tomasso terranova — in the name of the father.
he hadn't meant to kill the ciccones in front of their son. he hadnt, in fact, known that they had a son. only an older daughter. that he had killed the last one in front of the boy had made him conflicted for a moment until the boy had trembled, asked him, am i next? and there are some men, he knows who would've shot him then.
not tomasso. not him as he had wiped off the blood on his face and noticed that he looked smaller than he rightfully should have, that he could count his ribs through his small shirt, and that had been enough to convince him that he needed to take him home with him. that after all of these years, a miracle has fallen into his lap and he doesn't regret pressing a kiss to his forehead. or telling him that he'd have a new name: michael.
nothing could dissaude him from being that boy's parent, and when he sees michael come up the drive with his boyfriend, he knows he's done the right thing.
not tomasso. not him as he had wiped off the blood on his face and noticed that he looked smaller than he rightfully should have, that he could count his ribs through his small shirt, and that had been enough to convince him that he needed to take him home with him. that after all of these years, a miracle has fallen into his lap and he doesn't regret pressing a kiss to his forehead. or telling him that he'd have a new name: michael.
nothing could dissaude him from being that boy's parent, and when he sees michael come up the drive with his boyfriend, he knows he's done the right thing.
"You must be Joseph," Tomasso stands up from his place on the porch, taking in the blonde man in front of him. He's tall, skinnier than what he expected, and he doesn't look as polished as the version of him he'd seen on television or the articles that Michael had sent.
Like many, he's very sure that the man doesn't expect Dr. Tomasso Terranova to be anything other than the general surgeon he presented himself as in other spaces. The surgeon who was always on time, never had a bad mark against him, donated ample time to those in need, and never seemed to be in any trouble.
That, of course, was the point of it all. That to everyone else he's a surgeon with a good, steady hand. Not one of the remaining underbosses still in control of Jersey, and certainly not one who did genuinely enjoy both sides of the coin.
"I'm Dr. terranova. Tomasso is just fine," he says. "Hope you came hungry."
Like many, he's very sure that the man doesn't expect Dr. Tomasso Terranova to be anything other than the general surgeon he presented himself as in other spaces. The surgeon who was always on time, never had a bad mark against him, donated ample time to those in need, and never seemed to be in any trouble.
That, of course, was the point of it all. That to everyone else he's a surgeon with a good, steady hand. Not one of the remaining underbosses still in control of Jersey, and certainly not one who did genuinely enjoy both sides of the coin.
"I'm Dr. terranova. Tomasso is just fine," he says. "Hope you came hungry."
most people get scooped up by being stupid, flashy. not tomasso. on paper he makes slightly more than the average general surgeon, he puts most of his money in accounts for his son's college fund, he doesn't buy a house that isn't too big, he doesn't wear clothes that are too expensive, his wife always looks beautiful in a way that isn't overdone, and he never buys a car that isn't more than ten years old.
it's easy enough for him to slip past the eyes of most when his money gets laundered in other places, when he is careful with what he does in the sight of other people, and how he directs others. no phones that are too smart, no meetings anywhere where he can't control the traffic or cameras, and nothing ever, ever happens without his say so.
except for the matter of his son.
it's easy enough for him to slip past the eyes of most when his money gets laundered in other places, when he is careful with what he does in the sight of other people, and how he directs others. no phones that are too smart, no meetings anywhere where he can't control the traffic or cameras, and nothing ever, ever happens without his say so.
except for the matter of his son.
"are you sure you want to do this?" he asks, leaning against the counter. "going legit means people can come after you. it means that you might not get what you want in the way you want."
he doesn't ask where michael has found the money to do this, the empire he's got his eyes set on. he thinks that might open up some other things that they aren't ready to take on. and more than that, he likes the ambition on his face as he watches michael cut the pie crust. they both can hear joe talking to marta in the main room, how she helps him with setting the table. "i've got confidence in it and joe's helping me every step of the way. i'll be okay."
tomasso thinks about his father—the man he killed so many years ago. the man who had once been his friend, the man he once would've done anything for until things turned badly. and he looks at michael and reminds himself that his old friend had never deserved this boy. the condition he'd found him in overrode any old feelings of friendship he'd carried for his father, and everything else?
