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Glen T. Winstein

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  Main missions


  "Mafia Tutorial" by GenTBag

  I think the instructor's voice may be that of George DiCenzo, the same voice
actor who supplies the voice of Don Salieri (and supplies the voice of Earnest
Kelly of the print shop in GTA "Vice City").

  The instructor, heard in a voice over, guides us through some of the basics of
how to use the controls and the HUD to have Tommy interact with his environment.

  Tommy's Health bar appears in the lower left corner of the screen.  He starts
the Tutorial in a hall with 100 Health.

  The instructor says, "Okay, kid--here's where you're gonna learn what it takes
to be a real mafioso.  Every wise guy has a compass in his head telling him
which way and where to go.  So follow your inner compass and go to the stage
with the table on it."

  A compass appears in the upper left corner of the screen from the time a mis-
sion assigns Tommy a destination till he gets there.  The compass appears and
points to the stage.  Have Tommy walk to the stage and the compass disappears
when he gets there.

                                Default controls             My controls (I've reassigned some)

  Forward                 Up                                 W
  Backward              Down                             S
  Left                        Left                                A
       Tap it twice and, whether Tommy is standing or crouching, he'll do a side
       roll to the leftt.
  Right                      Right                              D
      Tap it twice and, whether Tommy is standing or crouching, he'll do a side
       roll to the right.
  Run                        Right shift                      Left shift
  Toggle run/walk    Caps Lock                      Num Pad Enter
  Aim                        Mouse aim                     Mouse aim
  Jump/climb            Num Pad 0                     Space bar
  Crouch                   Right Ctrl                       C
  Side roll                 Tap Left or Right twice  Tap A or D twice
  Objectives              F1                                   F1
  Action                    RMB                              RMB

  See my section on Controls for more details.

  (I think when the instructor asks, "Are you sure you're not being followed?"
he may intend for you to use a key that causes Tommy to swivel 180 degrees if
he's moving when you press it.  The walkthrough by Bloviator gives Right Alt as
doing that but it doesn't work for my PC v1.2 of the game and isn't listed in
the Controls menu.  I just use mouse aim to have Tommy look around.)

  Screen messages showing Tommy's objectives, typically the last set of instruc-
tions that appeared on the screen, can be made to appear on the screen for a few
moments by pressing F1.

  The instructor has you have Tommy climb onto the stage (you can have Tommy
climb or do a running jump) and do side rolls.  The instructions on the screen
also give the default key for crouching, but Tommy can be standing or crouching
when you have him do side rolls.

  The instructor says, "Now go to the table."  There are two handguns on the

  As the instructor says, an Action button (exclamation point icon) appears in
the lower left corner of the screen when Tommy is near something you can have
him interact with by pressing the RMB.

  The instructor says, "Here you can take the guns from the table.  Go on, do

  A menu appears listing Tommy's choices if the Action button appears and you
press the RMB when he's near more than one thing he can pick up, person he can
talk to or cause to talk to him, door he can open, etc.

  Have him go to the Colt 1911 and Colt Detective Special handguns on the table
and the Action button appears.  Press the RMB and a menu with both guns listed
appears.  Left click the name of one gun, Tommy takes that gun, and the menu
disappears but the Action button remains while Tommy is near and pointed toward
the other gun.  Use the RMB to have Tommy take the other gun.

  The instructor says, "You can perform one more action on the stage.  See what
you can find."

  (Actually, there are two more things you can press the RMB to have Tommy per-
form an action for while he's on the stage--the microphone at the front of the
stage and the Health cabinet on the back wall.  Tommy probably still has 100
Health so doesn't need to use the Health cabinet, but he can use it anytime dur-
ing the rest of the Tutorial.)

  Have Tommy speak (RMB) into the microphone.  He says, "Hello--is there anyone

  The instructor tells Tommy to choose a weapon from his Inventory.

  Press I to open the Inventory.  The game freezes while the Inventory is open.
Left click the name of a handgun to have Tommy equip it and a reticle appears in
the center of the screen.

  (The Tutorial can be a little glitchy.  If you have Tommy do something the in-
structor tells him to do then you don't hear the instructor again soon, have
Tommy do it again.)

  The instructor says, "Let's see how you can handle a gun. Shoot the cans off
of the table."

  Whenever Tommy is holding a gun and you press the LMB once, Tommy raises the
gun for a few moments.  You can use this time to aim the reticle before firing.
While the gun is raised, each press of the LMB will cause him to fire--if he
needs to reload and still has bullets, it will make him reload.

