Love? Give it six months
Warning: this story will contain mentions of unhealthy relationships and adult themes. The main character also has some character traits that may differs from your own, please do keep that in mind.
Review and comments will be appreciated
(Customisation) There once was a dashing bachelor
(That looked like )(uses the OH male feces)
Face 1
Face 2
Face 3
Face 4
(Hairstyles)
James Bond (black slick backed)
Don Diego Vega (dark brown wavy hair slicked back long neck)
Steve Rogers (Short blonde side swept hair)
Agent J (Short kinky curls)
Is this him?
Yes
No (go back to customisation)
What is his name?
(Default: George)
(Surname)
(Default: Bishop)
There he meets
A beautiful woman
A handsome man
A beautiful woman
Face 1 (Asian; has pale skin, dark almond eyes, straight black mid-back hair with a mid-part)
Face 2 (Hispanic: has tan skin, deep brown eye and over shoulder-length volumes wavy hair with side bangs.)
Face 3 (Afro-American: dark skin, expressive brown eyes with long blackish brown chest-length kinky curly hair.)
Face 4 (Caucassian: pinkish skin with freckles, clear blue round eyes, collarbone length layered dirty blonde hair)
A handsome man
Face 1 (Asian: pale skin, dark almond eyes, straight black hair put up in a pompadour style)
Face 2 (Hispanic: tan skin, with slicked back wavy hair that always looks like it is coming undone.)
Face 3 (Afro-American: dark skin, expressive brown eyes, with a crewcut with tight natural curls.)
Face 4 (Caucasian: pinkish skin with freckles, clear blue eyes, dirty blonde hair in a Taper haircut.)
As the two peoples eyes lock across the room. The sensation of a pull drives them to get closer to one another.
As the dashing bachelor offered his hand his partner gladly accepted it. Leading into a dance that lasted the rest of the night.
The whole world faded away to the sound of the Jazz band, their breathing and their dancing.
As their lips moved to meet...
???: “Oh come now Joanna, you know that is no way that would ever happen.”
(Record Scratch)
Joanna: “Oh for craps sake, George I was getting to the best part.”
George: “Forgive me for finding it uncomfortable that you have decide how my love life is going to go.”
Lance: “He does have a point there sis.”
Joanna: “Way to stand up for your sister Lance.”
Lance “Look I’m all for love conquers and all that jazz but it is kind of difficult to make a love life for someone else.”
George: “Thank you.”
Lance: “I mean he isn’t a completely lost cause. I’m sure some desperate soul will take him.”
Lance: “I mean he’s got dads looks, and he managed to get with mom when they were young.”
Lance: “That might make up for his zero tact.”
George: “Your faith in me is awe inspiring.”
Lance: “Oh cheer up. With your upcoming trip to Vegas, maybe you’ll have luck in love and not just on the poker table.”
Joanna: “Maybe you’ll meet someone special!”
You snort, finding the idea silly.
George: “I wouldn’t bet on it.”
Chapter 1: One night in Vegas
In an underground speakeasy decked out in old decor from the 20th centuries first half. You sit there nursing your drink. After a long day at the office you love nothing more than when you can enjoy your secret fancy. Dressed up in an old-fashioned pinstripe suit and a fedora. You feel like a king, this little piece of haven in Chicago that seemed to be frozen in time.
You feel your friend beside you stir, he himself having to relax from work as well as dreading an upcoming event.
After his fifth sight you opt to actually talk about it.
You take a swing of your drink and decide to talk about the elephant in the room.
Or more accurately you decide to talk about the issue in pre 1940’s slang
George: “Your bear cat of a sister still giving you a hard time?”
Jeremy: “Noneofya.”
He mumbled.
George: “Look Pally, I known you since we were scrubs and had squat. What's eating you?”
Jeremy: “That dame will chisel me out of every dime I own.”
George: “Stephie acting like a Big cheese cause she is getting hitched?”
Jeremy: “She wants everything spiffy and I’m quite sure her ankle biters will be paying the bills. My folks are on my case regarding my dame.”
You think for a moment. Jeremy and Katie had been together for four years. They got one another, they lived together.
George: “Stephie’s lucky her guy thinks she’s the Cat's meow.”
You said reflecting on everything you ever heard regarding Darren, he was a good guy. Definitely not the smartest but he loved Stephanie like she was the only woman alive. You just wondered why anyone would want to spend time with that woman.
Jeremy: “Alright, real talk.”
Jeremy said as he dropped ‘the act’, we were no longer hot shots in the prohibition era. We were now just George Bishop and Jeremy Jackson a financial advisor and a computer wizard.
George: “In all do honesty I do not see why you need to go there? Aren’t bachelorette parties strictly female?”
Jeremy: “They used to be, but I am quite sure I am not going with them to be pampered like the bridesmaids.”
George: “Then your function is?”
Jeremy: “If I were to guess, fall guy and pack mule.”
Jeremy: “I think she is also doing it to brag, that ‘she did it first.’ To rub it in Katie’s face.”
George: “You never really care what your sister does. Why now?”
Jeremy: “Because they are pressuring me and Katie. Not just my family but next to everyone we know. ‘When is the wedding? What is the venue? How many guests? Are you going to have it this year?’ Look I love my girl, but none of us is in rush to walk down the aisle.”
Yeah, you know, you were the first one Jeremy told about his plan to propose. You were happy for him but at the end of the day it was up to Katie and Jeremy. Not you or their families. However the rest of the world seemed to think differently.
Mom: “Oh sweetheart, happy valentine’s day! Are you spending it with someone special?”
George: “Mom, you know I am not looking for someone.”
Mom: “Oh, don’t worry, I’m sure you’ll find that certain someone sooner or later.”
Yeah, it isn’t enough your sister is married and your brother is utterly twitterpated with his boyfriend. You need to ensure your oldest is also with someone.
Boss: “Mr. Bishop, I must say. I am impressed with your work ethics, but we have decided to go with Mr. Robinson as the face of the company.”
Never minding the fact that you worked twice as hard as said college.
George: “I understand. May I ask what made you choose him?”
Boss: “We did research and found that your college would be favourable, due to circumstance.”
Translation: we wanted a man that was married and not the workaholic bachelor.
Stranger 1: “You see that guy over there?”
Stranger 2: “You mean the one with the RBF?”
Stranger 1: “Yeah, probably one of those loners, will never find anyone.”
Stranger 2: “I mean who goes to a restaurant like this alone?”
Honestly? You can’t have a meal alone?
George: “Yeah, I know that feeling.”
Jeremy: “Seriously.”
Both of you take a sigh.
Jeremy: “But in all honesty. Thank you for coming along, I really appreciate it. Would probably loose my mind if I went alone.”
George: “Of course.”
- It would be a shame to lose my partner in crime.
- My boss would be pissed if I didn’t.
- Who would turn down free drinks?
Jeremy: “Yeah sounds about right.” *Choice 1*
George: “Remember how we got back at Marcus Thatcher?” *Choice 1*
Jeremy: “Oh, I remember. Too bad he didn’t check the file we sent, it might have saved him some embarrassment.” *Choice 1*
George: “Big tough football star being fooled by ‘two scrawny’ freshmen.” *Choice 1*
Jeremy: “And we were hailed as heroes for a month.” *Choice 1*
Jeremy: “Wait, don’t tell me HR department has been on your case.” *Choice 2*
Geroge: “Yep, too much overtime.” *Choice 2*
Geroge: “Never mind I make sure that everything is quality controlled.” *Choice 2*
Jeremy: “Geesh. Well glad to know I could be of service.” *Choice 2*
Jeremy: “Ah there it is, I knew you had a hidden agenda. *Choice 3*
George: “Jeremy, Jeremy, Jeremy, when have I ever hid something from you?” *Choice 3*
Jeremy: “Alright fair, you are honest to the point of insult.” *Choice 3*
Geroge: “You asked for my opinion, besides those shoes where ugly as sin.” *Choice 3*
Both of you laugh, you had been in each other’s life since kindergarten. You where the odd ducks, most kids and adults always considered you to be cold or judging. Even if neither of you had that intention.
