#Michael Ormewood

[whumpslist]

Will Trent’s whumps’ list

[referred to main male character: Will Trent, portrayed by Ramón Rodríguez: *bonus: Michael Ormewood, portrayed by Jake McLaughlin.]

Season 1

.01: argued, disappointed for his car being vandalized, ostracized and despised by practically all his colleagues, painful memories seeing and old acquaintance from the orphanage, argued, slapped in the face and brief scuffle, telling about being badly bullied in his childhood, upset witnessing a suicide, torturing a handkerchief whenever he is under emotional distress, telling about his childhood to his partner, feeling uncomfortable getting undressed because of the various nasty scars on his body, frustrated about his dyslexia and calling himself names.

.02: oppositional discussion with a suspect twice, upset and frustated, argued, under gunpoint, scuffle, under gunpoint and shot at without being hit.

.03: chained ankle, under gunpoint, worried for his partner, difficult conversation with his girlfriend.

.04: difficult conversation with his girlfriend from previous episode, worried for his partner, nightmare, difficulties to concentrate ruminating and frustrated, confessed his partner he’s dyslexic; bonus Ormewood: angry, badly fallen and injured ankle, angry, tazed and kidnapped, bloody face, villain pushing over his injured ankle and making him scream in pain, fought, chased and limping, heavily panting, rescued.

.05: worried for his dog and badly argued with his girlfriend, dyslexic difficulties, argued, annoyed, grabbed a hot pan from the oven overthinking and screaming in pain, annoyed and frustrated, speechless and upset.

.06: disappointed, argued, followed by a car, witnessed a murder and splashed with blood on his sweater, into a gunfight, called names by a policeman.

.07: fast forward: laying barely conscious and passed out; scars all over his naked torso, receiving upsetting news and a bit shaken, pensive, painful memories and sighed, argued and emotionally hurt, hit at his arm by a crowbar losing his gun, attacked by multiple opponents and fought back, slammed against a car then hit at his back by a bat, chased, bleeding from his forehead and neck, passed out, recovering consciousness and bloody wound on his forehead, blood on his hands and handkerchief, feeling hopeless and sighing, rescued and heavily breathing, patch on his forehead and ice pack, sighing, disappointed.

.08: painful memories, brief scuffle, falsely accused and outraged, pensive and sad, told about his past when he shoplifted for food and arrested by police, on the edge of cry and trembling voice, sad.

.09: worried for his kidnapped partner, argued with his boss' boss, argued twice, heavily breathing after a physical effort, worried.

.10: under gunfire, upset and told about a child abuse he suffered, sad and painful memories, grabbed by his jacket, under gunfire, under gunpoint, getting emotional.

.11: brief scuffle, undercover into a drug crew, scuffle in the past, painful past and present memories, upsetting discover and argued with his girlfriend, ambushed and under heavy gunfire, bleeding scratch on his upper thigh and treated on the field, arrested and handcuffed, hooded and taken, roughed up a bit, grunting and heavily breathing, punched in the flank again, old scars on his back, moaning touching the sore spot, under gunpoint and almost cover blown, brief fight, under gunfire and fought, sad break-up.

.12: sad, received upsetting news, argued with his (ex) girlfriend, badly argued with his boss then his partner, angry for being taken off the case, received very upsetting news about his mother, argued and very upset, tense and worried.

.13: worried sick from previous episode for his (ex) girlfriend’s fate, tense relationship with his boss and getting emotional over his dead mother’s case, almost run over by a car, nasty confrontation, under gunfire, angry and worried, frustrated about his dyslexia and calling himself names, tense and fought, heavely panting and angry, upset, worried and bruised face and nuckles, received upsetting news and getting emotional.

Season 2

.01: uneasy speaking in public, hallucinations and painful memories of the past, tackled a man without consequences, under gunfire and tackled a man again, uncomfortable conversation, various nasty scars on his body, argued, hit by explosion blast and mild scratches at his face, grunting and heavily breathing, in shock and flashbacks, bruised face and unable to accept other people’s trying to take care of him; bonus Ormewood: suspicious, upset and argued with his son, sick worried, hit by some debris by the explosion.

.02: upset and bruised face from previous episod, unpleasant conversation with his supposed father, disappointed, provocked and upset, flashbacks, chain around his neck and rough fight, flashbacks.

.03: avoiding conversation about what happened in the first episode, tense, flashbacks and sighing, uneasy conversation, intense situation and touched, voice cracked and on the verge of tears, pensive.

.04: painful memories and hallucination, skeptical and annoyed, uneasy conversation with his partner and grimacing for emotional pain, remembering his past talking to a witness, grunting in frustration for his dyslexia, uneasy and sighing repeatedly.

