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luverofralts · 3 years

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Post Arkhelios

“Roman! Roman wake up! Roman!”

Malika held her eldest grandchild in her arms, gently trying to shake him into consciousness. He wasn’t responding.

“Mom? What’s going-”

Adam stopped mid sentence, frozen at the scene before him. He hadn’t known what to expect when he got a desperate call from his mother telling him to bring an ambulance to Factory Park, only that whatever it was, it was bad enough that his mother would actually call him.

“How did this happen? When did you find him? Is he breathing?”

Adam knelt on the ground and gently removed his nephew from his mother’s arms. He lay Roman down on the ground again, noting the significant amount of blood that was already soaking into the stone. Probing around the obvious injury to Roman’s chest, Adam tried to quickly assess the rest of the damage. There was too much blood to accurately tell, but it was his initial assessment that Roman had suffered at least one gun shot wound.

Malika wailed as he worked to find a pulse. It was unbearable to watch. She had seen crime scene photos from Abraham’s death, as Salem had “accidentally” taken the case file home from work and “forgotten” it on the table. This scene was eerily similar to that one. It very much looked like the person who shot Abraham was the same person who shot Roman.

On top of everything, the sky opened up and it started to hail.

“Get the umbrella from the ambulance and hold it over Roman,” Adam ordered. “The last thing I need is him taking more damage from ice.”

Malika did as commanded, and tried to summon her usual projection of grace and calmness. It was no use. Not when her son was doing frantic chest compressions on her grandson.

“Dial Thea’s number,” Adam ordered. “I need anyone we can spare down here.”

Malika called in the volunteer medics, and was relieved to hear sirens wailing in the distance mere moments after she hung up. She and Salem were going to have a long talk later about city council needing to hire more staff. If her grandson died because Wanda had wanted to spend less money in the budget, there were going to be consequences.

The sirens attracted interest as the medics arrived. Everyone was on edge already with the high death rate Arkhelios had developed, and everyone just had to know who had been next to die.

Malika shielded her eyes as bright camera lights flashed in the distance. Reporters were exiting vans and setting up cameras to capture the last moments of her grandson.

“Take over for me, Mom,” Adam commanded. “I need to grab some things from the ambulance and I can’t wait for help to get here.” He placed her thin, perfectly manicured hands on Roman’s chest and showed her how to push. Malika’s first reaction was to pull away, but Adam held her hands firmly against Roman. With a quick kiss on her head, he sprinted to the ambulance. “I think we got here just in time. We may be able to save him.”

Malika pushed as instructed, as Roman’s blood soaked through her coat sleeves. Roman’s blood was quite literally on her hands.

It had been a relatively quiet night at the Helios household. Lucy had been trying to learn a musical scale for school, while the boys all watched TV in the living room. Her piano practice came to a sudden end though when she heard Abe screaming.

Lucy ran as fast as she could through the halls. The TV was still on, flashing the words “breaking news” across the screen. Lucy watched in horror as the screen showed medics arriving to take over chest compressions from an inconsolable Malika.

“Is that Roman?” she managed to finally ask. “That can’t be Roman, it’s a mistake.”

The camera zoomed closer to Roman’s face as he was placed on a stretcher and then disappeared into an ambulance. His face was pale and bloody, and was far too limp for him to be alive. Nathan and Nickolas had gone silent watching the screen, looking like they were on the verge of tears. Lucy couldn’t even process what she’d seen. As much as she teased Roman, she hadn’t really thought that something this bad would happen to him. Him and Abe running away from Arkhelios was just a back up plan, one they’d never need. Now it looked like they’d been too late.

She looked at Abe, who was looking incredibly pale. He was clutching his stomach, his face tight with pain.

“I-I think I need a doctor,” he stammered. “I don’t feel so good.”

The boys ran to get their mothers, while Lucy stayed with Abe, holding his hand tightly.

The hospital in Arkhelios was very small and not very well funded. They had a small population, and prior to Abraham’s death, very few people were seriously ill or died. Elaine called for an ambulance, only to find that Arkhelios’ single ambulance was already occupied by Roman. She looked out her window and saw that the roads were completely empty, save for some people who parked regularly on the street. Everyone outside seemed to be congregating at the park crime scene, looking for answers.