Jeremy raises his glass.
Jeremy: “To intellectual companions.”
George: “To intellectual friends.”
You said as you raised your own drink in a toast.
The weekend finally arrived for the trip. You arrived at O’Hare airport with a good three hours to spare. You crack open the book you brought with you.
It was a supernatural detective story you received as a gift on last birthday a few months back. While you applaud your sister for trying, it was still jarring to follow all the supernatural deus-ex-machinas that discarded real detective work.
So that is how a 31 year old was reading a supernatural book in broad daylight.
George: ‘ with gun drawn, Duskraven made her way down the basement, the surroundings smelled of blood and muck.’
Geroge: ‘Romano’s empire was now in full display in front of her. Fae, lined the walls, eyes hollow and only the movement of their chest indicating they were still alive.’
George: ‘Duskraven took out her polaroid camera, it was a risky but if this would ever have a chance to justice. Her leads and information would need to be solid if she wanted to take down the vampire cartel. She just hoped the light for the camera would be noticed.’
George: ‘With a blinding light the entire basement lit up temporarily blinding her, when she regained her sight again a new horror met her eyes. Multiple pairs of hungry red eyes.’
Jeremy: “George!”
You tear your eyes away from the book in your hand.
There is Jeremy and Katie, hand in hand. Seeing them together was always a happy occasion.
Katie and Jeremy met at your favourite speakeasy a few years back. You didn’t blame your friend for becoming interested in the ICU nurse. Curly red hair and big blue eyes. Even if the courtship had started out rocky due to both of them being so shy. They overcame that hurdle and found something they wanted.
Sometimes however you wished you didn’t feel like you were interrupting them.
George: “Good morning, is Stephanie and her friends also here?”
Katie: “No they had a sleep over at Daria’s house. So they will be carpooling.”
You look at your clock and it was about two hours before the plane would take off, your bags where checked in and you were ready to leave and get to the section where the gates would be. But there was still no sign of Stephanie.
As you though you heard a rumbling sound.
Both you and Katie looked at Jeremy as a sheepish grim grew on his face.
Katie: “Told you, a ham sandwich wouldn’t hold.”
Jeremy: “It will hold till lunch, which is a few hours away.”
George: “You sure that is a good idea?”
Jeremy: “Tell you what, I’ll go if you come with me and Katie.”
Katie: “So what do you say?”
McDermott's
· Sure, I could have a bite. (💎12)
· Perhaps we shouldn’t
Diamond Choice: George: “Alright, let us have something to eat.” Jeremy: “Good! Airplane food leaves much to be desired.” Katie: “You always think with your stomach.” Jeremy: “Yet you love me.” Katie: “Yes, odd isn’t it?” You make your way inside and stay in line. You look at the menu and order ·
Breakfast burrito ·
Bacon and scrambled eggs ·
Fruit and oatmeal You order your food along with a big coffee. You all slide into the booth, Katie had her yogurt in hand both of you looked worryingly at Jeremy’s breakfast. (Tilting tower of pancakes) (Holy crap!) You swore for a moment both you and Katie was reading each other’s mind. ‘He is going to puke.’ George: “Hey Jeremy, think you can get some napkins?” Jeremy: “Sure.” As he left you plied a few pancakes away, making sure that you saved the top one so he wouldn’t notice. Katie making sure the tower didn’t fall. She gave a thumbs up, thanking you. George: “So Katie, how have you been?” Katie: “There is always a lot of things to do at the ICU, sometime I wonder where humanity is headed.” George: “Really, that bad?” Katie: “How would you explain having a locomotive lodge up your rectum?” George: “How did that happened?” Katie: “They claim they fell on it, if I had a dollar every time this happened I wouldn’t have any student debts.” You shake your head, you have been thinking a bit about what Jeremy said at the Speakeasy. You had also noticed that something was up with Katie, she was on edge. George: “Katie…” 1. “Did you want to go on this trip?” 2. “Has Mr and Mrs Jackson been pressuring you?” 3. “Do you want to get married?” Katie: “In all honesty no, but Stephanie has made me a bridesmaid. I need to partake in these things. Even if I wish I didn’t.” *Choice 1\*
George: “Why?” *Choice 1\*
Katie: “I wish I could care as little about protocol as you do, but she is Jeremy’s sister, if I say no it might affect my relationship with Jeremy and his family.” *Choice 1\*
Katie: “Yes, I mean no, I mean… it’s complicated.” *Choice 2\*
George: “How come?” *Choice 2\*
Katie: “I’m 30 years old George, time is ticking. They want grandchildren to spoil.” *Choice 2\*
George: “And you have to be married to do that?” *Choice 2\*
Katie: “Of course I love Jeremy.” *Choice 3\*
George: “That wasn’t the question, do you want to get married?” *Choice 3\*
Katie: “It is just so big, all those expectations. I… it scares the crap out of me.” *Choice 3\*
George: “Listen, I will tell you something.” You said using your stern voice. George: “Jeremy loves you, he chose you. You chose him. That is the truth at the end of the day.” Katie looked at you, a shy smile graced her lips. She mouthed a thank you. Jeremy made his way back to you with a great pile of napkins. You all begin to take part of the meal. During the entire meal Katie and Jeremy’s shoulders touched and they looked as content as they could be. (‘Loving it’ you had breakfast at McDermott) None diamond choice:
George: “Let us just sit down and relax, we should be in Las Vegas at 1 am. Knowing Stephanie we will probably eat something there before heading to the hotel.”
Katie: “Maybe, I’ll get some water at least.”
Jeremy: “Good idea.”
(‘Not hungry’ you didn’t have a McDermott breakfast)
As all of you wait for the supposed ‘bride’ you hear commotion.
Sure enough you see a brunette with a close to permanent scowl on her face. Followed but two very flustered women.
“There you are! WHERE have you been?!”
Her tone is as pleasant as you remember, nails on a chalkboard.
Jeremy: “We have been here waiting for you.”
Stephanie: “You aren’t even going to help me with my bags. What type of brother are you?”
Jeremy: “Well we are here, we have about half an hour before the plane leaves. So let’s get to the gate.”
Stephanie just huffed. Storming away.
George: “Wow she is in a good mood.”
You state sarcastically.
Jeremy: “Yeah she gets like that some time.”
Jeremy: “Just try not to set her of, she can be a handful.”
Katie: “I mean how bad could it possibly be?”
You were never the very superstitious type, but you were quite sure that Katie just opened Pandora’s Box.
From the time the plane touched ground in Nevada everything that could set of Stephanie did.
Stephanie: “URRGH!!! where is that shuttle! He is LATE!!”
Jeremy: “They told us like five minutes ago there is traffic jam.”
Stephanie: “Then he should have planned it earlier!”
Stephanie: “I will not wait an hour! WE have a schedule to follow!”
George:’ This coming from the woman that almost missed the plane to her own bachelorette party.’
Daria: “They say it is only another 15 minutes.”
Stephanie: “I DON’T CAREEEEE!”
Stephanie: “What do you mean that our suits where not booked?”
Receptionist: “You never sent in the deposit for your stay.”
Stephanie: “THAT WAS GEMMA’S JOB!”
Gemma: “I told you, the suits needed to be paid for by the same person that booked them.”
Stephanie: “You are a bridesmaid, you are supposed to make things work!”
George: ‘Honetly…’
George: “Sigh…”
Stephanie: “THIS ISN’T WHAT I ORDERED!”
Waitress: “Yes it is, you wanted a calamari.”
The poor waitress looked exhausted and probably wanted to be anywhere but here, not that one could blame her.
Stephanie: “NO IT ISN’T! I wanted the pasta with bacon and cheese.”
Katie: “A cabonara?”
Jeremy: “Stephie we are at a seafood restaurant.”
George: ‘IS she
ever satisfied?’
All of us where back at the hotel, Stephanie insisting that they ‘needed’ a new set of clothes for the casino and club they were planning on hitting. Jeremy looked ready to just give up.
George: “You know, you could simply say no to her.”
Jeremy threw an exhausted glair at me.
Jeremy: “If it was so simple neither me, you nor Katie would be here right now.”