"alright. if you're confident. if there's anything that comes up—"
michael smiles at him, looking for all the world like marta. "i know who to call."
"and what about joe?" tomasso challenges, as he hears marta exclaim something. "does he know everything about us? or is he going to be like that greenwood girl?"
"he's nothing like halia," comes out gruffly and it's another puzzle piece to whatever had cratered that relationship.
he doesn't ask where michael has found the money to do this, the empire he's got his eyes set on. he thinks that might open up some other things that they aren't ready to take on. and more than that, he likes the ambition on his face as he watches michael cut the pie crust. they both can hear joe talking to marta in the main room, how she helps him with setting the table. "i've got confidence in it and joe's helping me every step of the way. i'll be okay."
tomasso thinks about his father—the man he killed so many years ago. the man who had once been his friend, the man he once would've done anything for until things turned badly. and he looks at michael and reminds himself that his old friend had never deserved this boy. the condition he'd found him in overrode any old feelings of friendship he'd carried for his father, and everything else?
"alright. if you're confident. if there's anything that comes up—"
michael smiles at him, looking for all the world like marta. "i know who to call."
"and what about joe?" tomasso challenges, as he hears marta exclaim something. "does he know everything about us? or is he going to be like that greenwood girl?"
"he's nothing like halia," comes out gruffly and it's another puzzle piece to whatever had cratered that relationship.
"he had another nightmare," marta says from the doorway, yawning. "i got him some food and to bed."
at his desk, tomasso pulls back, exhausted. "i thought they'd been getting better. you have any idea of what it could have been?" he looks towards his wife, always pleased to see her. at almost ten years his senior, his parents hadn't been too happy and hers even less so at the idea of marrying a boy who they didn't take serious at all at the time. years on though, and they've only grown more intertwined, more like two organs come together.
marta shakes her head, her dark curls framed beautifully in the light. "no. i tried to ask him about the nightmare and he didn't have an answer. bambino is just tired. as you must be." she crosses into his office, dark eyes roving over him. "you should come to bed, too." she offers her hand.
he kisses her hand, right where the wedding ring is.
at his desk, tomasso pulls back, exhausted. "i thought they'd been getting better. you have any idea of what it could have been?" he looks towards his wife, always pleased to see her. at almost ten years his senior, his parents hadn't been too happy and hers even less so at the idea of marrying a boy who they didn't take serious at all at the time. years on though, and they've only grown more intertwined, more like two organs come together.
marta shakes her head, her dark curls framed beautifully in the light. "no. i tried to ask him about the nightmare and he didn't have an answer. bambino is just tired. as you must be." she crosses into his office, dark eyes roving over him. "you should come to bed, too." she offers her hand.
he kisses her hand, right where the wedding ring is.
they've always been a fixture in certain circles: dr. terranova and mrs. terranova. the surgeon who seemed to have endless time for others and his wedding planner wife who never had a wedding turn into a disaster under her careful care. it's been an image they've long cultivated, long protected. having a child was apart of that; or it had been the outward assumption one would naturally come. that the beautiful mrs. terranova had been born without one, wasn't something they were privvy to.
all they saw was a couple dedicated to each other, no matter what. and for a long time, they are.
mrs. terranova never has to suffer some of the frequent humiliations that came with being the wife of a mobster. there are no younger women in her husband's bed, there are no men who she suspects might be more than friends, there are no girls who covet and get their way.
there is only her husband coming home to her with gifts of dogs and pearl and opera reservations and they are content to be together.
and then one day he comes home with the gift of a child in need of a mother.
all they saw was a couple dedicated to each other, no matter what. and for a long time, they are.
mrs. terranova never has to suffer some of the frequent humiliations that came with being the wife of a mobster. there are no younger women in her husband's bed, there are no men who she suspects might be more than friends, there are no girls who covet and get their way.
there is only her husband coming home to her with gifts of dogs and pearl and opera reservations and they are content to be together.
and then one day he comes home with the gift of a child in need of a mother.