“Fine. I’ll drive there myself.”

Elaine was about to hang up when she heard a familiar voice start issuing commands in the background. The ambulance was clearly available now as Malika was ordering around hospital staff like she owned the place.

“Adam! You go answer that call while I call your father. I’m sure he’s already heard about this and is worried sick.”

“I’m not leaving Roman. There is absolutely no way I’m going anywhere until he’s stable.”

Elaine was suddenly very glad that she hadn’t hung up so quickly. Roman might still pull through this.

“You are too close to this to help anyway. No one is letting you operate on your nephew. You go help that Helios boy, or Roman may never forgive you for it.”

Adam was still protesting in the background, but Elaine’s blood had suddenly seemed to stop pumping. Her entire body felt cold.

How did she know it was Abe who needed the ambulance? The office staff hadn’t once used Abe’s name. Maybe she overheard something when the hospital had radioed the ambulance for it’s status?

“Hey! Hey!” Elaine shouted into the phone, catching the attention of the hospital staff who like Elaine had been watching the chaos of the Bellamy family unfold. “Cancel that ambulance, we’re staying here. Send anyone unrelated to the Bellamys here instead. Completely unrelated to them or I’ll be suing you into bankruptcy.”

Ironman had some...history with pregnancy, and happened to have several medical subroutines installed in his operating system. He claimed that Abraham had installed them himself so Ironman could assist him with his work, but Elaine wanted no knowledge of whatever her father had been doing. The less she knew about her father’s experiments, the happier she was, considering that she was now living in the same house as where her father would have been doing those experiments. She settled the younger kids down with a movie while Lucy watched Ironman preform diagnostic scans of Abe and compute data.

“It’s just stress,” he finally diagnosed. “There’s nothing wrong with you or the baby. If you can stay calm and get some rest, I think you’ll be fine.”

True to Elaine’s demands, a medic soon arrived at the front door, and took over for Ironman. Thea Davis was the best the hospital could provide without too strong a connection to the Bellamys. She was strangely very close to Roman, but seeing as Abe trusted Roman, the hospital felt that they were within Elaine’s accepted parameters. When Thea confirmed Ironman’s diagnosis, the entire household began to relax. She gave Abe something to help him sleep (after Ironman had scanned it thoroughly) and Elaine helped him climb into bed.

She watched Abe fall asleep, standing on guard in case of another potential attack that night. What new scheme had they very narrowly dodged today?

Her mind was racing, but was also exhausted from the constant stress. How had Malika known that Abe was in distress? Why was it so important to her that Adam be the one to tend to Abe? Who was recreating Abraham’s death with Roman Bellamy and why?

Elaine sighed, confident that Abe was sound asleep and currently not in any danger. She had Ironman bring in one of the reclining chairs from downstairs, and set up her vigil by Abe’s side for the night. There was no way she was getting any sleep that night. The pictures on Abe’s desk stared at her, making her uncomfortable enough to want to place them face down. She always knew that Roman Bellamy was trouble, and she had been over the moon when he had been sent away. If only that had been the end of Abe’s romance with him. This whole situation was far gone from just disapproving families and teen pregnancy now, but Elaine had no measure for how crazy things had gotten. How much worse could it get? The Bellamys were desperate to get to her son, that much was clear.

There was one question sticking in her mind that Elaine couldn’t bring herself to answer. Had the Bellamys simply attempted to use Roman’s unrelated shooting to get close to Abe...or did they orchestrate the entire situation including the shooting to get Abe worked up and in the same hospital they would be in with Roman?

