prakash and Prasanna, who put up placards to tell the world what Prakash lived in a village near Agra. He was an honest man. One day, he found a gold ring on the road. He looked around and shouted loudly, "Whose gold ring is this?" Now, this ring had fallen off from a rich merchant's finger. Fortunately, the rich merchant was nearby and heard Prakash shout. He checked his finger and lo, his ring was missing! He quickly walked up to Prakash and looked at the ring. "Oh, my!" The merchant thought, 'this is my ring. So, he took it from Prakash and put it on his finger. The rich merchant was so impressed with Prakash's honesty that he gave him fifteen silver coins. Prakash had never seen so many silver coins before. He was very happy. At the same time, he was scared that someone might steal the silver coins. He thought he would keep them with a friend, but he realised that, that would not be safe, then he thought that he would put them in a purse and carry the purse with him wherever he went, but he realised that, that too would be unsafe! Suddenly, an idea struck him. He would hide the coins in his little garden! So, he dug a hole in hes ganken and hid the coins in it. He covered the coins with fresh mad. But still he w not at ease. He thought. What if someone comes into my garden and takes away the csins? He could not sleep the whole night. The thought of the coins being stolen nagged him How you think Prakash will be the sims safe? He thought and thinight, and an idea struck him. He went to the market and bought a brush and some paint. With the paint and the brush, he wrote the followitg wonds on a placard: NO MONEY IS HIDDEN HERE and put the placard near the hole where he had hidden the slver coins Some days later, Prasanna, Prakash's friend, came to visit him. He found the door locked and decided to have a stroll in the garden till Prakash came back There, he saw the writing on the placard. He was surprised. He wondered why Prakash had written these words. Soon, he knew the reason. He sat down and began to dig the mund. The mud was loose and soft. He dug out the fresh mud and pushed his hands into the hole. As he did this, his hands touched something hard and cold. He had found the coins! He took the coins and put them in his pockets. He wanted to run home, but realised that someone might find out that he had stolen the coins. The police would catch him and put him in jail. He began to feel anxious and scared Prasanna began to think. An idea flashed in his mind. He took the brush and paint that Prakash had left in the gardem and wrote something on a piece of paper and pasted it un the placard. This is what he wrote: I HAVE NOT STOLEN ANY MONEY FROM THE HOLE IN THE GARDEN ASIAMAN HONESTMAN PRASANNA....

Angels are spiritual beings. They do not have physical bodies. They are His servants; they obey God and do His will. Angels appear to people only when God has a purpose for them to be seen. People have entertained angels without being aware of it because the angels took on the appearance of ordinary men. They have appeared to people as bright and shining beings. In the Bible, angels have told people not to be afraid. Fallen angels, or demons, rebelled against God and followed Satan. As a result, they were cast out of heaven. The devil, or Satan, is one of these fallen angels. He is God's enemy. Satan was created as a beautiful angel, but his pride led to his downfall. God is infinitely more powerful than Satan, and God has set limits on Satan's temporary power on the earth. Satan tempts Christians to sin and causes some trouble in their life. However, Christians have various ways of overcoming temptation and staying true to the Lord despite the trouble. Being tempted to sin is not a sin; even Jesus was tempted but He never sinned. Christians are tempted by the devil, by their sinful nature, and by other people. Some of the ways that Christians can overcome temptation are by fleeing tempting situations, memorizing and applying Bible verses, exercising self-control, and keeping strong in their faith and their relationship with God.