.05: annoyed and uneasy, argued with collegues twice, nasty conversation and upset, unpleasant conversation, scared and argued, T-boned and car accident, bloody face and unconscious, cut on his forehead.

.06: stressed out and anxious, uneasy, unpleasant conversation, under gunpoint and brief scuffle, uneasy.

.07: nervous and bickering, into a hostage situation and under gunpoint, flashbacks from the past, threatened repeatedly, almost killed and rescued, still shaken and upset for the whole situation and the flashbacks, hand trembling.

.08: talking to his flashbacks and sighing, laying on the floor, flashbacks from the past repeatedly, hissing sound and grimacing, breathing heavely and upsetting memories, agitated and uspet reenacting his memories, breathing shakily and crying for guilt.

.09: uneasy ed lught emotional distress, worried for his uncle, tears in his eyes.

.10: shocked and upset, tears in his eyes, coflicted ans sad, upset.

Renewed for a 3rd Season

In the original books (by Karin Slaughter):

1. "Triptych": uncomfortable, argued, reported scars from his past, angry, worried sick for his girlfriend, angry.

2. "Fractured": scuffle and punched on the nose, black eyes, fought and gun pointed at his head, gun failed to shoot twice, remembering past abuses during an interrogation, tackled and panting, upset witnessing a suicide, frustrated, trembling hand.

3. "Undone": worried for his partner, under gunpoint and argued, scratched by rats on his arm, overwhelmed and claustrophobic, itchy scratched arm, uneasy, remembering when he was hit by a tazer, upset and sweating after hearing his wife after she left him, worried and angry, lost temper and manhandled, scolded by his boss and feeling guilty, upset, hand and arm medicated and patched, badly argued with his wife and scuffle, new sctraches on his hands, bad memories and tired, very sore back after a long journey, panting after a chasing, stabbed at his shoulder from behind and passed out, regaining consciousness laying and bleeding on the floor with the knife still stuck in him, sweating and in much pain, almost stabbed again and rescued at the last moment, passed out, in hospital and surgery only briefly mentioned, arm secured to the chest by a tight bandage and in pain.

4. "Broken": scars on his body, uneasy, feeling inadequate and uncomfortable because of his dyslexia, remembered he broke his hand in the past and sore at his fingers when it's cold outside, irritated, remembered his girlfriend gave him syphilis years ago and he had to take pills, blister on the heel and limping, feeling stupid and mortified asking for help, remembering his difficul past, worried.

5. "Fallen": uncomfortable, worried for his partner, his wife told about when he slashed his arm, confused, feeling nausea for high speed, shot at and cut at his ear, into a gunfight, worried sick, furious, headache and sweating, roughly grabbed, lost balance and fallen to the floor, sad and shaken, badly argued with his wife, emotionally hurt and scared, cried, slapped repeatedly and scuffle with his wife, trembling hands, embarassed, shaken and worried, hidden into a trunk and very uncomfortable, furious, sore at his shoulders, called names, told about when and why he slashed his arm in the past, heart broken, embarassed.

5.5. "Snatched": bored, conflicted and feeling guilty, worried.

6. "Criminal": confused, told about his past in the orphanage, angry and sweating, argued, kneed himself on the nose and skinned his ankle by accident, bleeding wounds, receciving upsetting news, treated in hospital for his cut ankle and sewn wound, extremely upset and uncommunicative, furious, muscle contraction in his biceps, hand lacerations and splinter of wood in the palm of his hand, screaming in pain and frustration, exhausted, hurting remembering his past and his mother's murder, remembered beign slapped hard in the past, teased a cuticle on his hand until it bled, difficult conversation with his wife, no sleep and looking awful, bruised hands and bloodshot eyes, upset, staggered with exhaustion and pain both physical and emotional, besieged at home and frustrated, argued with his partner and angry, told about his past when he shoplifted for food and arrested by police, when he was on the streets and had been beaten, broken his nose and fingers, nervous and sad, shocked and buckled knees, violent reaction in the face of his father's corpse and subdued by the police, difficult conversation with his boss then his uncle, emotional and on the edge of tears.

6.5. "Busted": undercover and stuck during a robbery, fought and broken nose, almost shot, motorbike accident during a chasing, treated on ambulance and sore at his shoulder.