#ts2 #sims 2 #arkhelios #post arkhelios #sims 2 pictures #Roman Bellamy #Abe Chun #elaine helios #tw: blood

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funkymbtifiction · 7 years

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QuickTypes: Assassins (musical)

UNOFFICIAL TYPING BY: ancientseaofnightandstars

**Note: these typings are for the characters as presented in the musical only, and are not intended to be a reflection on the real people**

**Also, SPOILERS, in a way. It’s history, and so pretty much foregone conclusions, but the ways of getting there could be considered unique to the show.**

John Wilkes Booth [ESTP]

Before his death, Booth’s expensive lifestyle was noted by the Balladeer– his “rings and fancy silks”. He got David Herold to help him take down his diary entry through intimidation, and was quick to take what chance he could to defend himself and his actions. After his death, in the plot of the show, he often pushes his fellow assassins to action, even just to make something happen, (encouraging Zangara to try to kill FDR, trying to provoke Czolgosz to break the bottle, pushing Lee to shoot Kennedy). He’s very aware of everything going on and the opportunities he has to apply said pressure, and can often be reckless with it (Se). When trying to convince people to do things, (the Balladeer, Lee, etc.), Booth’s first tact is usually to appeal to emotions, (in contrast to the Balladeer’s Te logic). He often displays a group mentality and has plenty of superficial charm to win people to his side (Fe). However, if that doesn’t work quickly, Booth’s charm breaks down, revealing a blunt and calculating mind, with highly personalized logic (Ti). During his flashback, we see him caught in the grip of inferior Ni, fearfully, mournfully, and incorrectly seeing only one possible outcome for the country in the wake of the Civil War. (Plenty of low Fe in this scene as well, out of control and mourning in the wake of the war, spurring him to reckless action.) In most of the rest of the show, his inferior Ni is better developed, giving him a vision into the future and the social impact all the assassins have in it.

Charles Guiteau [ENFJ]

Guiteau has an extremely cheery demeanor, and exudes warmth. He says how he feels, though sometimes the emotion is forced, such as in the flashback to his execution. He enjoys attention and is very focused on the people around him. He wants others to be impressed with him and often looks for their approval (Fe). Guiteau believes that God has a purpose for his life, and often hints that it’s his goal to become President. He tends to see a metaphorical vision of something before he sees the thing for itself, (the office of president is representative of the endless possibilities of life, execution is “going to the Lordy”, etc.) He has confidence in his own impressions of what the future will hold (Ni). Guiteau likes niceties, wine lists– the finer things. He’s also quick to jump on opportunities in his environment, (approaching Garfield, trying to steal a kiss from Sara Jane Moore), though they’re not his focus (Se). Guiteau’s inferior Ti isn’t well-developed in the show, as he often doesn’t see the logical flaws in his own attempts to move closer to his goals. However, he can occasionally sum things up in logical, rather than emotional, fashion. (“I think you should get another job.”)

Leon Czolgosz [INFP]

Czolgosz has a lot of emotion inside, but isn’t highly expressive of it. He loves Emma Goldman, but when pressed about it, it’s either a quiet, simple “I am in love with you” or a way for him to show his love through action, (protecting her, following her on her tour, walking her to the station and carrying her bag). His motivation to kill McKinley comes from identification with the plight of the poor (Fi). Czolgosz adopts Emma’s view of the world quickly, making it his own. In killing McKinley, he hopes to make a philosophical statement about the oppression of the poor (Ne). Overall, Czolgosz sees his life through his personal experience, but filtered through his adopted philosophy (Ne-Si). His act of killing McKinley at the Exposition is decisive and simple, with the aforementioned goal of making a nationwide statement (Ne-Te).

Giuseppe Zangara [ISTJ]

Over his life, Zangara has developed a personal mythology about the world based solely on his subjective experiences– the smart and the rich rode by him without a glance, and now he has this pain in his stomach, and so the pain must be caused by those who have wronged him (Si). He’s practical in his assassination attempt, (avoiding the cold, and so changing from Hoover to FDR, etc.), and is often very blunt and brash in communication (Te). Zangara is adamant about his American identity, refusing to be seen as something he’s not. In the end, he doesn’t care who he kills, so long as his victim is one of the “kings”– the oppressors (Fi). His fears come from irrational thoughts of conspiracies and connections, but at times he is capable of intensely poetic and metaphorical language, such as when speaking in Italian to convince Lee (inferior Ne).