  The reticle expands momentarilly when Tommy fires a shot.  If Tommy runs out
of bullets during a big shoot out, you might not be able to tell from listening
and he'll keep the gun raised for a bit after your last press of the LMB.  Be-
sides looking at the lower left corner of the screen to see if he's out of ammo
for that weapon, see if the reticle expands when you press the LMB.

  Use mouse aim and the LMB to have him shoot the seven cans off the plank on a
couple of big canisters in the middle of the room.  You can have Tommy shoot
from anywhere in the room, so you can have Tommy move as close to the cans as
you want.  Later in the game, he'll have to shoot targets as hard to hit as
those cans are from the stage, though.  You can put the reticle on the left can
and shoot it then have Tommy move a bit to the right as needed to shoot each
subsequent can.

                                Default controls         My controls (I've reassigned some)

  Reload                   L                                F
  Switch weapon     Scroll wheel               Scroll wheel
  Hide weapon         H                               E
  Drop weapon         Backspace                 R

  The instructor tells Tommy to remember to reload.

  Press the Reload key to have Tommy reload.  He replaces a cylinder/magazine/
cartridge with a full one, which, as the instructor says, causes him to lose any
bullets left in the discarded magazine or chamber.  The ammo bar indicating the
bullets in his current cylinder/magazine/cartridge and the bullets in his unused
cylinders/magazines/cartridges for the weapon he's equipped with is at the bot-
tom left corner of the screen.

  The reloading process takes too long to be done safely when Tommy's in the
line of fire, but you can speed it up by having Tommy do a side roll while he
reloads.  At the end of a side roll, his gun will be reloaded.

  It's important to decide before a shoot out if you want Tommy to face an oppo-
nant with a full round or, if you don't want to spare the bullets, have him take
the chance that he'll be able to reload during the fight.

  The instructor tells Tommy, "You should also be prepared to switch weapons as
quickly as possible."

  You can have Tommy switch weapons quickly with the Scroll Wheel.  The name of
Tommy's currently equipped weapon appears briefly on the lower left corner of
the screen.

  The instructor says, "Just because you are a part of the Mafia doesn't mean
that you can walk around waving a gun.  The police will arrest you if they see
you carrying a gun.  Hide your weapon now."

  Press the "Hide weapon" key.  If you have him hide a weapon with the "Hide
weapon" key or drop a weapon with the "Drop weapon" key, "empty hands" appears
briefly on the lower left corner of the screen.

  A policeman will consider Tommy as committing an offense (and a gangster who
isn't in Tommy's gang may start attacking Tommy) if he sees Tommy carrying a

  (Tommy can conceal five small weapons, like handguns, and one large one.  He
can carry a second large weapon but can't conceal it.  If he's carrying one he
can't conceal and you don't want a policeman to see it, have Tommy drop it.)

  Following the instructor's prompts, have Tommy take (RMB) the Baseball bat (a
large weapon) from the table.

  The instructor says, "You can't carry and hide all of the weapons under your
coat.  If you have a large weapon like a shotgun hidden but are also carrying
another one and you spot a policeman, you're just gonna have to throw it away
to avoid attention."

   Press the "Drop weapon" key to have Tommy drop the bat.  (The instructor im-
plies that the police will consider it an offense for Tommy to be seen carrying
it, but the Baseball bat is the one weapon Tommy can carry openly without the
police considering it an offense.)

  The instructor says, "Okay, you're gonna need that bat so pick it up again."

  Have Tommy go to the bat and press the RMB to have him equip it.

  The instructor says, "The police won't give you any trouble if you are carry-
ing a bat even if you might use it to, ehm, say, knock someone out."

  (The Baseball bat is the one weapon Tommy can carry openly without the police
considering it an offense.  The instructor means the police won't act on the po-
tential of the bat to be used as a weapon, but they'll consider it a offense if
they see Tommy hit someone with it.)

  The instructor says, "See that guy over there?  Walk up behind him and knock
him out cold, as hard as you can."

  A man walks from the hall to the plank on a couple of big canisters in the
middle of the room.

  When you press the LMB to have Tommy swing the Baseball bat (or a fist or
whatever melee weapon), a progress bar appears.  If you hold down the LMB to
fill the progress bar before having Tommy swing the Baseball bat (or a Knife)
and hit the target from behind, it's a one-hit knock-out or kill respectively.
Have Tommy get behind the man that walks from the hall to the middle of the
room, fill the progress bar, and knock him out.