7. "Unseen": shocked, uneasy and sketchy, uncomfortable situation and feeling guilty, sore after riding a motorbike, threatened, punched in the face and provocked, worried, scared, feeling uneasy, shocked, into a dangerous situation and surrounded, punched in the face and almost threw up, grabbed and restrained, terrified, cut with a knife under his eye and into his ear, terrified, shook his head and bloody cuts, stripped and naked, old scars all over his body, brief scuffle, shocked witnessing a brutal murder, badly argued with his girlfriend and desperate, slapped repeatedly and scratched on his neck and back, rough sex and heavily panting, distraught and unstable on his legs, on his knees to throw up, badly kicked in the head and almost knocked out, punched and almost strangled to death, rescued at the last moment, badly coughing and sore, threw up, handcuffed and arrested (for fake), helped sitting up and stumbling repeatedly, head between your knees to keep from throwing up again, badly confused and treated on the field by his partner, terribly painful to swallow, heartbroken, painful to talk and heavily bruised face with broken nose, shocked, badly coughing, feeling guilty then vulnerable, coughing, shocked and agitated, brief scuffle, tased and collapsed, regaining consciousness wobbly and headache, blurred vision, hands and feet tied up, gun pointed at his head twice, almost shot to death, threatened to be killed with a knife, feeling weak, heavily bruised face.

8. "The Kept Woman": worried for his dog, uncertain, umconfortable position, frustrated and clenched jaw, receiving shocking news and seeking for support against a wall, frantic and worried sick, argued with his girlfriend, agitated, reported scars from his past, fallen into a hole and deep laceration at his calf, blood dripping from his leg into the shoe, angry and punched a collegue, bruised and bloody hand after the punch, frantic, very painful emotional memories, argued, heavily sweating and panting, brief dizziness and seeking for support against a wall, feeling sick, dressed his wound at home but blood stained his jeans, nervous and tense, trembling hands, bad memories, emotional chat, shocked, reported scars from his past, rubbing his chest in pain, red an awful letter from his wife and pale, confused, coughing and shaken, wound attended at home without any anesthesia and very painful procedure, pain at his chest and arm, chest pain and gasping for air, angry and tense, on his knees, chest pain for a panic attack, feeling calmer after taking (part of) Xanax, feeling the grief, (previously) under gunpoint and trigger pulled but no bullets fired, upset and angry, phone altercation with his wife and receiving upsetting news, shaking so hard he had to sit up, unable to speak, receiving upsetting news, sleepless and agitated night, violent reaction in front of his wife, pushed away twice, receiving upsetting news, shocked and covered in blood (not his), unable to see and helped, painful conversation about his past, difficult conversation with his girlfriend.

8.5. "Cleaning the Gold": brief scuffle, into a gunfight, punched in the ear and elbowed in the kidneys, bruised hands after the altercation, shocked, uncertain.

9. "The Last Widow": painful memories about his childhood, feeling inadequate, pensive, shocked, into a dangerous situation and under gunpoint, fear for his girlfriend, tackled down and hit his againt the concrete, attacked and viciously hit at his torso many times, fought and bruised knuckles, rechting and in pain, almost kicked and fought, worried sick for his girlfriend’s fate, emotional pain for his almost-mother-in-law’s words, feeling sick and light sensitivity, spinning world and seeking support, in pain and vomiting, passed out, regaining consciousness in hospital, almost fallen from the hospital gurney, light sensitivity, coughing and slumped, torso full of bruises, probbed and tested, helped walking and in pain, almost slipped and spike of pain at his ribs, felt a metallic stitch at his neck, helped for the TAC exam, seeing double, reported a microlaceration in the periosteum of the rib, made him smell the ammonium salts, dismayed and very difficult emotional conversation with his girlfriend’s parents, in pain and moaning, heavily bruised knuckles, still very sore and headache, grimacing and suppressing his pain, going undercover, emotional distress, into a furious gunfight, under gunpoint, on the edge thinking his girlfriend was murdered, feeling guilty.

10. "The Silent Wife": uncertain and uneasy, got a scare, IN PROGRESS

11. "After That Night"

Isolation by NatK

[jacobglaser]

You're Trashcan, right? It's been a while. We called you that because they found you in a trash can? It was actually a dumpster. Trashcan had a better ring, I guess.

→  Will Trent // 1x01 Pilot

[niennaofnumenor]

obsessed with the entire cast of will trent. everybody is babygirl. also. getting to see everyone in one episode all together. that's my family :'))

[fluentmoviequoter]

A Lot to Learn

Pairing: Michael Ormewood x fem!reader (tv show characterization)

Summary: After his wife leaves, Ormewood runs into you after not seeing you since high school. He realizes he has a lot to learn about you and french braids.

Warnings: fluff, divorce, Cooper is a matchmaker, r grew up in Atlanta and went to school with Ormewood

Word Count: 1.7k+ words

A/N: I grew up in the deep south and just need to applaud this show for their approach to the setting and the stereotypes. Also, Jake was the perfect choice for Ormewood and the french braid topic in 2x06 was begging me to write this. If there's an audience for this fic, I hope you find it and enjoy it!🤍

Michael Ormewood was destined for bigger and better things than Atlanta. You knew in high school, though you only watched him from a distance. He didn’t know you existed, let alone how much you believed in him and his abilities, even when everyone else doubted he’d do anything more than play sports and get into trouble.

