#Frank Colletti | Explore Tumblr Posts and Blogs

wander-over-the-words · 1 year

Text

The Killer and the Saviour

Summary: “Both hands on the wheel, Tom,” Sam says softly, and Tommy wants to say Sam doesn’t have to remind him, but he’s honestly not sure of that.

Characters: Tommy Angelo, Sam Trapani; mentions of Johnny, the Priest, Don Salieri, Paulie Lombardo, Vincenzo Ricci, Ralph, Frank Colletti, Sarah Marino.

Pairing: Tommy Angelo/Sam Trapani.

Warnings: near-death experience, character in shock; mentions of firearm usage, blood, canon character death, rape, vomit, period-typical homophobia, sex.

Notes: Takes place during The Saint and the Sinner. I’ve had a certain scene from this fic in my head for ages, and I guess my brain decided that we’re gonna crank out a one-shot based on it in the span of a couple hours, so…here’s this lmao.

All material belongs to Hangar 13.

Fic available on AO3.

…

The police sirens have faded, they’re in the clear, and yet Tommy’s heart is still beating hard in his chest. Has been since he’d faced the barrel of a gun, watched Johnny step out of the shadows when the priest had distracted him, looked eye-to-eye with the killer in his would-be murderer’s hand - and then jumped out of his skin when a shot went off and Johnny had lurched with the familiar look of a gun’s new victim, blood spraying from his head.

Sam had come marching up the aisle, looking plenty pissed, arm extended, killer-turned-saviour in his own hand (but it isn’t the gun that Tommy will thank later); Tommy adores Sam - loves him, has for years now, feels like he always has - but he has never been happier to see his partner than that moment. If shock hadn’t rattled him, if a priest hadn’t been present, if there wasn’t still work to do, if the fucking cops weren’t waiting outside for them, Tommy thinks he would’ve collapsed in Sam’s arms.

Classy fucker that Sam is, in the presence of a witness and with time running out, he’d turned to Tom and asked if that made them even.

“Sure. For now,” Tommy had said, some weak, numb snark that hadn’t sounded like snark at all. Out of body experience.

He’s got to hand it to the police for once: they’d provided a fine distraction from his fear of what had just happened, giving him something else to focus on. Admittedly, there’d still been that fear for his own safety, but that just comes with the territory; mostly, he focused on getting Sam out alive, and not just out of thanks for the recent save. It was better for him to focus on someone else in a moment like that.

The hearse makes for a silly escape vehicle - potentially disrespectful, now that Tommy thinks about it - but like Sam had said, “It’s got wheels, don’t it?!” and so it works for ‘em.

On the way to it, Tommy had doubled over to make himself a smaller target for the cops, hand pressed to Sam’s back to force him into the same position (as if Sam needed telling), and he’d fired shots at the boys in blue across the road, the ones who could potentially shoot through the window and take Sam out while he was clambering into the passenger’s seat. Tommy had been so focused on doing that, that he hadn’t thought to climb into the hearse himself until he heard Sam shouting his name and felt a tug at his coat.

It takes longer than he’d like to lose the cops, but they do it, and the distraction is gone, and the gun is back in Tommy’s mind’s eye.

Christ knows, this job is dangerous - fuck, just earlier he’d been in a shootout in a gentlemen’s club and had to jump from its window to the next building’s rooftop before he got caught up in the blast of the bomb he’d planted - but he doesn’t think he’s ever come that close to biting it before (at least, that he’s aware of).

And not just that - it’s not just how close he’d come to dying, but it’s…he’d stared his killer in the eye. Not the fucker holding the gun who’d thought he’d be doing some divine retribution, but the gun itself. Looked down at it the moment before Sam had turned up. It’d stared at him and he’d stared at it, right in its single, black eye.

And - fuck, fuck, fuck, it’s not just that either, it’s…

…He would’ve been alone.

On his other jobs, the ones just as dangerous as this, he was with someone, so if he kicked the bucket, at least he would die with the comfort that somebody he cared for was there. He doesn’t fault Sam in the slightest for not being with him in the church until the moment that he was - the situation was out of both their hands - and he doesn’t doubt that the priest would’ve have fallen to his knees and prayed for Tommy’s soul, just as he’d done for Johnny’s, but -

He would’ve been alone. Nobody who actually knew him and cared about him would’ve been there. Not his mama or his siblings, not Paulie, Vinny, Ralph, the boss, Frank, Sarah, Sam - they wouldn’t have been there for him in his last moments. Just some fucking rape-happy punk and a priest who cared only because God told him to - he would’ve been alone.