  (The Tutorial refers to the effect of a blow with a fully powered bat on the
back of a victim as stunning the victim, and elsewhere in the game the effect of
a blow with a fully powered Knife on the back of a victim is a kill, but you
won't be able to tell the difference.  Either way, the victim falls down and
doesn't get back up.)

  The instructor says, "Oh ho--that's gotta hurt!  Now, to get around the city
you're gonna need to know how to drive.  Walk over to that car."  The compass
appears and points toward the car.

  Send Tommy back out of the room and through the hall, out through the door
(RMB), and to the driver's door of the car (the same car used as the default car
to start "Freeride"--a Falconer Yellowcar).  The compass disappears and the Ac-
tion button/exclamation point icon appears.

  The instructor says, "You are able to steal any car that you come across, but
only if you've been shown how to get into it.  Try to pick the lock on the car

  (Normally, Tommy can only jack or pick the lock of a vehicle, or it and a sim-
ilar line of vehicles, after Lucas Bertone or Ralph show Tommy how to pick the
lock of a vehicle, or if succeeding at a main story mission makes the vehicles
available for "Freeride."  But the Tutorial gives Tommy the ability to pick the
lock of a Falconer Yellowcar once the instructor tells him to do it.)

  Press the RMB and a progress bar appears.  Hold down the RMB to fill the pro-
gress bar while Tommy picks the lock of the car.  You can use mouse aim while he
does, which is useful in the main story missions or "Freeride" to see if any po-
licemen are nearby--the two men nearby in the Tutorial don't care.  A message
appears on the screen: "You've learnt how to steal a Falconer."  Tommy can jack
or pick the lock of a Falconer for the rest of the game.

  The instructor says, "Make sure that the police don't spot you when breaking
into cars.  Now, get in the car."

  Press the RMB and Tommy enters the car.  The name of any vehicle Tommy enters
appears briefly at the bottom left corner of the screen.

  The radar appears in the upper left corner of the screen.  (See the section on
the HUD for descriptions of the things that appear on the screen when Tommy en-
ters a vehicle as the driver.)

  The instructor says, "When you get in a car, a radar will be displayed next to
the compass.  It shows other vehicles that are in your surrounding area and
it'll also display your destination when you're close enough.  Drive to the
place indicated."

  The controls given are:

                                        Default controls        My controls (I've reassigned some)

  Accelerate:                    Cursor key up           W
  Brake and Reverse:       Cursor key down       S
  Steer Left:                     Cursor key left           A
  Steer Right:                   Cursor key right        D
  Handbrake:                    Spacebar                   Spacebar
  To change the transmission from automatic to manual, press MANUAL/AUTOMATIC
  GEARING                    M                              M
  then GEAR UP and GEAR DOWN to change gears
                                        A and Z                     Up and Down

  A few others:

  Clutch                           X                                X
  Look left                        ,                                 Q
  Look right                      .                                 E
  Look behind                   , and .                        Q and E
  Speed limiter                 F5                               F5
  Horn                              K                                 Left Shift
  Change camera              C                                C

  You don't get a Map (Tab) for the little section of town provided for the Tu-
torial, but it's just a little lot by a road that goes down to one square block
and, across the street from the block, by a larger lot that's partly paved.  At
the far side of the lot, Tommy can drive up a ramp to a short road.

  Press W or S to have Tommy start the ignition then have him drive (see the
Controls section) to the destination: have him drive onto the nearby road, go
down the hill, and go right.  The radar displays a red X to indicate the destin-
ation when Tommy drives close to it and the red X disappears when he arrives

  The instructor says, "Okay.  Every car has a speed limiter.  When used, it
will allow you to drive at (the) maximum speed limit allowed and not exceed it.
Use this to avoid worrying about being stopped by the police for exceeding the
speed limit.  The police will appear as blue cars on the radar.  Turn on the
limiter and drive in the direction indicated by the compass."

  You can press F5 to toggle a 40 mph (60 mph after completing the main story
missions) speed limiter--when it's in use, a yellow-orange diamond-shaped icon
with "40" (later "60") in black numerals appears in the bottom right corner of
the screen.  It prevents Tommy from going over 40 mph (later 60 mph) and risking
that a policemen will consider Tommy as exceeding the speed limit.