So, when he came back to Georgia after the Army and got married, you were surprised, to say the least. The playboy you once wished to know had settled down, had a few kids, and worked his way to detective at the APD. Whenever you see his name in the papers now, you wish once again to know and love Michael Ormewood.

Spending your morning in the police station isn’t ideal, but when they asked for information about a building near where you work, you agreed to come down and answer any questions you could. While talking to the officer, you don’t notice two detectives walk in behind you. Or one stop in his tracks when he sees you.

“She looks so familiar,” Ormewood mumbles as he watches you.

“What’s in the envelope?” Angie asks.

“Divorce papers.”

“Oh!” Angie exclaims. “Are you, uh, are you going to sign them?”

“Oh, not that kind. These are the congratulations; you’re divorced now papers.”

“Ormewood, I’m so sorry.”

“Do you recognize her?”

“What?”

Ormewood points toward you, and Angie purses her lips before shaking her head. She doesn’t recognize you, but she feels like she's about to get whiplash from Ormewood’s quick change of subject. A text from Will draws Angie’s attention, and she directs a very distracted Ormewood toward the elevator to go to a murder scene.

Just as the doors open, you walk up behind Ormewood and join him and Angie in the elevator. He glances at you repeatedly before Angie sighs and leans against the back wall.

“I’m so sorry,” he begins. “But do we know each other?”

You smile and say, “We went to high school together.”

Your smile disappears and your brows raise when he says your name. There’s no reason he should have ever known who you are, but the fact that he remembers after all these years catches you off guard.

“Yeah, that’s me. I’m surprised you remember.”

“Me too,” Angie interjects. “And I didn’t even know you in high school.”

“I was pretty much the same,” Ormewood defends.

“No, you weren’t,” you say softly.

“What do you mean?”

The elevator door opens, and you step out. Leaving Ormewood feels wrong, but you both have lives now, and they are in no way connected.

“It was nice to see you, Ormewood,” you call as you leave.

“You went by Ormewood in high school, didn’t you?” Angie asks excitedly. “Oh, I should’ve guessed that!”

“Why did Mom come and get all of her stuff while we were at school?” Cooper asks. “Did you get divorced? Like Solange’s parents?”

“Yeah, sweetheart,” Ormewood answers carefully. “But that doesn’t mean we love you or your brother any less.”

“Does it mean you’ll finally learn to French braid my hair?”

Ormewood chuckles at Cooper’s choice of focus but promises that he will learn every hairstyle she wants.

“Let’s master the French braid first,” she decides.

The second time you run into Ormewood, he’s glad that Angie isn’t with him. She’s been teasing him about the encounter in the elevator since it happened. So, when he and Cooper are out shopping, and he sees you walking toward him, he sees another chance.

“Hey,” he says as he gets closer.

“Hi,” you reply happily.

“I heard the information you gave burglary was really helpful.”

You smile at Cooper, but her eyes are laser-focused above your face.

“Your hair is really pretty,” she tells you.

“Thank you! Yours is, too,” you reply.

“Dad’s learning. I’m Cooper.”

You introduce yourself before shifting the shopping basket in your hand to shake hers. “Braids are hard sometimes, but it looks like he’s getting there.”

“Did you do yours?” she asks.

“I did. I learned how to do a lot of braids and other things with my hair when I was a little older than you.”

“My mom can do French braids, but they don’t look like yours.”

At the mention of Cooper’s mom, you remember that you don’t know Ormewood anymore, and this is nothing more than a polite conversation. You do, however, notice that Ormewood doesn’t have a ring on his finger. It doesn’t matter, you remind yourself, because things were never going to be different between you and Ormewood.

“Well, good luck with the braids, Cooper, and it was very nice to meet you,” you offer.

“You too! Dad, I’ll get the cereal,” she says.

When she’s on the other side of you, you meet Ormewood’s eyes and smile.

“She’s great,” you say.

“She has her moments. Listen, thanks for the hair talk. I’m trying but I get lost after the first two seconds,” he replies with a chuckle.

“Just keep practicing. They’re only hard until you learn how to do them right.”

“And if I can’t do that?”

“Fake it. Or find someone who can teach you. It was great seeing you again.”

You disappear around the corner before Ormewood says anything else. Cooper skips back to him with three different kinds of cereal, and he doesn’t complain when she puts them in the cart.

“She’s nice. Are you friends?” she asks.

“I want to be. We went to high school together but haven’t seen each other in a long time.”

“You should invite her over for dinner.”

“You think?”

Cooper nods, and Ormewood wonders when she got smarter and more intuitive than him.