George: “And you wouldn’t be here doing this Sisyphean task, which obviously brings you missery.”
Jeremy: “Yeah well, I still want my parents in my life, if I didn’t do this, they would never let me live it down.”
What to wear to the casino?
· Tuxedo 007 (💎 15)
· Basic black
Diamond option: Jeremy: “You look like James Bond.” George: “I’ll have a martini, shaken not stirred.” You said and an amused smile spread across Jeremy’s face. None diamond choice
“I Think I’ll stick with this.”
“Fair enough, I am too exhausted to care anyway.”
Jeremy said with a tired smile. You both left the room, making our way to one of the pulsing centres of the strip.
There in the golden casinos you thought finally your luck would finally turn for the better. That the glamorous atmosphere would rub off on the soon-to-be bride. Causing her to stop doing her impression of a screeching barn owl and let ALL of them enjoy Sin City.
Well it seemed to have worked, for now.
Both you and Jeremy where at the black jack tables, enjoying yourself. While the ladies were back at the slots machines.
Jeremy folded a while ago, it is just you and one more. You looked down at your cards a jack and an ace. You opponent opposite you had this confident smirk on his face. But you saw how the sweat was running down his face. He was bluffing.
George: “Hum…”
- Act as if you have a bad hand
- Act arrogant and self-assured
- Do not react at all and watch the man squirm
You decide to let your brows furrow in what would look like frustration. The man opposite you lets the edge of his mouth turn in a smirk. His confidence boosting with every minute. *Choice 1*
You decide to put on the theatrics, giving a smile like the cat that ate the canary you look at your opponent. That is growing more and more agitated by the minute. *Choice 2*
You keep your face natural, a lot of people often comment that you look angry whenever they see you. You could only assume it was true because your opponent was practically squirming in his seat. *Choice 3*
When he reviles his hand, you pause for a moment before reviling yours.
You won.
George: “I’ll be taking these.”
You said as you dragged them back chips and split them evenly between you and Jeremy. You had started with the same amount of tokens. Even if you did work with money daily, this was one of those occasions you allowed yourself to be a bit more relaxed regarding that subject.
Jeremy: “Nice one.”
George: “All in a day’s work.”
Jeremy: “So what next?”
Before you could answer you hear commotion from the opposite side of the casino. The screeching voice meant that Stephanie was somewhere in the middle of it. Both of you sigh, knowing that your happy hour was over.
Sure enough there at the era leading into one of the shows where Stephanie and her entourage, all of them except Stephanie wearing baby pink dresses and Stephanie herself wearing a sash reading ‘all hail the bride’ along with a tacky tiara probably worth a five dollar bill at most.
She was screaming at a bouncer, while all the others tried in vain to calm the soon-to-be bride.
Stephanie: “You are an idiot! What service is this!?”
When we had arrived there was already an audience forming. Yeah this was common whenever Stephanie was involved. ‘Drama Queen’ had been your nickname for her during high school for a reason.
Jeremy: “What happened?”
Bouncer: “Your friend here slapped one of your dancers, something about them stealing from them.”
Stephanie: “I am the BRIDE! I am not supposed to have to pay for anything during my bachelorette party.”
Jeremy: “Stephanie, what about we get some fresh air, okay?”
Jeremy said as he tried to deescalate the situation. He gently grabbed her arm, but Stephanie was having none of it.
It felt like it all happened in slow motion, Stephanie turned around and a closed fist and rage connected it with Jeremy’s face. Your friend flew back and hit his head on the floor pretty hard. Stephanie didn’t even care to check what state her brother was in. Katie flew to her fiancés side and the sight of your friend’s bleeding face was enough to make you see red.
George: “Alright enough.”
- Scold her
- Embarrass her
- Give her the evil eye
George: “Stephanie, you are way out of line.” *Choice 1*
Stephanie: “No I am not!” *Choice 1*
George: “You have taken no responsibility during this trip, you have been rude to every member of the party, you have caused a scene at every place we have been to. Do I need to keep going?” *Choice 1*
Your voice is like ice, you swear the temperature just dropped a few degrees. As you pointed out everything she has done during the less than 24 hours you been together. *Choice 1*
Stephanie looks angrily at her bridesmaids as is she is waiting for them to defend her. *Choice 1*
They do not, they know you are just stating the truth. *Choice 1*
George: “Your own brother did not want to be on this trip, he begged me to come along. Doesn’t that tell you just how vile you have been acting?” *Choice 1*
Stephanie: “You listen here…”*Choice 1*
George: “No you listen for once in your life!” *Choice 1*
You rarely let your emotions out but Stephanie was a special case. *Choice 1*
George: “If this is how you treat people, do not be surprised when Darren leaves you at the altar. He deserve better than this.” *Choice 1*
With that as a closing line you left, Jeremy might need to get to the hospital. He was worth more than Stephanie would ever be in your eyes. *Choice 1*
As you leave you are quite sure you hear someone applauding. *Choice 1*
With determined steps you made your way to one of the waitresses. *Choice 2*
George: “Excuse me.” *Choice 2*
You hand her a 50 dollar bill as you grab a big jug glass filled with beer and briskly walk back to Stephanie that is still screaming profanities. Because of her back being turned to you she didn’t see you. You saw how people began to take out their cameras and phones. No one made a move to stop you. *Choice 2*
With one quick movement you had poured it over her and a shriek of surprise entered your ears. *Choice 2*
Stephanie: “What the fuck is wrong with you!?” *Choice 2*
George: “Are you done with your little temper tantrum?” *Choice 2*
Stephanie: “What!? How dare you!” *Choice 2*
George: “You have been acting like a spoiled five year old since the moment we landed. I am surprised no one has done anything until now.” *Choice 2*
Stephanie: “You are so not coming to my wedding!” *Choice 2*
George: “It isn’t a loss, I was never here for you. Now excuse me I have more important things to deal with.” *Choice 2*
You left Stephanie to deal with the people that had gathered for the ‘show’ and she began to scream at them and calling them all sorts of names. But no one was intimidated, they found it hilarious. *Choice 2*
You grab hold of Stephanie, until she has no choice but to look at you. She is screeching, calling you every slur and bad name in the book. Your hands are firm on her upper arm, you just hold no squeezing, no pushing. You keep your eyes locked on her, you must have stood there quite a while until finally her defiant stare became weaker and weaker. *Choice 3*
You kept hold of her until she burst out into tears. At that point you let her go. Knowing you had knocked her down a peg. *Choice 3*
But Stephanie wasn’t your main concern, Jeremy was. You moved to stay with Katie and Jeremy, the crowd parted as the red sea as you walked by. All in stunned silence. *Choice 3*
George: “Are you sure you’ll be alright?”
Jeremy grimaced at the questing, blood still trickling down his face from where he had been punched. Luckily the nose would heal, the only question was what colour it would be in time for Stephanie’s wedding.
Jeremy: “I’ll be fine, Katie is here too. She knows what she is doing.”
Katie: “Having your fiancé being a nurse does have its perks huh?”
Jeremy: “Yeah one of many.”
The two of them smile at one another, before Jeremy turn back to you.
Jeremy: “Think you can manage your own?”
George: “I think I can stay out of trouble for one night.”
Jeremy: “Maybe, see you tomorrow George.”
Katie: “Have a nice night.”
With that the two of them made their way up to the hotel rooms.
You decided to check out the hotel bar. Despite being 10 o’clock it was surprisingly empty. Some people where there, some having already had a few to many.
But what caught your eye was a stranger sitting at the end of the bar.
There sitting in a knee-length ocean blue dress was a woman, leaning over resting her elbows at the counter. She had a faraway look in her face as she absentmindedly stirred her drink. *♀*
There sitting a young man, nursing his drink. His blue vest and slacks combo suited him well with the crisp white shirt. His attention seeming being elsewhere. *♂*
You sit down by the bar and is about to call on the bartender when I noticed a man, clearly intoxicated made a move on the man/woman at the end of the bar.
Drunk Idiot: “Hello there, did it hurt when you fell from heaven?”
The person in question just rolled hehis eyes. Clearly not in the mood to be the object of drunk admiration.