And that scares him more than anything. More than even the black eye of that gun.

If they weren’t in a hurry to get home (the cops are gone, but a hearse still kinda sticks out), Tommy would pull over so he could vomit into a drain. For now, he makes do with clenching his jaw shut and wiping a hand down the lower half of his face whenever he gets a chance and ignoring the way his stomach churns.

It’s quiet between he and Sam save for some conversation about recent events that Tommy has to wrench out from between his gritted teeth. He thinks he does well at sounding more casual than his mood will properly allow.

Still, though - his ears allow him to hear the rumbling of the car and the public outside his window and Sam, but his eyes still hold the gun’s. He sees it when he blinks. He sees it in the windows and the alleyways that they pass, in the mirrors of the hearse.

His heart won’t stop hitting his ribs. His blood is still cold yet electrified. His limbs still feel numb, even as he drives as smoothly as he ever does. Robotic.

Later, when they’re alone and away from prying, prejudiced eyes (fuck), he’ll be able to kiss the hell out of Sam like he wants to, the classic ‘thank fuck we’re alive to do this’ kind of kiss that they’ve had before, and indulge in ‘thank fuck we’re alive to do this’ sex, which, again, they aren’t strangers to, but for now, he’ll take what he can get, and what he can get is -

Once they’re at a red light, Tommy - without looking, without speaking, without really thinking, just seeking the greatest comfort he knows - reaches out and grabs Sam’s hand.

He catches, out of the corner of his eye, the way Sam flinches in surprise, since he’d been staring absentmindedly out his own window. He sees the way Sam turns his head toward him, sees the way his chin dips as he looks down at how Tommy is holding the hand he’d been resting on his own thigh, palm-up and fingers once laxed but now forcibly flared around Tommy’s palm. He can’t see the way Sam looks at him, but he can feel it, and Tommy’s a little embarrassed by himself for doing this, but fuck, fuck, he needs this.

And like always, better than anyone else Tommy’s ever known that ain’t blood-related, Sam understands him. He wraps his fingers around Tommy’s hand, holds it in turn. There’s a tiny jolt upwards of their joined hands - Sam had gone to kiss Tommy’s knuckles, only to remember where they were, which is funny, cause usually it’s Tommy doing that kind of thing; Sam’s always real good at playing the facade.

Sam squeezes his hand, holds it in a comfortably tight grip, and Tommy breathes out through his nose. Tries to make it seem like a normal breath, but the volume and the weight of it are too telling.

(He will kiss the hell out of this man later. Kiss him and make love to him.)

The light turns green and Tommy drives one-handed. How unwise that is doesn’t register to him in the slightest - not just because he’s driven like that before, but because he doesn’t want to let go of his anchor, lest he float away again.

It’s Sam who puts a stop to it: Tommy feels more than sees Sam pull his hand from Tommy’s grasp, then he’s using it to take hold of Tommy’s wrist and he guides his hand back to the steering wheel, lays it there, and Tommy automatically grips it again.

“Both hands on the wheel, Tom,” Sam says softly, and Tommy wants to say Sam doesn’t have to remind him, but he’s honestly not sure of that.

He can feel himself drifting, mind going back to that church, when Sam puts his hand on Tommy’s thigh, just under the knee. Grips it like he had done with Tommy’s palm, a handful of Tommy’s flesh in a comfortable tightness. Massages the muscle lightly. Strokes with his thumb. Every gesture that could tell Tommy I know, Tom. I know. Alright? But it’s over now. An’ you’re okay.

Tommy breathes out through his nose again and is chained to his seat.

(He’ll kiss the hell out of him and make love to him.)

Tommy’s better by the time they get back to the bar, feels less like he needs to cling to Sam until he aches, and he tells Sam that it was only how close he came to biting it that bothered him. None of the other stuff, in order to save face.

But he gets the feeling Sam knows cause, hell - Sam always knows.

#My writing #Mafia Definitive Edition #Tommy Angelo #Sam Trapani #Tommy/Sam #Tommy Angelo/Sam Trapani

19 notes · View notes

criminalcasejunkie · 2 years

Text

"My name is Gertrude Wright, it is a pleasure working with you."