“Just don’t kiss until after I go to bed, Dad.”

Ormewood freezes and his eyes widen. He hasn’t considered what exactly he wanted to happen after you got close again - or for the first time, as it seems - but he can’t argue that it doesn’t sound nice.

“What are you watching?” Angie asks over Ormewood’s shoulder.

“French braid tutorial,” he mumbles.

“You can’t learn from a video, you have to do it,” Will interjects.

“And you’re the expert on French braiding, now?” Ormewood retorts.

“I’m better off than you. Angie made me learn to help her get ready in high school.”

“Then teach me, Trent!”

“No.”

“Detective Ormewood,” an officer calls. “There’s someone here to see you.”

“Yeah, I’ll be right there.”

Ormewood leaves the video playing, and Angie and Will begin critiquing the looseness of the braid in the video. He rolls his eyes and hopes that whoever asked to see him has something worth his time.

“I really hope you’re not here to confess a crime,” he jokes when he sees you waiting.

“Not today,” you answer lightly.

“Then… why are you here?”

“Uh, did you text me last night?”

“What? No. I don’t even have your number; not that I don’t want it, but I don’t have it.”

You pass your phone over, and your fingers brush against Ormewood’s as he takes it. He reads the text twice before shaking his head.

“Angie. My partner must have gotten your number from burglary. I’m sorry.”

“No, it’s okay. I just didn’t think it was from you.”

“Why not?”

“We’re not… we’re really different, Ormewood.”

“Doesn’t mean I can’t text you. Coop wanted me to invite you over for dinner, so maybe Angie actually did me a favor.”

“I, uh, I have to get back to work. If you decide to text me again, great, but don’t feel like you have to.”

“Are you rushing you because of Cooper or is something else bothering you?”

“Ormewood…”

“Just tell me. If you don’t want me to text, I won’t.”

“I remember what it’s like to watch you from a distance, and I don’t know if I want to do that again," you admit.

“Ormewood, we caught a break,” Angie calls from the door behind him. She sees your face and shakes her head. “Tell her you’re divorced and let’s go.”

“You’re divorced?” you ask as he says, “That’s what you meant?”

“Someone divorced you?” you rephrase.

“Look, I regret not getting to know you in high school, but- I’ll text you.”

“I’ll text back,” you promise.

The next invitation text comes from Ormewood’s number, but it’s clearly not him. When your phone rings a moment later, you’re not entirely surprised to hear Cooper on the other end of the line.

“Hi, Cooper. Desperate for a French braid, aren’t you?” you ask.

“Please!” she begs.

“Does your dad know you’re inviting me over?”

“He won’t care, I promise.”

“That’s not what I asked, Cooper.”

“Give me the phone, Cooper,” someone says in the background. “This is Special Agent Will Trent with the GBI. The French braid situation is growing violent and you’re an expert. Get down here now.”

He hangs up and asks Cooper, “Can I stop trying now?” as you look at your phone in confusion.

Cooper scrolls through your photos and asks questions about you and your life (including your nonexistent history with her dad) while you braid her hair.

“He’s texting you,” she says suddenly. “Wants to know if you’ll come over for dinner tonight.”

“What do you think?” you hum. “Am I too busy?”

“Maybe,” she answers.

You secure the end of the first braid with an elastic band and ask her to go look in the mirror to make sure she likes it. Her excited squeal is all the approval you need. As she gets comfortable in front of you again, you start the second braid. The door opens, and your hands stop in her hair as Ormewood steps inside.

“That’s why you didn’t answer,” he says with a smile.

“Special Agent Will Trent of the GBI told me I had to come braid her hair,” you explain quietly.

He looks at Cooper, who shrugs and says, “Angie was busy.”

“Thanks for helping,” Ormewood says. “Mind if I watch?”

You move to the right and he sits beside you, watching as you braid slowly. He asks a few questions about how you’re doing it, and you demonstrate as you answer.

“I bet you can do it now that you’ve seen it from the right angle,” you murmur as you secure the second braid.

“You can try tomorrow, Dad, I’m going to Abby’s.”

Cooper rushes out of the front door, and you turn toward Ormewood. He’s already facing you, and it’s impossible to break eye contact in the new proximity.

“So, dinner?” you whisper.

“Yeah. I’ve got a lot to learn about you.”

[georgiainvestigators]

Image ID: Screenshots from Will Trent episode 1x04, with dialogue: 

Ormewood: Well, that was pointless. They didn't see a damn thing. [sees Will] No! No! What the hell's your boyfriend doing here, huh? What, did you chase the ambulance here, Trent? Stay away from my case, okay? 

Angie: Okay, listen. Park Police called him in. If we don't play ball, they can push us off of this. 