  There aren't any police in the Tutorial, but turn on the speed limiter then
have Tommy drive to the next destination, which is in the middle of the large
lot and appears as a red X on the radar when Tommy drives close to it.

  The instructor says, "Even when you're driving you may have to defend your-
self.  You can shoot from a car while driving but can only use handguns.  Choose
a Colt and try it."

  To have Tommy shoot from the driver's seat of a vehicle, scroll to the handgun
you want to use and press the LMB--a reticle appears in the middle of the
screen.  You can aim the handgun with the Mouse.  Have Tommy drive so a pedes-
trian is somewhere to the left of the car and shoot till he kills them.

  Press the key to have Tommy look right (I use E) or the RMB and he reverts to
Empty Hands--if the vehicle has a window, he closes the window.

  (I don't like looking sideways while trying to drive forwards, so I generally
didn't use this for a driveby while having Tommy drive.  Tommy can use a hand-
gun, machine gun, or shotgun from the passenger side.  To have Tommy use Mouse
aim, not shoot, from the driver's seat of a vehicle, click the LMB without
scrolling to a handgun first.)

  The instructor says, "If someone steps into the road in front of you, you
should warn them by sounding the car horn."

  You can have Tommy use the Horn (I use Left Shift) to get peds out of (or, un-
fortunately, sometimes into) his way.  When he's driving over the speed limit--
40 mph until completion of the main story missions then 60 mph--you can have him
use the horn to get vehicles out of the way.  You'll have better success if you
have him approach from behind and right of them to have them go left and behind
and left of them to have them go right.

  The instructor gives a few of the basics about police wanted levels (there's a
lot more to it--see the section on "Police").  Tommy's car can't be driven till
he finishes giving his instructions for the Tutorial.

  The instructor says, "Now listen up.  In our line of work you don't want to
draw attention to yourself, so be aware of the police patrollin' the city.

  "If you commit a minor offense, a symbol of a fine will be displayed.  Simply
stop and pay the fine, and then you can be on your way."

   There's a ticket icon in the top middle of the screen for a minor offense.
Tommy can just go through the motions of paying the officer to take care of that
in the main story missions (but letting a policeman apprehend Tommy for that in
"Freeride" costs Tommy $1,000).

  The instructor says, "When you are spotted committing a serious offense, a
handcuff symbol will be displayed.  You can try to evade the police, but if they
catch you, you'll be arrested."

  There's a pair of handcuffs icon in the top middle of the screen for a major
offense such as if a policeman sees Tommy holding a weapon other than the Base-
ball Bat.  If Tommy is arrested, you fail the mission.  (You might have Tommy
run or drive out of the sight of the officer then get into another vehicle, or
have Tommy kill the officer or officers.)

  The instructor says, "Lastly, always keep your weapons hidden when out in the
city.  If the police detect shots being fired, a symbol of a gun will be dis-
played.  You'll now be wanted by all of the police in the area and they will re-
turn fire.  How you're gonna get out of that situation is up to you."

  There's a Colt 1911 handgun icon in the top middle of the screen for an of-
fense that creates a police assault--all the policemen on foot or in police cars
try to kill Tommy.  One way this is created is if a policeman sees or hears Tom-
my fire a weapon.  (You might have Tommy run or drive out of the sight of the
officer then get into another vehicle, and have Tommy kill a nearby officer or
officers if needed.)

  The instructor says, "That's it.  From now on, it's down to you to see what
you make out of yourself."

  Send Tommy to the door pointed to by the compass and indicated by the X on the
radar and click the RMB if you want to end the Tutorial.

  But the Tutorial lets you take as much time as you want to have Tommy follow
the instructions given, so at any time you can have Tommy go off and do other
things if you want to experiment with the controls and explore.

  You can send Tommy back into the building he started in to use (RMB) the
Health cabinet on the wall at the back of the stage.  Using the Health cabinet
returns Tommy's Health to 100, which you might want to do if you have him get
damaged while experimenting with the little section of the city, pedestrians,
and traffic provided for the Tutorial.  You can have Tommy try out various
things without getting in trouble because there aren't any police and the peds
don't fight back.  A few things you might notice:

  Some graffiti and names of stores, many of which, along with a lot of the
voice actors, may indicate the involvement of associates of Rockstar in the mak-
ing of the game:

 "Rangers FC No1 MARISA"  According to Wikipedia: "Rangers Football Club are an
association football team based in Glasgow, Scotland, who currently play in the
Scottish Premier League."

  and nearby: "Bobbie Nelson" (Willie's sister?)