This is Sergeant Gertrude Wright, great great granddaughter of Diana Wright and former associate of the Grimsbrough PD, Pacific Bay PD, The Bureau, the Supernatural Hunters, and the Parisian Police Squad

Age: 28 (Grimsbrough)

29 (Pacific Bay)

30 (Save the World)

33 (The Conspiracy)

34 (Supernatural Investigations)

35 (City of Romance)

Gender: Female

Role: Street fighter (formally) Police officer (formally) Vice Director (formally)

Friends: David Jones, Alex Turner, Ramirez, Grace Delaney, Cathy King, Nathan Pandit, Amy Young, Frank Knight, Hannah Choi, Jack Archer, Elliot Clayton, Armand Dupont, Carmen Martinez, Sanjay Korrapati, Lars Douglas, Gloria Hayes, Julian Ramiz, Gabriel Herrera, Rita Estevez, Carrie James, Lėa Bonnet, Emilie Bardot.

Enemies: Duncan Young, Tess Goodwin, Angela Douglas, Anbu Devanesan, Mikhail Levin, Bobby Prince, Count/Prince Rupert, SOMBRA (I mean the entirety of Sombra), Trish Colletti, Arsha Raju (sort of redeemed herself but didn't) Albert Tesla, and Karen Knight. (Just think of any character you hate)

Personality in...

Grimsbrough: ESTP

Pacific Bay: INFJ

Save the World: ISTJ

The Conspiracy: ISFJ

Supernatural Investigations: ENFP

City of Romance: INFP

Appearance: (Case #1 of every Criminal Case game)

Last appearance: (Last Case of every Criminal Case game)

Triva:

Gertrude is canonically related of Diana Wright in Criminal Case: Mysteries, which is the reason why she's so close with Dupont in Save The World.

Gertrude has two puppies in Grimsbrough; a German shepherd, and a King Charles Spaniel.

Gertrude developed an overprotectiveness for her friends and kids in Save The World and in The Conspiracy due to what happened with Chief King in Grimsbrough and Frank in Pacific Bay.

Gertrude is one of the first female characters that actually had a fight with the killer.

26 notes · View notes

vitos-pink-shirt · 1 year

Note

Do you ever think about what you'd like to see in a Mafia 4?

Honestly I hadn’t thought too much about it 😬 and that’s why it took me a few days to respond, but I really appreciate the question! This is kinda what I’ve been thinking:

I think a lot of people here on tumblr are expecting or wanting to see Ennio Salieri and Frank Colletti in Italy, and while I think playing as Salieri would be interesting, watching the character/player become even more removed from humanity, or even playing as Frank, enduring the slow betrayal, but I don’t think that’s really what I want.

If the game were to be a prequel I’d really like to see Leo Galante and Frank Vinci, I think playing as Leo and seeing how his loyalty to Frank is the cause of Frank becoming the don and Leo consigliere. It would maybe mirror Joe and Vito’s relationship in a way, but not exactly, and continue with the theme of loyalty being a fatal flaw. I don’t know a lot about Leo but if there had to be a prequel I think I’d like to see it with him.

If we moved further along the timeline, I think I’d like to see a game in the 70’s-80’s, and maybe in the southwest this time, like California or Arizona. Maybe the pc is part of a gang that runs the casino(s), the player gets to see the highs of what cash can give you, and the lows of being without it (kinda like Ray Liotta’s character in goodfellas). I’d like to see the game continue the pattern of loyal to a fault and I’m not sure if I’d like to see the character be a loser or a winner, but I’d like to see an internal struggle.

As far as gameplay goes, I like the choices and non-linear playability of M3, and the world had interesting points and fun missions, but I’d like to see a little more variety in missions (that aren’t dlc) and a world that’s a little more interactive, ie. clothing shops, car shops, hidden collectibles like clothing, cars, or weapons, and maybe some npcs that aren’t directly related to the main story that can give little side quests or lore and really fill out the world. I think one other thing I’d really like is more interaction with the npcs, specifically the friends/allies of the mc, and being able to explore them each individually kind of like what M3 did.

#mafia 4 #wishes I guess lol #i mean I’m gonna play it no matter what lol #I just think I’d be even more excited if it had these parts to it #pink shirt posts #I really liked the game play of #mafia 3

4 notes · View notes

luvcvlts · 1 year

Text

added some new muses and updated some! take a peek, if you'd like smth with them hit that ❤️ and I'll hit you up for plots!

vega. nessa barrett. n/a. android/a.i. (think joi in bladerunner 2049)

nikko. danny ramirez. 24-27

maddie. zoe colletti. 21-23

luke. matthew noszka. 24-27

odessa. olivia holt. 22-24

bastian. michiel huisman. 38-41

amora. megan fox. 34-37

cain. frank grillo. 42-46

Lorelei's fc has changed to abbey cowan

#ooc. //

4 notes · View notes

leam1983 · 2 years

Text

Playing "Mafia: Definitive Edition" and...