Ormewood: The guy's a vulture. And a vampire. He's a vampire vulture, and he swoops in, and he sucks up people's cases like... 

Will: I can hear you, you know, through the curtain. Everyone can. 

Bonus: 

Image ID: [Will and Faith are talking. Angie and Ormewood open the courtain with a loud *swooosh*] 

Faith (startled): Are you doing some sort of magic show?

[whumpypepsigal]

Will Trent s01e04: “Will, Polaski's worried. Says Ormewood is missing.”

+bonus:

[eveningspirit]

I loved the season finale of Will Trent. THAT's how you write a plot twist you guys.

Everyone and their uncle guessed who the killer was (I mean the viewers. And wasn't it satisfying to be right? You bet it was.) The real punch came from what happened after. The emotional rollercoaster of the consequences for the main characters.

And now, we really have no idea how they are going to write themselves out of this hole, but it's going to be a Journey(tm). In January? Serously? That's one long hiatus...

But that's the main MCs and I'm more invested in the secondary MCs. Or. One of them, actually, Michael Ormewood.

The other day I had a moment of trepidation reading some fans' takes in comments on tvline and spoilertv. Many people who read the books seem to want Ormewood to become more like his character from those pages. I would hate it, if that happened.

I don't exactly know the backstory of the book-Ormie, but the one in the show is an ex-army vet with anger issues (yes, I have a type, what of it?). In season one he said he's "doing the work". In season two we saw him doing the work, stepping up for his kids, when his wife left to "find herself again" (good for her). He struggled (that episode with Cooper's braids was golden), but he's coming into his own (it's a process).

And Jake McLaughlin is wonderful in that role. He can be ruthless and aggressive, but in the scenes with the kids he's so gentle and caring it melts my heart.

It would be a shame to waste all that progress, for the shock value of Ormewood becoming a murderer (because his life turned out not quite how he expected). Please, dear writers, I know you're better than that.

The scenes between Ormewood and his wife Gina in the finale gave me hope, that he's not going to be thrown under the bus here. Another storyline is possible for him in season three -- the custody battle. Or adjusting to shared custody. Or anything, really, but not a downward spiral.

I keep my fingers crossed for that and meanwhile, omg, I have a vague idea for a fic. A real, genuine inspiration, that gives me that nice, warm, fluffy feeling (don't get me wrong -- there won't be no fluff. There'll be angst and anger and pain)

[diver5ion]

[callmebrycelee]

HAPPY 42ND BIRTHDAY, JAKE McLAUGHLIN!!!

[sgtbradfords]

"You can't spell stake out without takeout."

Michael Ormewood, Will Trent 1x13

[firstdegreefangirl]

Angie’s key slides into the lock, and the doorknob gives easily when she turns it. It’s a familiar path, from Will’s front door into his bedroom, one she’s walked under a million different pretenses. This is a new one, though, the sort of easy reliance she’s always a little surprised to be trusted with.

Hey, Ange. I had a run-in with some paint during a chase. Faith won’t let me ride in the car until I change. Can you run by the house and pack me a bag? Whatever’s fine; I have a spare suit in the office.

She thinks back to the phone call, the distant echo of Faith’s voice yelling “damn right, I won’t!” when he’d explained how she refused to let him back into her sedan covered in paint, and how Will hadn’t needed to ask if she had a key.

Ormewood is waiting in the driveway, their APD detectives’ car idling while he reads through their latest case file. When she’d offered, he adamantly refused to come inside with her, and she’d rolled her eyes and grumbled “you could have just said no, didn’t have to make it a whole thing.”

Now, she’s standing in front of Will’s open closet, Betty hot on her heels while she retrieves a small duffel bag. It’s exactly where Will had said it would be, and it’s just as easy to track down a pair of jeans and a clean grey T-shirt. She drops a pair of socks in on top of them, but hesitates when she reaches for the handle of his underwear drawer.

You’ve seen them before. Hell, Polaski, you’ve touched them before. The man has paint all over his ass, just bring him some clean shorts.

She feels stupid, mostly about feeling stupid, but finally tugs the drawer open. She grabs blindly for the first pair she can reach and shoves them into the bag with everything else. As she moves them, something falls out from between the folds and bounces onto the floor.

Angie pushes the drawer closed and bends down to pick it up. It’s a cassette tape, one of the little ones that comes out of Will’s tape recorder. She goes to toss it back in the drawer, but stops when she sees the label on the side.

Will almost never writes anything on the little sticker labels, because he usually reuses his tapes.

“The notes aren’t anything special,” he’d argued, the time Angie asked him about it. “What, you’re telling me you keep every grocery list you’ve ever written?” Even then, she’d known his defensiveness was equal parts practicality, and not wanting to admit defeat in the face of the written word.