Drunk Idiot: “How about you and me go up to my hotel room and get to know each other a bit more.”
Haven seen the man/woman in question do every none-verbal que but slapping the idiot you decide enough was enough. He had disturbed you and the rest of the bar enough.
With the smoothest and coolest tone of voice you could muster you cleared your throat to get the drunk man’s attention. It wasn’t appreciated to say the least.
Drunk idiot: “What the hell do you want prick.”
The smell of alcohol radiating off him, one would think he had bathed in vodka. It was surprising no one had tossed him out from being a nuisance earlier.
George: “I do believe that you are bothering him/her. Please stop.”
George: “Look we are old friends, its noneofya business so bug off.”
George: “Oh really, then what is your friends name?”
Drunk Idiot: ”What?”
George: “What. Is. your. friend’s. name? If you are old friends you should surely know it.”
Drunk Idiot: “It’s ummm… Terry.”
???: “That is not even close.”
With both of you staring straight into him, mentally cornering him.
Drunk idiot: ”Screw this.”
The man declared in frustration and with that the idiot stormed off leaving both of you alone.
After making sure the guy was out of sight you turned back to the stranger.
He/She gave you a grateful smile.
???: “Thanks’ I really appreciate that?”
George: “It was nothing.”
You said making yourself ready to go back to your seat.
???: “Wait!”
The stranger called after you, out of sheer politeness you turned back around.
He/she Seemed a bit nervous, what now?
???: “Can I at least buy you a drink?”
You thought for a moment. You were on your own, Jeremy was probably nursing the bruise with some painkillers and you did not want to risk running into Stephanie or any of the bridesmaids. It also felt wrong to not take the opportunity to experience Vegas however.
So you accepted.
???: “Well What’s your poison?”
He/she asked in a joyous tone.
- Matrini
- Old Fashioned
- Red Wine
With a quick wave they called the bartender over.
???: “So what brings you to Vegas?”
George: “Bachelorette party.”
???: “Did it have anything to do with that brunette that slapped one of the dancers and had security physically lift her out?”
George: “Bingo.”
???: “No one got seriously hurt?”
George: “Thankfully no.”
With that the bartender served the drink and the stranger slipped a 50 dollar bill.
You lift the glass in a gesture for a thank you. And let the beverage slip down your throat. It was nice, it was a good year and the taste was strong but not overpowering.
You noticed that his/her eyes were on you, almost as if they were trying to decipher your character.
George: “What are you doing?”
???: “Trying to get a read on you, some say what you order is often an indication of who you are.”
George: “Really? Then what can you say about me?”
You asked, deciding to humour them.
???: “I can say that that you are a man that know what he wants and how you want them.” *Martini*
???: “You are an old soul, you probably know your liquor well. My guess you have a great library at home.” *Old fashioned*
???: “You are quite classy, and you can find a way to get drunk before noon.” *Red wine*
With that you give an amused chuckle.
George: “Well there is some truth to that statement.”
You take a look at the drink they self are nursing.
(Dark n Stormy)
(Humm...)
George: “If I were to do the same to you, I guess you have a sweet tooth and might have wanted to be a pirate at some point.”
At that comment the stranger began to laugh. It was the infectious kind of laugh that made someone warm form the bottom of their stomach.
???: “Alright you got me there.”
He/she then stuck out their hand.
(My name is..)
(Default name: Skyler)
George: “‘Skyler’ it is a pleasure to meet you.”
You said as you shook it.
You take in Skyler’s look. You had to admit that they were an attractive specimen of a man/woman.
George: “The name is George Bishop.”
Skyler: “George Bishop, how professional sounding.”
He/ she said as if they were tasting your name in their mouth.
George: “Well I do hope so, would be difficult to be an advisor if people believed I was a joker.”
Skyler: “Ah, so you are one of those people that look at you and stamp ‘rejected’ on every paper?”
George: “I believe that I am fair in my judgement.”
George: “How about yourself?”
At that their eyes fell.
Skyler: “Right now, I’m a 30 year old trying to figure out my next move.”
George: “How come?”
Skyler: “Lost my job due to relationship issues between my manager and her boyfriend. Apparently, me being friendly was mistaken for flirting.”
Skyler: “What, they want a grumpy Greeter at the door?”
George: “That is unprofessional.”
Skyler: “Yeah, well relationships are messy.”
George: “Agreed.”
Skyler: “I must say the way you handled that woman, it was surprising.”
Skyler said in a genuinely impressed voice.
George: “You were watching?”
Skyler: “Kind of hard not to, I’m surprised half the hotel didn’t hear her.”
George: “Someone had to show her she isn’t the Queen of Sheba.”
Skyler: “What are your thought on marriage?”
You shoot up a bit, a bit startled by the blunt question.
George: “My thoughts?”
Skyler: “You seem like a guy that know what he thinks. I want to pick that brain a bit.”
It had been a while since someone had so blatantly flirted with you. To be fair you were a bit surprised. Dating had often been a minefield for you.
George: “Marrige…”
- It’s an institution
- It’s a partnership
- It’s indescribable
George: “Historically it was a way to ensure land, money and heirlooms where added into a new household.” *Choice 1*
George: “It was also a safety for children back in the day, since basterds often faced quite a few challenges from being born out of wedlock.” *Choice 1*
George: “It is a symbol of trust, that you do have someone that you can count on.” *Choice 2*
George: “But at the end of the day, if you are unfair to that partner hey might not stay.” *Choice 2*
George: “To describe marriage is like trying to describe oceans and water. Even with similarities we can see, gathering it all in an explanation would probably not give a fair judgement.” *Choice 3*
Skyler: “To me it’s a promise. ‘To have and to hold’ it is silly in this day and age were people divorce left and right for trivial things.”
Skylers eyes became dark, falling into deep thoughts. You had never been the poetic kind, but there was a sweet sentiment in Skyler’s view on things. Your parents where still married over 30 years now. Your sister was due some time in December, your brother was off celebrating a two year dating anniversary and your paternal grandmother still loved her deceased husband dearly.
To you it just never happened, perhaps it wasn’t for you.
George: “That we can agree on, people are so afraid they will settle. At the first sign of trouble they leave.”
Skyler: “So that woman form before… how long do you think her marriage will last?”
George: “If she acts like she did tonight, I wonder if her husband will even stay for the ceremony.”
You looked at your new companion and in an unusual turn of events you called the bartender over.
George: “Can I buy you a drink?”
With that Skyler smiled, deciding to keep you company.
Sometime later you awake to the sound of your alarm clock.
You feel a splitting headache, you drag you hand over your face as you do you feel a cold metal band around your finger. Pulling back as your eyes focus you see that it is a plain sliver coloured band.
(is that?)
· Oh no…
Feeling more sober than ever before you realised just what a mess you got yourself into.
George: ‘I just got married in Vegas.’
Well, you’re screwed.
Kennedy and Heidi: Vicarious Patricide as Tony’s Decompensation
At the risk of needless redundancy, I think it’s helpful to summarize Tony’s state of mind going into the episode Kennedy and Heidi. His consciousness is teeming with ancient but recently-agitated memories showcasing his father’s violence and toxic influence, like Johnny shooting a hole through Livia’s hairdo and baptizing him in the act of murder. He’s unable to shake stories of parental neglect leading to tragic outcomes for children. He’s painfully aware of Christopher’s hatred of him and desire for murderous revenge, feelings ultimately rooted in the fact that Tony guided him into the same corrupt existence into which he himself had been led by Johnny, Junior, and company, suggesting a reciprocal, if unconscious, rage by Tony towards those men. His subconscious mind is under constant assault from hats and movie posters and coffee mugs bearing the image of a bloody meat cleaver, an emblem of his own lost childhood innocence and inculcation by his father into his brutal, ugly vocation. He is racked with acute but intense guilt over the role he thinks his life’s example has played in shaping his son’s values and poor sense of self-worth. And he is still repressing a mountain of hurt over the fact that his uncle and second father tried not once but twice to kill him, a repression Melfi warned would someday result in a total collapse of his defense mechanisms, that is, a collapse of his paternal hero-worship and related quest for the macho validation that has prevented him from critically examining his father, uncle, and the men upon whom he modeled his life.