It's interesting, in its own way. As to how that is, consider the fact that it's an open-world that isn't open. Not really, at least.

You technically can roam the map to your heart's content while you're driving, and the game simulates everything more fleshed-out and purpose-built open worlds do. There's pedestrians and they react to you, you're free to interact with the game's systems as much as you'd care to - but you're not really expected to do any of it.

For the most part, Mafia is an open-world game that has a laser-eyed focus on its story. It's not at all concerned with letting you soak in the sights of its distaff counterpart of the Roaring Thirties' San Francisco, and actually really cares about what you'll make of Tommy Angelo's story of power, greed, perdition and regret.

Compare and contrast with any of Grand Theft Auto's peers: outside of mission trigger points, you're free to do absolutely whatever it is you'd care to do, in most cases. In Mafia, there isn't anything except the main quest, and the world instead serves as a tone-setter, rather than a tool or a separate character.

Take Cyberpunk 2077's Night City. There's a ton of jank in the systems involved, but you get the sense that the city formerly known as Coronado Bay has a ton of stuff going on that doesn't directly involve you. Most of it's ancillary, sure, but you'll come across cordoned-off crime scenes, protests in front of the local prison and the occasional attempted arrest, among other things. Lost Haven has none of this, but the setting and attention to detail more than compensates adequately. You do indeed get a sense that the Salieris and Morellos are holding on by a thread of corruption, greed and hubris, and that the city is as much an environment as a byproduct of said environment. It manages this without side missions or collect-a-thons, and with a map screen that remains focused on one, simple goal: in-world navigation.

Mafia feels like what happens when your dev team is dead-set on prioritizing diegesis, and doesn't have any lick of a trace of concern as to some expected "gameplay value" ballpark. It's twenty missions long at about an hour each if you're generous or criminally shit at working a Tommy gun like I am, and it bows out quickly and cleanly. It's proof positive that short campaigns aren't an ill to be eradicated from the medium, not when properly-executed ones are as easy to revisit as a good book.

That's where the game stumbles a bit. Andrew Bongiorno brings a lot of gruffness and a tiny bit of expected Americano-Sicilian swagger, with a clipped delivery that could've come straight out of a Bogart vehicle. Every moment Tommy Angelo is onscreen feels rooted and authentic. Unfortunately, the same can't be said of his partners-in-crime Paulie Lombardo and Sam Trapani.

Picture the idea of the characterization of an Italian-American Prohibition-Era goon as a spectrum of sorts. If we're generous and place Tommy Angelo on one end, the opposite end would have to house Who Framed Roger Rabbit's Smartass Weasel. I'd love to say that Paulie and Sam are on the same level of characterization as Tommy, but there's several instances where I was left thinking that even a streetwise and otherwise-uneducated caporegime would've sounded more natural than these two. It's like you spend half the game lugging caricatures of yourself around and have to sort of buy into their exaggerated reactions for the sake of fitting in. If you mentally pictured them as nasally, high-pitched and a little too much in love with their scabrous job, you've got it in one.

It's a surprise, too, seeing as you've also got characters like Sarah Marino and Frank Colletti, who look and sound exactly like you'd expect them to in-context, with Frank earning special marks for sounding exactly like a first-generation Sicilian immigrant with a tardy, if flawless command of English and decades of professionalism to account for.

As to how I know? I was raised in Saint-Léonard, in Montreal proper, and grew up hearing several male voices that sounded exactly like Colletti's. The kind of guy who speaks Italian on the daily since his birth, but who seriously hit the books after emigrating to Canada, to the point where they could give enunciation pointers to lifelong English speakers.

The story being told, however, won't reinvent the wheel. If you've played Mafia Prime, if you will, then you're familiar with it. It's your typical "rags-to-riches, then almost back to rags and in a body bag" affair that echoes everything from The Godfather to The Untouchables to every single True Crime special on the Castellamarese War that's ever hit the History Channel. If your knowledge of the Roaring Twenties' criminal intelligentsia goes beyond just Al Capone, you know exactly what to expect. It's told in really interesting cinematic vignettes, as well as in gameplay segments that really don't reward your trying to think your way out of things. You're a triggerman for a Capo, and that's all there is to it; so get to ducking into cover and blasting heads and legs off. If that's what you came here for, you're bound to be pleased.