                      "Mark Jackson"  (English footballer?)

                     "Chris Forth" (?)

Arts in partnership with the Digital Studio at Queens Street Studios and the
Golden Thread Gallery.  The primary aim of the project was to advance of inter-
nationally an awareness of and appreciation for contemporary visual artistic
production from Northern Ireland."

  "J.B. Megahey" is the name of a company in Belfast, Ireland, that's been dis-

  "R. M. Revie" RM Revie & Son is a tool sharpening company at 15 Union Street,
Belfast, Ireland.

  "Harry Corry": According to Wikipedia: "...a Northern Irish home decor store.
They have stores located throughout Northern Ireland, Republic of Ireland, and

  "Progressive Uniont Party" refers to the Progressive Unionist Party in Nor-
thern Ireland.

  Tutorial by bunciaknconquer

  "Mafia 1 Tutorial Bug" by Tommyyk

  On the lot the instructor tells Tommy to drive to, the three wedge-shaped
ramps can be used for more than just jumps.  Have Tommy park the Falconer Yel-
lowcar on one then shoot one of the wheels off by shooting the center of it.  A
replacement wheels appears and the car goes forward most of a foot every seven
seconds or so.  It defies gravity going at the same upward angle till most of it
is beyond the ramp then it falls into the ramp as if the ramp weren't solid.  It
continues forward till Tommy gets into it or gets on it by jumping from a nearby
ramp or from nearby boxes.


  Now we that are strong ought to
  bear the infirmities of the weak
  and not to please ourselves

                             Romans 15:1

  I guess that's a message from the game developers that you shouldn't act like
the mobsters in what follows.  In "The Running Man" and "Intermezzo 1," even our
lead character Tommy, who has a nicer nice side than the others in his mob,
tells Det. Norman that he killed without remorse to be a part of a gang, make
money, and have people ingratiate themselves to him.  He was threatened by Mor-
ello's men when he joined Salieri's gang, but put himself in greater danger from
Morello's men by getting into direct combat with them all the time.

  In "Intermezzo 2," Frank's attempt to have Tommy rationalize murder for a
crime group is nothing better than that.  The deaths Tommy causes end up includ-
ing mob friends and finally himself, etc.

  One thing I'll say to vouch for the believability of the game developers re-
garding the scriptural quote: I like the game and how well they researched peri-
od car and music, etc., but it's probably safe to assume they don't actually be-
long to a mob.  No member of a mob would have Tommy and Paulie rob a local bank
without wearing disguises (see the mission "Moonlighting").

  Intro by trystek


  The voice of Tommy Angelo is by Michael Sorvino.  He returns to the fran-
chise briefly in the 2010 game "Mafia II."  He also appeared as Mischa in the
2005 TV mini-series "Human Trafficking" and as himself in a 2007 episode of
the TV series "Filmnut," etc.

  Paul Sorvino, who played Paul "Paulie" Cicero in the 1990 movie "Goodfellas"
and whom Don Salieri looks a bit like in "Mafia: the City of Lost Heaven," is
the father of Michael Sorvino--Tommy Angelo in "Mafia: the City of Lost Heaven."

  Full Interview with Paul and Michael Sorvino:

  The voice of Detective Norman is David O'Brian, who supplies the voices of
the Cartoon Host/Return To Sender Announcer/Male Sales Voice in the 2003 video
game "Max Payne 2: The Fall of Max Payne," Robert Cordell in the 2007 game
"Syphon Filter: Logan's Shadow," a Newscaster and Announcer in the 2012 video-
game "Max Payne 3," etc.

  Cutscene: 1938

  Tommy gets off the El-train at Giuliano Street station (see the Map--Tab).  He
enters a cafe southwest of the station to meet Detective Norman.  (In the game
otherwise, there's an IRONMONGERS shop there instead of the cafe.)

  Tommy asks, "Detective Norman--can I join you?"  Det. Norman nods to his table
and smiles at Tommy.  Tommy hangs up his coat, sits across from Det. Norman at
his booth, and says, "Sorry for the delay, but I didn't want anybody seein' me,
if you know what I mean."

  A waitress asks Tommy, "What can I get you, sir?"  Tommy tells her, "Just a
coffee."  The waitress says, "Coming right up."