Now consider the circumstances immediately before the crash. Tony and Chris are on a routine drive back from business in Christopher’s new black Cadillac SUV (the first Cadillac Chris has ever owned, incidentally.) The conversation turns to life priorities. Chris, conspicuously clad in a Cleaver hat, specifically mentions how Kaitlyn has changed his priorities, and Tony mentions the “shit with Junior”. So the context is immediately pregnant with the fact that Junior shot and nearly killed Tony within the past year and with the fact that Chris is in a new place of responsibility, a position where he is, for the first time, truly the custodian and trustee for another life.
In a perfectly-timed illustration of just how ill-equipped Chris is to live up to those responsibilities, he nervously and repeatedly fiddles with the car stereo, fidgets, and widens his eyes, telegraphing to Tony that he is high as a kite on drugs. “Comfortably Numb” swells on the sound system as Tony stares at him, the lyrics underscoring that, in that moment, he does not see Chris as a youngster, as the “adorable kid” he once road around in the basket of his bicycle, but as a grown man:
When I was a child I caught a fleeting glimpse Out of the corner of my eye I turned to look but it was gone I cannot put my finger on it now The child is grown, the dream is gone Chris swerves, and the crash happens seconds later.
Tony as the Child in the Carseat
It’s critical to note that Tony initially manifests every intention of helping Chris, even as he’s fighting his own injuries. “I’m comin’,” he says as Chris asks for help. His expression and demeanor only change when he realizes what Chris means by “help”. “I’ll never pass a drug test,” Chris moans. “What?” Tony asks incredulously as Chris is inhaling his own blood. Almost simultaneously, Tony turns towards the back and sees that a tree limb has penetrated the passenger compartment, lodging in Kaitlyn’s car seat like a spear. While Tony would somewhat exaggerate the size of the branch in later narrations of the event, there’s no question that it was large enough to have impaled or seriously injured an infant.
Even after this warning shot over the bow, Tony apparently intends to help Chris, coming over to the driver’s side and breaking the window when he couldn’t get the door open. He draws his cell phone to call for help but stops when Chris again mentions being doped up, which suggests that Chris is more concerned about the legal consequences of his intoxication than about the fact that he is drowning in his own blood, completely belying his claim to a life newly ordered around the lofty priority of fatherhood.
That’s the moment when Tony forms a genuine murderous intent, an intent that has little to do with Christopher’s animosity towards him or the danger that he might flip. Those are conscious, background motives that help Tony rationalize and make sense of his actions later. But the factor impelling him to end Christopher’s life is his own, fundamental identification with the child who might just as easily have been killed or seriously harmed in that carseat.
To objectify this point, there is a slow pan of the limb sticking through the seat as Tony performs the suffocation, clearly not a shot representing Tony’s vision or gaze at that moment but objectively corroborating the earlier angle when Tony glances back and we see the seat from his point of view. The juxtaposition of these shots – subjective and objective – tells me the carseat is not just a convenient excuse for Tony. This is what he’s really feeling. In this moment, he is the phantom child in that carseat, a child whose safety and well-being come second to his father’s corrupt values and reckless self-indulgence, a child whose soul and humanity are metaphorically impaled by riding in and being taught to drive his father’s black Cadillac.
The exclamation point on the symbolism is provided by Christopher’s hat. Incredibly, it remains on his head throughout the crash and suffocation, its bloody cleaver logo pointing towards Tony when the car comes to rest. As Tony acts consciously on behalf of an innocent child, the symbol of his own lost childhood innocence is directly before him. And, for good measure, the cap and logo stare back at him in the hospital from the gurney laden with Christopher’s bloody clothing and the black bag containing his dead body. (The logo antagonizes Tony a final time from his coffee mug the next morning before he angrily tosses the mug into his backyard woods.)
Several points about the suffocation itself are remarkable. First was the look of absolute depravity on Tony’s face as he watched Christopher struggle to breathe. This look was unlike any ever seen on Tony’s face at any other moment in the series. Even when committing other personal and deadly acts of violence, his face and demeanor had always betrayed a commensurate level of animus, an active, passionate intent. In contrast, he reached through the window and pinched Christopher’s nose – and maintained that hold – with remarkable calm. His face and eyes throughout the suffocation were paradoxically both incredibly intense and completely devoid of human emotion, a look far more disturbing than any look of mere rage he’d ever worn before.
Second, although this act was, in my judgment, clearly about the release of Tony’s pent up rage towards his father figures, the method of killing evokes Livia. Besides her conspiracy with Junior to kill Tony (which she rationalized was for his own good) and general obsession with stories of child deaths, she had once threatened to “smother [her children] with a pillow” to save them from a fate she deemed even worse. Tony grabbed a pillow intending to smother her in the season one finale before nursing home personnel intervened. In Members Only, Tony spoke of being smothered with a pillow as a suitable form of euthanasia. Its functional equivalent at the scene of the crash had a definite vibe of putting Chris out of his own – and everyone’s – misery. So, in killing his “father”, Tony was also paradoxically suffocating his “son”, thereby channeling Livia’s filicidal urges and concept of mercy killing.
The most spine-tingling resonance with the scene comes from two season four episodes where Tony’s deep identification with “innocents” – be they children or animals – once again comes to the fore, as does his appreciation for the consequences of Chris continuing to use drugs. In Whoever Did This, Tony warns Christopher that he “can’t be high on heroine and raise kids.” And in The Strong, Silent Type, after learning that a doped-up Chris accidentally smothered and suffocated Adriana’s dog, Tony ominously snaps, “You suffocated little Cossette? I oughta suffocate you, you prick!” It’s such perfect foreshadowing that the earlier episodes seem to have been written with the outcome of Kennedy and Heidi in mind.
Righteous Retribution as the Explanation for Tony’s Lack of Sorrow
As previously noted, the most troubling aspect of the episode from the standpoint of character consistency and plausibility was not the fact that Tony murdered Chris. It was his vacuous expression during the killing and the fact that he never betrayed a moment’s genuine sorrow or regret afterwards. He remained, in fact, defiantly happy and unconflicted about it, especially to Melfi, and was sincerely troubled that neither she nor anyone else could see how Christopher’s death rescued Kaitlyn from a lifetime of risks and harm that she would naturally suffer as the daughter of a drug addict (and mob captain).
In his therapy scenes with Melfi, real and dream, Tony even makes the very contrast I raise, noting that he’s never felt this way after murdering any other person close to him. He alludes to his sorrow over Pussy and specifically allows that murdering Tony B left him “prostate [sic] with grief.” In effect, Tony himself is revealing that this killing feels righteous and justified to him on an instinctive level and is therefore not one about which he can feel guilt or sorrow.
That sentiment makes no sense if his dominant motives were those he talked about in therapy: Christopher’s animosity and resentment towards him after the Adriana hit and his drug-use and consequent risk to flip. Whatever weight those factors carry in justifying murder in the corrupt “ethics” of the mob (which, in any case, is less than the weight of the transgressions by Pussy and Tony B), they carry absolutely no legitimate moral weight outside it and could not sustain in Tony the sense of just triumph that he felt in response to Christopher’s death. What could inspire that sense of triumph is the perceived liberation of a child from a dangerous and toxic father, experienced subconsciously as vicarious retribution for the abuse and harm he himself suffered at the hands of his own father and uncle.
Significance of the Names “Kennedy” and “Heidi”
“Kennedy” and “Heidi” are the names of the young passenger and driver, respectively, in the car that sideswipes Christopher’s SUV before the fateful crash. The girls are barely onscreen a few seconds, just long enough to (somewhat artificially) learn their names in the following exchange:
Kennedy: Maybe we should go back, Heidi! Heidi: Kennedy, I’m on my learner’s permit after dark! Much forum debate after the first airing of the episode centered around the significance, if any, of these names. I propose a related but even more basic question: why are the girls present in the scene at all?