News Opinion Sport Culture Lifestyle Show more Books Music TV & radio Art & design Film Games Classical Stage ‘Hollywood doesn’t do very much of that business, they have the nice sign, and everything’s good, but they don’t do very much,’ said Trump. View image in fullscreen ‘Hollywood doesn’t do very much of that business, they have the nice sign, and everything’s good, but they don’t do very much,’ said Trump. Photograph: Lucy Nicholson/Reuters Film ‘I’m not trying to hurt the industry’: Trump softens tone on movie tariffs California governor Gavin Newsom announces a $7.5bn tax incentive scheme as Trump’s announcement of 100% tariffs on films ‘produced in foreign lands’ is mocked by Jimmy Kimmel and Fallon Andrew Pulver Tue 6 May 2025 11.24 BST Share Donald Trump appears to be softening his tone after widespread dismay in Hollywood and further afield at his bombshell announcement of 100% tariffs on films “produced in foreign lands”, saying he was “not looking to hurt the industry”. In remarks reported by CNBC, Trump said he was planning to discuss the plan with film industry leaders. “I’m not looking to hurt the industry, I want to help the industry.” He added: “So we’re going to meet with the industry. I want to make sure they’re happy with it because we’re all about jobs.” Trump also took aim again at California state governor Gavin Newsom, saying the film industry “has been decimated by other countries taking them out, and also by incompetence, like in Los Angeles, the governor [Gavin Newsom] is a grossly incompetent man, he’s just allowed it to be taken away from”. Trump added: “Hollywood doesn’t do very much of that business, they have the nice sign, and everything’s good, but they don’t do very much.” Trump’s talk of film tariffs makes no sense, but it’s already doing damage – to Hollywood Peter Bradshaw Peter Bradshaw Read more Newsom responded with a statement saying: “Governor Newsom continues to champion California’s iconic film and television industry – recognising it as a cornerstone of the state’s economy, one that sustains hundreds of thousands of good-paying jobs across every sector around the state.” “His plan to more than double the state’s film and television tax credit reflects a commitment to keeping production here at home, supporting workers and maintaining California’s global leadership in entertainment. If the President announces a proposal with more details, we will review it.” Newsom had earlier responded to Trump’s announcement by proposing a $7.5bn federal tax incentive scheme, saying in a statement to Variety: “Building on our successful state program, we’re eager to partner with the Trump administration to further strengthen domestic production.” Tax incentive schemes in the US currently operate on a state-by-state basis, and Newsom had announced a plan in April to boost California’s to $750m. California senator Adam Schiff also condemned Trump’s tariff proposal while backing calls for a federal tax credit scheme, saying in a statement: “Blanket tariffs on all films would have unintended and potentially damaging impacts, [but] we have an opportunity to work together to pass a major federal film tax credit to re-shore American jobs in the industry.” Late night TV hosts Jimmy Kimmel and Jimmy Fallon also joined the chorus of dismay and bafflement at Trump’s plan. Commenting that Trump was “now aiming his wrecking ball at Hollywood”, Kimmel questioned whether foreign-made movies were a “national security threat” as Trump claimed. “I don’t care where they’re made. I really don’t. I guess it’s what the late, great Hannibal Lecter would’ve wanted. Sonic, the illegal immigrant hedgehog, is a national security threat and he must be stopped!” Kimmel also mocked actor Jon Voight’s role in Trump’s thinking, saying: “This is where he reportedly got the tariff movies idea – from Angelina Jolie’s 86-year-old father she won’t talk to. What a great idea. Next year, The White Lotus is gonna be set at a Hampton Inn.” Fallon also took aim at Trump’s implication that foreign locations were somehow taboo, saying: “Gonna be fun seeing the next Lord of the Rings filmed in Bayonne, New Jersey,” adding: “If you don’t like that, you can also watch Emily in Des Moines [instead of Emily in Paris]. It’s just as charming.” Explore more on these topics Film Film industry Donald Trump Trump tariffs Gavin Newsom Jimmy Kimmel Jimmy Fallon news Share Reuse this content Most viewed Live German parliament votes again on Merz’s bid to be chancellor after humiliating first round – Europe live Trump and Carney to meet at White House in closely watched encounter Mushroom lunch’s sole surviving guest details deadly meal and its aftermath as trial of Erin Patterson continues ‘It’s the misogyny slop ecosystem!’ How Candace Owens and the American right declared war on Blake Lively Wisconsin woman missing for more than 60 years found ‘alive and well’

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