  Det. Norman says, "It's not my habit to sit with people like you."

  Tommy says, "Got a business proposition for you, detective."  Det. Norman
says, "I ain't no businessman, and even if I were, I wouldn't be doing business
with the likes of you."

  Tommy says, "I don't usually do business with your kind, either.  But this is
a bit of a strange deal--good for you and your superiors and good for me.  It
concerns a certain kind of trade."  Det. Norman asks, "Trade?"

  Tommy says, "Well, let's just say that I hold a high position in a not so le-
gal organization.  It's just the kind of organization people such as yourself
would like to know a lot about.  And I, on the other hand, for certain reasons
don't want..."

  The waitress tells Tommy, "Your coffee, sir."  Tommy tells the waitress,

  Tommy tells Det. Norman, "I have my own personal reasons why I don't want to
be associated with this organization.  It ain't too easy to leave this kind of
business, if you know what I mean."

  Det. Norman says, "I think I know where you're coming from--you'll get a bul-
let in your head if you don't disappear quickly, right?"  Tommy says, " That's
not the only reason.  Got any kids, detective?  I've got a wife and daughter.  I
don't want them to have any problems because of me."

  Det. Norman asks, "Yeah?  Well, I ain't just gonna hand out protection to any
Wop crook.  You should've thought about them kids before, 'cos I...."

  Tommy says, "Sure, sure.  Listen, I don't want something for nothing, so
here's the deal: does the name 'Salieri' mean anything to you?"  Det. Norman
asks, "Salieri?!  It damn well does!  You got something in common with him?"

  Tommy says, "You could say that.  I've worked for him for several years.  Now
he wants to rub me out.  If you protect my family and me I'll tell you every-
thing--names, dates, accounts--everything.  Enough to put him away for life."

  Det. Norman says, "I ain't Santa Claus.  If I go to the chief with this I need
to know everything you know, and I have to be sure you'll testify in court."

  Tommy says, "Sure.  If you ain't in a hurry, I'll tell you my whole story and
all the deals I worked on over the years."

  Det. Norman says, "Okay, I've got time and I'm listening."

  Intro and Prologue by FLOW

  Speed runs for the whole game

  The resulting 1938 conversation between Tommy and Det. Norman is given in cut-
scenes--"Intermezzo"s--and is heard in voice-overs by Tommy recalling how he
ended up in Salieri's mob and the things he did with them, which is what the
main story missions of the game are based on.

  1   An Offer You Can't Refuse

                                   01 An Offer You Can't Refuse

  The name of the mission is taken from a line by Don Vito Corleone (Marlon
Brando) in the 1972 movie "The Godfather."

  Cutscene: autumn 1930

  Tommy's recollections for Det. Norman begin just before he joined Salieri's

  The voice of Sam is Matt Servitto who played FBI agent Dwight Harris in 24
1999-2007 episodes of the TV series "The Sopranos," Deputy Brock Lotus in 38
2013-2016 episodes of the TV series "Banshee," etc.

  The voice of the wounded man, who we later learn is Paulie, is William DeMeo
who played Jason Molinaro in eight 2004-2007 episodes of the TV series "The
Sopranos," Carlo in a 2015 episode of the TV series "Person of Interest," etc.

  John Zurhellen, who supplies various voices, supplies various voices and is
Jethro in "Vice City" and "San Andreas" and is Jeremy St. Ives in "IV," the last
two for which he helped write pedestrian dialogue.  He provided voices for a
Pedestrian and Background Character for the 2010 game "Red Dead Redemption,"

  Chris Phillips, who supplies various voices, supplies the voice of El Burro
and Marty Chonks in GTA "III," 2001.  He suppied the voices of DEA Agent Alex
Balder/Mercenary/Killer Suit for the 2001 videogame "Max Payne," Additional
Voices for 34 2011-2015 episodes of the animated TV series "Bubble Guppies,"

  Some of the others who supply various voices to this game who also supply
voices for GTA peds are John Zurhellen, Adam Davidson, Jenny Jemison, Laura
Paterson, Gene Hilgreen, Steve Knezevich, Gillian Telling, and Adam Tedman.

  As Tommy's memories of 1930 are depicted, we hear him talking to Det. Norman
in a voice-over.

  Tommy (voice-over): "I used to be a taxi driver.  Even though I wasn't making
much and I worked from dawn to dusk, I was glad to be working."  Tommy takes a
break from his work at night to step out of his taxi at the side of a city
street.  A car chases another car in another part of town.