Tony’s windfall opportunity to murder Chris and pass it off as death from accidental injury was entirely dependent upon being unobserved by others after the crash. Given Christopher’s intoxicated state and inattention to the curvy road while he fiddled with radio controls, a mere swerve and over-correction or swerve to avoid an animal (Tony’s crash with Adriana, anyone?) would have easily sufficed to trigger the accident but without the problematic involvement of another car, the driver of which would have to be made to flee the scene illegally and in contravention of the ethics and instincts of at least 95% of the motorists on the road. So the very fact that another car is involved, complicating both the story and the filming, suggests some symbolic or subtextual design to the involvement related specifically to the momentous event occurring right after the crash.
One aspect of that design is revealed and amplified when a grieving Kelly shows up at Christopher’s wake with dark hair framing her face and large, dark sunglasses covering her eyes. A member of the crew remarks, “Look at her. Like a movie star.” An odd look immediately crosses Tony’s face as he spontaneously responds, “Jackie Kennedy”, noting Kelly’s resemblance to the widow of John F. Kennedy.
In my mind, this striking moment in the episode can have only one purpose, and that’s to evoke Johnny Boy in relation to Christopher via a kind of symbolic math. If Kelly = Jackie Kennedy, then Chris = JFK = Johnny Boy since JFK was the explicit parallel figure for Johnny in In Camelot, the first episode of the series depicting cracks in the foundation of Tony’s paternal hero worship. When that foundation completely crumbles inside Tony’s subconscious a season and a half later, it’s entirely fitting that the JFK/Johnny parallel is renewed.
As for the name “Heidi”, most folks around these parts felt it was meant to evoke the idea of “orphan” because of the famous Swiss orphan tale of the same name and because Kaitlyn (and Paulie) both lost parents in the episode. That’s an entirely plausible analysis that requires no expansion, although I’m inclined to think there’s more to it than that, starting with the analogy of Tony himself to “Heidi”. No, Tony was never technically orphaned, though he arguably suffered more as the son of Johnny and Livia than if he had been. He was certainly deprived of real parental love and guidance, on both sides, and that roughly equates to the definition of “orphan”.
Before discussing this episode for the first time, I never knew that Heidi was the story of an orphan, only that it was some kind of tale for children. And I knew that only because of the epic 1968 football game between Joe Namath’s Jets and the Oakland Raiders, the climactic ending of which (an improbable comeback by the Raiders) was cut off abruptly for television viewers at the end of its scheduled broadcast slot so that a movie version of Heidi could begin airing on time. I was only four at the time of this debacle but recall my parents talking about it – and the considerable chaos it caused at NBC and at telephone switchboards around the country – for years afterwards.
http://en.wikipedia.org/wiki/Heidi_Game It wouldn’t become clear until the end of Made In America, but there’s an obvious parallel to the Heidi phenomenon in the wind-up of The Sopranos. Consider that, like the Heidi Game broadcast, Made in America featured an abrupt, unexpected termination of excruciatingly tense action at a penultimate moment, pre-empting audience experience of what appeared to be an imminent and momentous climax. The Sopranos ending may not have disabled an entire telephone network, but it certainly generated an enormous amount of controversy that, for better or worse, persists to this day.
Beyond that, there were enough other football references in the final Sopranos episodes, and especially Jets references, to warrant further consideration of this football connotation for “Heidi”. In Remember When, Tony’s betting losses on Jets football games prompt his call to Hesh for a bridge loan. Later that same episode, Paulie annoys Tony and company with yet another old tale, this one relating how, after witnessing Joe Namath stagger drunk into a bar the night before a game, he bet a load of cash the following day on the Jets’ opponent. In Chasing It, Tony gets inside information on a Jets football game and is irate when Carmela refuses to bet money on it. The episode features a closeup of a large newspaper headline, “Jets Bomb Chargers”.
In Blue Comet, then-current coach of the Jets, Eric Mangini, makes a cameo appearance in Vesuvio, with Artie informing a suitably-impressed Tony so the two can go over and shake hands. News articles at the time clarified that the cameo wasn’t Mangini’s idea but the idea of Sopranos producers, who contacted him months in advance and made accommodations in the shooting schedule around his availability. So this seemed more than a casual desire to have some generic celebrity show up.
That especially seems true considering Mangini was given no dialog and that his meeting with Tony and Artie was only depicted in the silent background of a conversation between Charmaine and Carmela. Mangini’s only purpose on set was apparently to show his face briefly and to have the fact of his identity (Tony has to tell a bewildered Carm that Mangini is the head coach of the Jets) permeate the minds of the audience and the subtext of the scene, which is ultimately about chickens coming home to roost on Tony and Carmela because of the lives they chose.
As alter egos for Tony and Carmela throughout the series, folks who took the proverbial “other path” in life, Artie and (especially) Charmaine engage in subtle gloating in the scene. Football coaching was firmly established as Tony’s “road not taken” in Test Dream, so having an actual football coach present in the episode where the unsavory and downright deadly consequences of his chosen vocation are crashing in all around him provides dramatic ballast. All the better to have the coach in the scene be the coach of the team involved in the Heidi game in view of the ending planned for the following episode.
And speaking again of that ending, the wall behind Tony in Holsten’s is consumed with four large murals specifically brought in by the production crew for the shoot. The largest and most centered depicts a huge, light-colored building with lots of windows, somewhat reminiscent of the Inn at the Oaks in Tony’s coma dream. It’s apparently a high school, however, as it is flanked on either side by images of football players in full uniform with what appear to be names and year of graduation engraved at the bottom. To the side and extreme left is a mural of a tiger and the caption “Class of 1973” at the bottom. The tiger is presumably the mascot for the team and school represented in the other murals. So there is a strong symbolic presence of “football” in the last scene of the series, particularly of high school football from roughly the era when Tony would have entered high school.
Finally, though it may be completely insignificant, when Tony tells Carm about the accident from his hospital stretcher in Kennedy and Heidi, he mentions that he re-injured his knee, “the one from high school.” That certainly sounds like a reference to an old high school football injury.
If these loose strands from multiple episodes are indeed intended to connote football in relation to the name “Heidi”, what does that actually mean in the context of the episode Kennedy and Heidi? What does football have to do with Tony killing Chris or, more precisely, with him killing his father in the guise of Chris?
The linchpin in that symbolism, it seems to me, is Tony’s old high school football coach, the guy who would have been his coach when he originally injured his knee, the guy Tony dreamt repeatedly of trying to silence or kill, the guy whose puzzling duality in Test Dream suddenly makes sense when he’s viewed as a classic, Freudian composite of opposites, specifically a composite of Tony’s opposing father figures with Johnny dressed in the physiognomy of Coach Molinaro by Tony’s subconscious in order to render acceptable imagery of his latent, patricidal feelings.
If you further allow, as I do, that the Johnny look-alike shooting at Tony with a scoped rifle (ala Oswald/”Kennedy”) in that same dream is yet another Freudian “reversal into the opposite” by Tony’s subconscious to disguise his repressed paternal rage, then the Kennedy/Heidi connection is pretty clear. The names are presented proximate to the crash to connote that, in killing Chris, Tony has finally acted out the Test Dream imagery that haunted him for years: he has (symbolically) killed his father, the “Kennedy” and “Heidi” of his dream.
“He’s Dead”
In my judgment, this explains Tony’s otherwise puzzling, peyote-induced insight when he proclaims, “He’s dead,” after winning at roulette on 3 successive spins, prompting him to fall to the floor in spectacular and uncontrollable laughter. What other, real death could have inspired such a euphoric and epiphanic reaction? What real death could Tony only have appreciated while in a drug-induced, altered state of consciousness?
Many felt the line referred to Christopher because he’d just died, obviously, and because Tony’s gambling luck suddenly changed afterward. That analysis never made sense to me.
First, Tony plays roulette at the casino while sober when he first arrives in Vegas and loses every round. Chris was already dead at that time, as Tony well knew and accepted. Indeed, Tony was never in any state of denial about Christopher’s death (or about having killed him.) He embraced it, both consciously and in his dream therapy session with Melfi after the crash.