But this tape is dated in Will’s careful, labored script. Six small, widely spaced numbers shake their way across the faint lines.

02-21-23

What Goodbye Note?

Read the rest on ao3 here!

[sweetened-condensed-rage]

Gonna be honest, I did NOT like Ormewood at all initially, but his development through S1 and this arc he's getting in S2 is so good. I'm understanding why people like him, he's not a great person, but he's at least trying to be better and he's doing his best.

[jacobglaser]

Is being in a relationship with someone that reminds you of the worst time in your life good for your sobriety? No, no, it's fine, because what we do is, we don't talk about anything that matters.

→  Will Trent // 1x02 I'm A Pretty Observant Guy

[yourleastfavoriteguyinthechairr]

just watched the latest will trent and holy shit i didn’t feel like being alive before well i sure do now

i’m not gonna spoil it for anyone who hasn’t seen it but that one part with angie and the knife… i was so close to tears i could not

[fluentmoviequoter]

Knowing You're Close

Pairing: Michael Ormewood x fem!detective!reader

Summary: You work best when you know Ormewood is close, and when he realizes how much his presence affects you, he wants to learn more.

Warnings: fluff, case involves child abduction, Ormewood may be OOC (it's a custom blend of his s1+2 character + how I picture him in the books)

Word Count: 1.5k+ words

A/N: I love him so much but when I write him I get so scared that he's wildly OOC. Plus, all of the gifs of him are from the scene where he (spoiler free, promise) does not look his best, so that's disappointing.

Since you arrived at the station this morning, Ormewood has been tapping his pencil against his desk. You haven’t said anything about it because it’s a reminder to focus on your case. You’re not sure why it’s encouraging you to focus other than the subtle reminder that people have weird little quirks that are only annoying until they’re gone. There may be several families in Atlanta that would give anything to hear their loved ones click a pen or complain about how the dishes were dried one more time if you don't make a break in this case soon.

“Hey, how far is the Coke Museum from the aquarium?” he asks without stopping the rhythmic tap, tap, tap-tap against his desk.

“A mile,” you answer. “About a twenty-minute walk or twelve minutes on Line 26 bus.”

“Thanks.”

You hum and flip the page in your case file. You’re missing something.

“Corruption,” you murmur.

“I told you, the vending machine was broken and taking one protein bar doesn’t make me corrupt,” Ormewood answers.

“What? No, this case, there’s something… I don’t know.”

“I can find it.”

You and Ormewood sigh together before you see GBI Special Agent Will Trent standing before you. Ormewood mouths good luck and then returns to his own work. And the pencil tapping.

“Let me read the files,” Will says.

“Will,” you begin, closing the folder, “you only want to help because you’re bored. Which means you’re going to ask to go out in the field and drag me all over Fulton County, which I am not in the mood for today. So, thanks, but no thanks.”

“Just Fulton County?” Will clarifies, attempting to see the crime scene photos on your desk.

“None of your concern, Agent Trent,” you reply with a smile. “We’ve got it.”

“There’s nothing to do around here!” he complains as he tosses his arms up. “Just pencil tapping!”

Ormewood winks at you as he switches up the rhythm of his tapping. “I didn’t know it was that easy to get out of working with Trent. I’ll have to try that next time.”

“Yeah, you can’t just say no, you have to make it about him,” you explain, closing your eyes as you sit back in your seat.

Ormewood laughs, then rephrases to say, “You tell him it’s not me, it’s you.”

You hum, but then your eyes snap open. “Say that again.”

“It’s not me, it’s you?”

“What am I interrupting?” Faith asks, stopping behind you.

“Didn’t somebody just get cut from the Braves?”

“Uh, excuse me?” Faith tries again.

“In a minute!” Ormewood snaps, leaning toward you. “Yeah. He was training to be a pitcher. Had the potential to be a star pitcher, take us to the world championship.”

“What happened?”

“They had evidence he bought drugs. Swore he wasn’t using, and all of his drug tests came back clean.”

“It’s not me… it's you,” you say under your breath.

“Where’s Will?” Faith inquires.

“Faith,” Ormewood answers, shaking his head as he answers, “no one here cares. We’re not keeping up with your partner.”

“I got it!” you cheer, knocking your chair back as you stand.

“Will. Trent. So-tall, rambles, anybody seen him?” Faith says. “It’s like talking to children.”

“I’ll go with you,” Ormewood offers, trailing behind you as you rush toward the elevators.

Faith watches, tipping her head as she wonders, “Or is it more like puppy dogs?”

“Okay, so Truist Park is at the 75/285 interchange,” you explain. “You can get on either interstate and get anywhere in Atlanta without being noticed. But Dobbins Air Reserve Base is just a few miles up 41 from the stadium.”