Of particular note is the fact that the remake of a game dating back to 2004 comes with location-based damage that doesn't try to reach the gory depths of The Last of Us: Part II, but that still isn't shy about letting you kneecap rival fedora-wearing and pinstripe-sporting gentlemen using a twelve-gauge. There's no dismemberment action on offer, but several mixtures of physics-based and canned animations that give your unfortunate victims a fair amount of personality in their final moments.

As you'd expect, physics systems like this have a few fun bugs on offer. If you're playing the Hotel Corleone mission, try and get enemy soldiers to tip over the couches they're huddling behind for cover. They'll let out hilariously inappropriate death screams, as if tipping over the chair's back and flopping into its offered pillowy crevice required a scream you'd associate with falling down the Grand Canyon...

All things considered, Mafia: Definitive Edition is a great upgrade to a package that was starting to show its age, and an unorthodox entry into the Open-World genre. I hear its sequels take more definitive steps towards the usual chestnuts in the genre, but I haven't tried Mafia II and Mafia III yet. It feels like a faithful simulation of a period in time that's typically not confidently touched by most developers, tied together with a plot that isn't anything special, but that remains consistently entertaining.

Now I'm crossing my fingers for a hypothetical Cosmic Horror-themed DLC pack that'll never be released. The Salieri Crime Syndicate Versus the Priests of Dagon is something I'd definitely pay to play...

#mafia: definitive edition #thoughts #review #long post

2 notes · View notes

brookstonalmanac · 10 months

Text

Birthdays 11.27

Beer Birthdays

Felix Geiger (1834)

Michaele Fallon; Miss Rheingold 1947 (1920)

"Crazy" Dave Heist (1956)

Chris Flaskamp (1962)

Matt "Batman" Brynildson (1971)

Five Favorite Birthdays

Jimi Hendrix; rock guitarist (1942)

Bruce Lee; actor, martial artist (1940)

Thomas Malory; English writer (1405)

Johnny "Blood" McNally; Green Bay Packers HB (1903)

Alison Pill; actress (1985)

Famous Birthdays

Kirk Acevedo; actor (1971)

James Agee; writer, critic (1909)

James Avery; actor (1945)

William Bliss Baker; painter (1859)

Charles A. Beard; historian (1874)

Julius Benedict; composer (1804)

Kathryn Bigelow; director and screenwriter (1951)

Les Blank; film director (1935)

Samantha Bond; English actress (1961)

Mike Bordin; drummer (1962)

Randy Brecker; jazz trumpeter (1945)

Nicole Brossard; Canadian author and poet (1943)

Kelly Bundy; Christina Applegate's character on Married with Children (1972)

Anders Celsius; astronomer (1701)

Zoe Colletti; actress (2001)

Sharlto Copley; South African actor (1973)

Frederic Crowninshield; artist and author (1845)

L. Sprague de Camp; historian (1907)

Frank Dicksee; English painter and illustrator (1853)

Tsuguharu Foujita; Japanese–French painter (1886)

Robin Givens; actor (1964)

Jackie Greene; singer-songwriter (1980)

Kevin Henkes; writer & illustrator (1960)

Robert Livington; signer of the Declaration of Independence (1746)

Shy Love; porn actor (1978)

Joseph Mack; passenger bus inventor (1870)

John Maddox; Welsh chemist, physicist (1925)

Anatoly Maltsev; Russian mathematician (1909)

Konosuke Matsushita; Japanese businessman, Panasonic founder (1894)

David Merrick; Broadway show producer (1911)

Katherine Milhous; author & illustrator (1894)

Alec Newman; Scottish actor (1974)

Bill Nye; the science guy (1955)

Steve Oedekerk; comedian, actor, writer, film director (1961)

Lars Onsager; Norwegian-American chemist and physicist (1903)

Eddie Rabbitt; country singer, songwriter (1941)

Liviu Rebreanu; Romanian author & playwright (1885)

Michael Rispoli; actor (1960)

Connie Sawyer; actress (1912)

Charles Scott Sherrington; English physiologist, & pathologist (1857)

Gail Sheehy; writer (1937)

Jose Asuncion Silva; Argentine poet (1865)

Arthur Smith; English comedian, actor, and screenwriter (1954)

"Buffalo" Bob Smith; television show host (1917)

Michael A. Stackpole; game designer (1957)

Fisher Stevens; actor (1963)

Richard Stone; composer (1953)

Mika Tan; porn actor (1977)

Cornelius Vanderbilt II; businessman (1843)

Fredric Warburg; English author (1898)

J. Ernest Wilkins Jr.; nuclear scientist & mathematician (1923)

Cal Worthington; Automobile dealer & TV personality (1920)

#Birthdays

0 notes