The “he’s dead” insight occurs only after Tony takes peyote and notices a sudden and complete about-face in gambling luck. Why would he need psychedelic drugs to suddenly realize what he already knew and accepted about Chris? And why would Christopher’s death be tied in his mind to his own gambling luck anyway? No prior connection between those two things had ever been suggested.
On the other hand, Tony’s sudden escalation in gambling, which coincided with the agitation and intensification of his latent rage towards his father(s), could easily be seen as a subconscious rebellion against the stern, anti-gambling lecture Johnny imparted the night Tony witnessed the cleaver incident. To the extent that the rebellion results in huge financial losses and self destruction, it obviously fails. His father retains ultimate power and authority. To the extent the rebellion results in huge winnings, it succeeds, and Tony vanquishes his father.
That conquest was the ineffable and elusive “high” that Tony was subconsciously pursuing in Chasing It but which he could not articulate to Melfi. Thus the sudden change in gambling fortune on his Vegas trip is easily tied in Tony’s drug-altered psyche to a euphoric realization that he has conquered or symbolically killed his father, none of which Tony could appreciate without a vastly altered state of consciousness.
And that leads to why he went to Vegas in the first place. He asks that question out loud to the Vegas prostitute, Sonia, immediately before admitting that Christopher once mentioned taking peyote with her. Tony then confesses to having always wanted to try the drug.
Clearly, then, he didn’t just happen to pick Vegas and didn’t just happen to make contact with this girl. His subconscious was pushing him to that venue because he craved the enlightenment of a peyote experience. So while Tony’s real motives for the murder, and for his otherwise inexplicable jubilance afterward, were completely closed off to his conscious mind, somehow he sensed their existence and yearned to unlock and understand them. However his peyote revelations didn’t stop with simply understanding why he killed Chris.
“I Get It. I Get It!”
Tony’s desert epiphany is a bookend to his near-death coma experience and, I believe, can only be fully understood in relation to it. Yet exploring that relationship is a journey all unto itself, calling not only for consideration of the coma episodes and Kennedy and Heidi but the meaning of the cut to black that ends the series. While exploring the religious and spiritual underpinnings of those episodes is of even more weight and interest to me personally than the issue of Tony’s motives in killing Christopher, it deserves and demands its own, dedicated discussion. For now, I’d simply like to posit what I strongly believe Tony’s epiphany to have been with only minimal argumentation as to why I hold that belief.
The epiphany is presaged when Tony enters the casino on his peyote trip and notes that the roulette wheel is built on the same principle as the solar system. The ball spins round and round the center or “sun” of the wheel because of two delicately-balanced but largely opposing phenomena: the momentum of the ball (which, without the wheel, would carry the ball away in a straight line) and the centripetal force of the wheel (applied by the rim, which continuously pulls the ball towards the center even as the ball’s momentum continuously pulls it on a path perpendicular to the centripetal force.) The antagonism (or cooperation, if you prefer) of the forces gives rise to a unified system: an orbit.
If this sounds a bit like the Bell Labs scientist’s explanation of how two tornadoes are in fact just facets of one, unified system of wind, it’s likely no mere coincidence. As Hal Holbrook’s character argued, separateness is a mirage. The universe, and everything in it, is one big soup of molecules interacting in cause/effect fashion according to laws, making it one whole, not a bunch of discrete parts. “Everything is everything,” as the black rapper reduced it.
That was the philosophy that really made an impression on Tony in the days and weeks following his coma. The principles of quantum physics articulated by Holbrook’s character are likely as close as you can get to a scientific codification of Bhuddism and therefore reinforced much of what the Bhuddist monks conveyed to Tony in his coma. The monks laughed when Tony claimed he wasn’t Finnerty and explained that there really is no “you” and “me, that death would bring an obliteration of individuality. Separate consciousness – and the consciousness of separateness – is an illusion of the living.
So all this laid the philosophical groundwork for Tony’s Las Vegas trip. In that trip, Tony seeks out a girl with whom Chris had slept, then sleeps with her himself. He mentions having refrained from a longstanding desire to try peyote because he always felt the weight of his responsibilities, an implied contrast to Christopher, who always indulged in drugs despite his responsibilities. The idea that Tony was seeking to almost live life in Christopher’s skin in the Las Vegas portion of the episode was something several posters mentioned in first discussions after Kennedy and Heidi aired. Even the girl, Sonia, remarks how similar Tony and Chris are, a somewhat dubious observation that somehow offends Tony but which also helps define his impending epiphany.
That epiphany is spurred when the rising sun flares at him over the desert mountain vista. This recalls Tony’s earlier comparison of the roulette wheel to the solar system. It also resonates completely with the fact that Kevin Finnerty was a solar heating salesman from Kingman, Arizona, a town which, not coincidentally, lies 95 miles southeast of Las Vegas and shares the same desert landscape. Also not coincidental, IMO, is the fact that in the prior episode, Christopher spoke of the perks of joining witness protection and of “living large” in Arizona.
So I believe that, in that desert sunrise on the cusp of Arizona, in fulfillment of his identity as Kevin Finnerty, solar heating salesman, Tony saw his “son” – Christopher – “rise” and realized that, in murdering him days before, he (Tony) was really “rising” as a “son” against Johnny Boy. And in that linkage, he suddenly realized that “everything is [indeed] everything.” He is both Chris and Johnny Boy, both abused and misguided son and abusing, misguiding father. He is murdering uncle and would-be murdered nephew. He is both the mother that sees suffocation as mercy killing and the son who is suffocated. Christopher is both his son and his father. Johnny Boy is Coach Molinaro. “Kennedy” is “Heidi”. Opposites are really two sides of the same coin. In that fleeting moment of insight, Tony was truly feeling “one” with the universe.
The Second Coming
The episode following Kennedy and Heidi is titled The Second Coming after the Yeats poem that grips AJ in the English lit class he’s auditing. While the poem speaks to the bleakness of his depression and outlook on life at that particular time, there’s little doubt that – like everything of substantial weight in the Sopranos universe – it ultimately relates, first and foremost, to Tony. First referenced in the Cold Cuts therapy session dealing with pent-up rage where Tony’s deep shame from the cleaver incident is finally revealed, the poem seems the veritable inspiration for the storyline (as interpreted in this article) that culminates in Christopher’s murder:
The Second Coming By William Butler Yeats Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight; somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born? The widening gyre, the orbit that breaks down when the center can no longer hold, is clearly a parallel to the decompensation of which Melfi warned, the point at which Tony’s defenses after Junior’s second murder attempt could no longer hold and the underlying pathological rage at his fathers would take over. True to the poem, a “blood-dimmed tide was loosed”, inspired by a perverse compassion for the “innocent”. While “the best” all mourned Christopher and thought his death a tragedy, Tony, “the worst”, was full of passionate intensity and could not understand why no one else saw the greater good in Christopher’s death.
The “revelation” occurs in a “waste of desert sand”, imagery easily compatible with Tony’s “I get it” moment in the Nevada/Arizona desert. The uniquely depraved look on his face as he suffocated Christopher is evoked by the line describing a “gaze as blank and pitiless as the sun”. “Twenty years of stony sleep” refers to the decades of denial Tony maintained, the defense mechanisms that kept him all his life from confronting and admitting that, in some very real ways, he hated his father. It’s a figurative sleep that was suggested literally in the noted fact that so many episodes in season 6B started with Tony in a deep sleep. Somnolence was suggested even in the choice of the song “Comfortably Numb” as soundtrack in the moments immediately preceding the crash, the moments right before the hour of the “rough beast” finally arrived. Even the incidentals are perfect allusions, as with the image of “stony sleep” being turned into a nightmare by a “rocking cradle”, or, in this case, by a car seat with a branch sticking through it.
I’m intrigued by the line describing the emerging beast as having “lion body”. It may mean absolutely nothing. But among the story points worth considering in relation to it are the tiger on the wall in Holsten’s and the enigmatic cat in Made In America.