"sal, don't ever say that he isn't mine again," he speaks slowly as he watches tony moroni hobble away on crutches, "or i'm going to make sure your boy doesn't wake up from his operation."
in flight movie options
THE SNOWS OF KILIMANJARO (1952). — The life of celebrated American writer Harry Street (Gregory Peck) flashes back before his eyes as he lies dying from a wound suffered at the foot of Tanzania's Mount Kilimanjaro. As he is tended to by his traveling companion, Helen (Susan Hayward), he recalls many things: his first wife and Paris literary inspiration, Cynthia Green (Ava Gardner) ; his second wife, Countess Liz (Hildegarde Neff) ; and his formative years with uncle Bill (Leo G. Carroll).
THE BIG SLEEP (1946). —
Private investigator Philip Marlowe (Humphrey Bogart) is hired by General Sternwood to help resolve the gambling debts of his wild young daughter, Carmen (Martha Vickers). Sternwood's older daughter, Vivian (Lauren Bacall), provides assistance when she implies that the situation is more complex, and also involves casino owner (John Ridgely) and a recently disappeared family friend. As people linked to the Sternwoods start being murdered, Marlowe finds himself getting ever deeper into the case.
NO WAY OUT (1950). — Robbers Ray Biddle (Richard Widmark) and his brother are shot and taken to the local hospital. There, the two are treated by Dr. Brooks (Sidney Poitier), the hospital's only black doctor. The brothers assault Brooks with racist slurs. And, when his brother ends up dying on the operating table, Ray accuses the doctor of murdering him. Blind with rage, Ray works to turn the white community of the city against Brooks, who finds an unlikely ally in the dead man's widow, Edie (Linda Darnell).
THE SNOWS OF KILIMANJARO (1952). — The life of celebrated American writer Harry Street (Gregory Peck) flashes back before his eyes as he lies dying from a wound suffered at the foot of Tanzania's Mount Kilimanjaro. As he is tended to by his traveling companion, Helen (Susan Hayward), he recalls many things: his first wife and Paris literary inspiration, Cynthia Green (Ava Gardner) ; his second wife, Countess Liz (Hildegarde Neff) ; and his formative years with uncle Bill (Leo G. Carroll).THE BIG SLEEP (1946). —
Private investigator Philip Marlowe (Humphrey Bogart) is hired by General Sternwood to help resolve the gambling debts of his wild young daughter, Carmen (Martha Vickers). Sternwood's older daughter, Vivian (Lauren Bacall), provides assistance when she implies that the situation is more complex, and also involves casino owner (John Ridgely) and a recently disappeared family friend. As people linked to the Sternwoods start being murdered, Marlowe finds himself getting ever deeper into the case.NO WAY OUT (1950). — Robbers Ray Biddle (Richard Widmark) and his brother are shot and taken to the local hospital. There, the two are treated by Dr. Brooks (Sidney Poitier), the hospital's only black doctor. The brothers assault Brooks with racist slurs. And, when his brother ends up dying on the operating table, Ray accuses the doctor of murdering him. Blind with rage, Ray works to turn the white community of the city against Brooks, who finds an unlikely ally in the dead man's widow, Edie (Linda Darnell).matches malone, in sedona
everything in it's right place — radiohead
holy dread — clint mansell
the dull flame of desire — björk & antony
carlos — Abel Korzeniowski & Shigeru Umebayashi
overjoyed — bastille
icarus — bastille
signs — bloc party
this is a trick — ††† (Crosses)
ritual — ellie goulding
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