“Right,” Ormewood agrees. “But what’s the connection of those locations to the missing girls?”

“These girls were from Atlanta’s nicest neighborhoods. Areas where our city officials sit on the HOA board, or whatever rich people do in fancy neighborhoods. Take a few residents, get the attention of all of the powerful people in the city…”

You trail off, and Ormewood connects, “You get leverage to get what you want.”

“Right, at least in criminal logic. So, this pitcher gets cut on a technicality and decides to show Atlanta what they’re losing, maybe try to blackmail his way back onto the team.”

“Or?”

“Or someone else is trying to get him back on the team. He’s got a cousin, according to his Braves profile, that works at Robbins. The proximity makes me think he’s holding these girls on the base. Granted, I could be way off, and it has nothing to do with a baseball team.”

“Worth a shot. I’ll find your guy, and you look for a hiding place fit for teenage girls?”

“Sounds good.” You look over the top of the car as you climb out and say, “Be careful.”

“You too.”

You answer your phone as you follow a uniformed MP officer through the base to check the lowest security areas of the base.

“I found someone who wants to talk to you,” Ormewood says.

“No, I don’t!” a man argues.

“I don’t believe anyone, ever, on principle. But this is your case, so I’ll hold him here until you’re ready.”

“Thanks. I’ll be right over.”

After the MP officer agrees to finish the search and call your watch commander if he finds anything, you walk across the base and find Ormewood with one arm stretched out and his hand pressed lazily against your suspect.

“Trevor?” you ask the man. “I’m a detective with the APD. I have a few questions for you.”

“I want a lawyer,” he answers.

Ormewood scoffs, and you shake your head at him.

“Are you sure you can’t just answer a couple quick questions?” you ask. “It’ll only take a minute.”

“There are five missing girls out there,” Ormewood seethes, wrapping Trevor’s shirt around his hand. “Think very carefully about how you answer.”

“Lawyer!”

Ormewood steps closer to the man, but you wrap your hand around his wrist and shake your head.

“Alright. Trevor, I’m placing you under arrest for reasonable suspicion of abduction,” you begin, placing handcuffs on him. “You have the right to remain silent, anything you say can and will be used against you in a court of law. You have the right to an attorney, which you’ve already exercised, so we can’t ask you any more questions.”

“We just think about how guilty that makes you look,” Ormewood adds as he pushes your suspect into the backseat of the car.

“Officers!” the MP officer yells behind you. “I found something!”

“No, he didn’t!” Trevor yells against the window. “You didn’t find anything, man! Say psych!”

“Psych is not admissible in court,” you point out. “Lead the way, officer.”

“Why are you in my chair?” you ask as you return to your desk after receiving a full confession and recovering all of the abducted girls.

“I decided to offer my services anyway,” Will explains. “You seemed busy. The missing girls are-“

“Home,” Ormewood finishes. “We found them two-and-a-half hours ago.”

“How?” Will questions, clearly surprised by the outcome.

“Not all cases are solved on pure luck or weirdly timed flashbacks, Trent.”

“The whole thing screamed leverage,” you explain with a shrug. “I just had to find someone who needed the rich and powerful on his side. Someone desperate enough to stage numerous abductions to do it.”

“Well, now there really is nothing to do here. Have either of you seen Faith?”

Will stands from your seat as Ormewood suggests, “Maybe try calling each other.”

“Thanks for all of your help today,” you tell Ormewood once you’re alone again. He nods, and you ask, “Why’d you get rough with Trevor?”

“If it was my daughter, I’d want to know exactly where she was as soon as possible. He was going to keep stalling, and a public defender would have loved using his situation to delay until it was too late to save them.”

“Can you tap your pencil again?”

“What?” Ormewood asks, shock and confusion evident in the single syllable.

“It… I like knowing that you’re here, close, okay.”

Ormewood nods slowly, then begins tapping his eraser against his desk. You shift your focus to the paperwork for the case, but Ormewood watches you. Something about his presence seems to help you, provide a comfort that he hadn’t even noticed. More surprising, he thinks, is that he likes knowing how his presence makes you feel.

“Is it just my tapping?” he asks. He seems as surprised to hear the question as you.

“If it is?” you counter. “Will you move to a different desk?”

“I was thinking we find out if sharing a table only works at the station.”

“Are you asking me out?” you clarify.

“I didn’t anticipate the interrogation it would take to get an answer, but yes.”

You smile and tap your pen against your hand with Ormewood’s beat as you answer, “I’d love to.”

“I have got to stop coming down here with questions,” Faith announces as she abandons her goal and returns the way she came.

[georgiainvestigators]

Will Trent 2x10 (season finale)

Are you as excited for the finale as I am? :)