More obscure is the fact that in Remember When, the single episode most explicitly dealing with the violent release of stifled paternal rage, Carter Chong described his grandfather as a “lion” and noted that his father owned “Grumman” stock. (Grumman manufactured a number of high-profile fighter military aircraft, most of them named for some kind of cat, e.g., Panther, Jaguar, Tomcat, Tigercat.) Carter was reviewing these facts to himself in the scene immediately preceding his vicious attack on Junior, suggesting that, in acting out on his stifled paternal hatred, he was adopting the predatory, aggressive characteristics of a wild cat. Notably, when Junior, the paternal surrogate who modeled this kind of aggressive behavior to Carter, was seen at the end of that episode bruised and literally defanged, his sunken mouth void of false teeth, he was stroking a harmless little housecat on his lap. Once a lion, the former mob boss was a lion no more.
Asbestos Dumping as a Metaphor for Tony’s Toxic Spill of Rage
Kennedy and Heidi opens with a controversy between Tony and Phil Leotardo over asbestos disposal. One of Tony’s contractors was removing asbestos from old buildings, while following none of the strict (and expensive) asbestos-handling laws regulating worker and public safety, and was seeking to dump completely uncontained truck-fulls at waste stations controlled by Phil. Phil’s guys were denying the trucks the right to dump. As a consequence, huge, openly-smoking asbestos mounds were building up at job sites.
After Christopher’s death, Tony was doing little to find a solution, skipping town to gamble, get laid, and get high and leaving the contractor high and dry. Finally, near the very end of the episode, the contractor dumps heaps of asbestos at dawn in an open marsh area resembling the New Jersey Meadowlands.
Asbestos is a naturally occurring mineral that gained widespread use in the 19th and 20th centuries as an ingredient in various building industry materials – including wall compounds, insulation, and roofing materials – primarily because of its extreme insulative properties and resistance to heat and fire. In the last 40 years, it’s become better-known for its cancer-causing and toxic effects on those mining and working with it in manufacturing, demolition/remodeling, or other “raw” environments.
Both the heat resistance and toxicity of asbestos make the shoddy removal/dumping storyline a compelling metaphor for Tony’s equally shoddy “dumping” in Kennedy and Heidi. The smoldering heat and flames from his hatred towards his father and uncle were contained beneath his consciousness by an insulating firewall of denial and repression. In essence, this denial and repression was Tony’s psychological asbestos, and it (more or less) contained the heat and fire within him for 47 years.
But it finally broke down, allowing the flames to rage and do damage and necessitating a messy disposal. Unfortunately the breakdown didn’t happen where it should have, in his therapist’s office as the result of honest introspection and dialog about little things like his uncle trying to kill him twice and his father indoctrinating him to murder at 22. That would have been the equivalent of careful, legally-compliant asbestos removal. Instead the breakdown occurred in a roadside ravine and the resulting “waste [in the] desert sand” was every bit as toxic as the smoking piles illegally dumped in the Meadowlands immediately before the desert epiphany and which we saw reprised in the very first shot of the following episode.
Think about that for a moment. Tony’s “I get it” moment was literally sandwiched between shots of noxious mounds of asbestos blowing in the New Jersey wind, a significant clue that some other kind of perversely cathartic disposal was in the middle of that sandwich.
The Orbit of the ‘Blue Comet’: Long Journey to Nowhere
It’s fair to ask: if the broad strokes of my interpretation are valid, what impact did the epiphany have on Tony going forward? After the drugs wore off, did he actually retain any specific understanding of his subconscious motives for killing Chris? Was he left only with the impression that he had enjoyed a very brief moment of enlightenment but without intellectual distillation of the enlightenment itself?
Because the insight was founded upon the secret that he had murdered Chris, even if Tony had retained it, he couldn’t overtly share it with anyone. Still, I lean toward the interpretation that the specifics (at least the ones I proffered) were lost to him when the altered state of consciousness ceased. When he tried to describe the magic of what he experienced in the desert to his crew, he could only come up with the most mundane, inadequate words: “The sun . . . came up.” They all looked at him like he was half retarded.
He was slightly more specific with Melfi, offering that he saw “for pretty certain” that this reality is not all there is. He couldn’t define the alternative but was still convinced there was “something else”.
He did speak in therapy of appreciating a balance and unity in opposites that he hadn’t appreciated before, a “ying” [sic] and “yang”. And he offered that “mothers are like buses . . . the vehicle that gets us here,” but that, once here, we are all on our own, individual journeys (mothers included.) So, to the extent his epiphany comported with what he revealed in therapy, it seems to have had little to do with fathers and with Christopher’s murder and more to do with letting go (finally) of some of his issues with his mother.
But perhaps the best clue to his residual state of understanding came when he indicated that some of what he thought he had grasped in the desert now eluded him. “You think you know, you think you learn something . . . like when I got shot,” he begins. Then, speaking specifically about the peyote experience, he reports that the insight gained is “kinda hard to describe. . . . You know, you have these thoughts, and you almost grab it . . . and then . . . ftt.” He flicks his fingers away from his chin as if to indicate “nothing”. So, to paraphrase Edna St. Vincent Millay, a fragment of what he knew remains, but, apparently, the best is lost.
It wouldn’t take long for all of it to be lost. By the time Tony sits with AJ’s female therapist in Made In America, “going about in pity” for himself because of who his mother was, he has come full circle, essentially back to where he was to start the series. Like a “blue comet”, his orbit was highly elliptical, if not erratic, and carried with it the potential of veering off into deep space or crashing into the sun. But despite killing his own nephew, having a near-death experience himself, and saving his son from an act of suicide, the orbit held. The sober breakthrough never came. The repudiation of his father and of his way of life never took hold in his consciousness. And so, by series’ end, we, like Tony, were exhausted from a long journey that ultimately took us nowhere.
Part 1 Part 2 Part 3 Part 4 Part 5 Now, let’s start with the basic information we got about the looseness of slots in regard to the geographical location. As we’ve discovered, the best places around Las Vegas to play slots are: The Boulder Area — casino win percentage: 5.78%; North Las Vegas — casino win percentage: 6.71%; Downtown — casino win percentage: 7.78% Wouldn’t it be great to know the loosest slots in any Las Vegas casino? Well, you can, and it’s easier than you might think. A “loose” slot, of course, refers to a machine that pays out frequently and in large quantities, every player’s dream. Fitzgerald’s Casino and Hotel has established a favorable reputation for offering the loosest slots in downtown Las Vegas. Ranked regularly, the machines in Fitzgerald’s that are given the best paybacks include reel, penny, and progressive slots. Slot machines are incredibly entertaining, easy, and a great reason to visit a Las Vegas casino. Reviews on Loose Slots in Las Vegas, NV, United States - The Cosmopolitan of Las Vegas, Sam's Town Hotel & Gambling Hall, South Point Hotel, Casino & Spa, The Venetian Las Vegas, El Cortez Hotel & Casino, Emerald Island Casino, Wynn Las Vegas, Ellis Island Hotel, Casino & Brewery, M Resort Spa Casino, Circa Resort & Casino As evidenced above, the best places around Las Vegas to play slots are the Boulder Area (6.10% casino win percentage) and North Las Vegas (7.24% win percentage). In an abnormal twist, slots were slightly tighter in 2020 downtown (8.24% win percentage) than on the Strip (7.95% win percentage). Keep reading for the seven best off-Strip casinos to play loose slots in Las Vegas. 1 – Palms Casino Resort. The best slot machine selection in Las Vegas can be found at the Palms Casino Resort, home to more than 1,500 machines which combine for an average payback rate of 93.42%. Las Vegas reigns supreme when it comes to the slots. The city’s epicenter shifted from Downtown to present-day Las Vegas Boulevard, and the Strip is home to over 30 casino resorts. If your main focus is finding the best places on the Strip to play slots, this page is for you. El Cortez slots are more than 40% looser than the average on the Las Vegas Strip, which is why it is favorite for many players who wish to get some money and enjoy while playing. One player even hit the jackpot of one million dollars, which made him a millionaire in record time. There are also various promotions that enable the player to get additional points for playing. So which casino has the loosest slots in Vegas? Before we provide you with a list of the best casinos for slots in Las Vegas, we would like to clarify a few things. A loose slot in one casino can be programmed at a payback of 99%, while the same slot in another casino will be programmed at 90% payback.
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