Samuel Byck [ESFJ]

Sam is constantly sharing his emotions, positive or negative. He’s quick to assure Leonard Bernstein of his great talent, his wonderful music. He loves the warmth of love songs, the joy they bring. He’s also quick to shout at “Lenny” for ignoring him, or yell at Nixon that he feels betrayed by him (Fe). Sam’s primary concern is the immediate reality around him, or his impression of it. He feels betrayed by Nixon because he voted for him. He talks often of the way things are compared to how they were (Si). Sam’s primary concern is concrete reality, but when he does venture into metaphors, they’re remarkably profound and apt, (likening warring political parties to warring parents, and the public to a scared child). He’s not afraid to delve into theory or consider the bigger picture (Ne). He has trouble extricating his strong emotions from his analysis of events, but does feel the need to explain his case for posterity (inferior Ti).

Lynette “Squeaky” Fromme [ESFP]

Lynette is quick to act, and stresses the need for tangible evidence of love and relationships, (dismissing John Hinckley Jr.’s love for Jodie Foster because he’s never kissed or had sex with her). Her ideas of how to prove her love to Charles Manson are all intensely physical (Se). All of Lynette’s decisions are based in her love for “Charlie”, and she doesn’t care what anyone else thinks of it (Fi). She doesn’t get angry easily, but if someone crosses her personal line in the sand, (insulting Charlie), her emotions come out in reckless action (Se-Fi). Her analysis of situations is usually very blunt and matter-of-fact, remarking on the logic or lack thereof (Se-Te). All of her displayed sense of metaphor and theory is taken nearly verbatim from Charles Manson, adopted by Lynette with no further speculation (inferior Ni).

Sara Jane Moore [ESTJ]

Sara Jane is very matter-of-fact and blunt, and doesn’t tend to look past what’s in front of her (Te). She often relates events and facts to her past, and is fairly grounded in the sensory world (Si). However, her memories can be scattered, and she’s prone to jumping topics frequently in conversation (Ne). Her inferior Fi isn’t well-developed, however it’s hinted at in “Another National Anthem”, when she mentions trying to kill Ford so that she’d “know where she was coming from”, or have a sense of identity and beliefs.

John Hinckley Jr. [ISFJ]

John focuses on tangible ways to win Jodie Foster’s affections, (visiting her dorm, calling her up, etc.), but when that fails, he builds up his own personal mythology of what’s going on, based on his subjective impressions. When planning to assassinate Reagan, he studies up on Lee Harvey Oswald (Si). John is shy, but still fairly open about his emotions, good or bad. He desperately wants validation from Jodie, (Fe). His logic is very subjective and personal, (if he kills the President, he’ll be of equal standing with Jodie, and she’ll pay attention to him), but isn’t very well-developed (Ti). John expresses his love creatively through music, and dabbles in metaphor in his songs (Ne).

Lee Harvey Oswald [ISTJ]

Lee is very grounded, expects what’s happened before to happen again, (assuming Booth was with the FBI), and doesn’t jump on the philosophy train with Booth very easily (Si). He’s very up-front about what he thinks, wants practical instruction, and is based in observable logic (Te). (“Up here on the sixth floor, what would I do? Throw schoolbooks at him?”) His inner feelings of identity are fractured, which is partly how the assassins get to him– giving him an identity within a grander mythos (Si-Fi). Lee is fairly literal-minded and shows fear of future possibilities (inferior Ne).

The Balladeer [ISTJ]

The Balladeer often stresses the grander scope of history in analyzing the crimes of the assassins, and uses his knowledge of this to deem the assassins unsuccessful. (“Listen to the stories, hear it in the songs– angry men don’t write the rules and guns don’t right the wrongs…”) He’s internalized the traditional beliefs of America, (that any person can succeed if they try hard enough), and expresses that firmly in his songs. He emphasizes this, his own view of history, over the viewpoints of the assassins, because it’s what he himself knows and deems right (Si). His criticism of the assassins is often unsympathetic and matter-of fact, not allowing for much justification and simply declaring them wrong or crazy, (Te-Fi). However, he does take the time to explain the perspective of each assassin, even if this doesn’t change his moral judgment (Ne).

Note: These are based on the original off-Broadway show, which is why the Balladeer and Lee Harvey Oswald are mentioned separately. Later shows may have changed certain things that render pieces of this invalid, and certain actors may add different touches. Also, pretty much all of these people are very unhealthy examples of the types, with perhaps the exception of the Balladeer.

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