  Tommy (voice-over): "It was a bad time and some other people were worse off
than me."  Tommy has a smoke and checks a wheel of his car.  Two people in the
car giving chase shoot at the car being chased, and the man in the passenger
seat of that car shoots back.

  Tommy (voice-over): "It was that very taxi that drew Salieri's people to me in
the first place."  Tommy continues to smoke.  The car being chased swerves
around oncoming traffic and a corner till the car giving chase goes off course,
brakes, and tries a different route.  (The car being chased illustrates the
method you use in the upcoming mission.)

  Tommy (voice-over): "One day I was on my break and I was just hanging out.
Suddenly, I heard a tremendous crash."

  Tommy hears a car crash (apparently the car that was on the bad end of a car
chase and shoot-out) and turns to see a young man in a black suit, blue shirt,
and black bow tie come from behind a nearby corner.  The man turns worriedly
when a man's voice behind him says, ""Sam!  They got me.  Damn it."  Sam tells
the man, "Climb up and move.  There's a taxi, we'll be okay."  Sam raises his
handgun at Tommy, who drops his cigarette.

  Tommy (voice-over): "It was clear to me that these guys had to get out of
there fast, so I thought it was best to cooperate rather than ending up with a
hole in my head."

  Sam gives Tommy a hard shove toward the taxi and says, "Move it--come on."
The other man, wearing a gray suit, white shirt, and red tie, has been shot and
stumbles around the corner.  All three get into the taxi--Sam in the back and
the other man beside Tommy.

  Tommy asks, "Where to?"  The wounded man raises his handgun to Tommy and de-
mands, "Anywhere--fast.  I hope you're damn fast--faster than Sam here was."

  (The wounded man looks and sounds a bit like Joe Pesci as Tommy DeVito in the
1990 movie "Goodfellas.")

  Tommy (voice-over): "I burned rubber outta there like a bat outta hell.  It
didn't matter where--just away from those gentlemen who were chasing my new cus-
tomers."  Tommy starts the engine of his taxi.

  (Something to remember throughout the game if you have v1.2 of the game: type
"cumdal" at the start of missions to improve draw distance.)

  When you get control of Tommy's taxi, the wounded man tells Tommy, "Now listen
carefully: we gotta shake those clowns behind us.  If you don't do it then we're
done for, and that includes you.  Step on it, kid."

  The cutscene implied the basic instruction: Have Tommy's taxi shake off the
car of gangsters who want to kill Sam and the wounded man.

  The attacking car, shown as a red line on the radar, rams into Tommy's taxi,
shown as a white line in the middle of the radar, while the gangsters in the at-
tacking car shoot at the occupants of the taxi.

  The Health bars of Sam and the wounded man are shown above Tommy's Health bar
in the lower left corner of the screen.  Tommy and Sam have 100 for Health but
the wounded man only has 79 for Health at the start of the mission.  You fail
the mission if anyone in Tommy's cab dies.

  (This will cause you to fail the mission, but you might try it for the vari-
ety: when the cutscene ends, have Tommy quickly get out of his cab, turn around,
go to the gangsters' car, and carjack it.  Thanks to Bloviator.)

  Have Tommy turn a lot of corners, drive through narrow spaces, and narrowly
miss the side of things--since the attacking car usually tries to get on the
left side of Tommy's taxi, usually narrowly miss the right side of things--to
try to lure the car to run into something.  And try to avoid letting the car
drive alongside the cab and letting the gangsters in the car get a better shot
at the occupants of the cab.

  When the attacking car runs into something, have Tommy speed ahead or brake
with a turn and speed the other way.

  Once Tommy shakes the car, Sam exclaims, "Great--we made it," the wounded man
says, "Good work, brother, now take us to Salieri's Bar--I'll show you the way,"
a compass, which points at Salieri's Bar, appears as a little dial in the upper
left corner of the screen, and a pocket watch, which counts down ten minutes,
appears in the upper right corner of the screen.  The amount of time left is in-
dicated in red on the otherwise black and white face of the watch.

  Salieri's Bar in Little Italy is marked on the Map (Tab), which also indicates
the location with a blue arrow till Tommy gets close enough to it for it to ap-
pear on the map, at which time it's indicated by a blue X.  When Tommy gets
close to the bar, it's indicated on the radar, which appears as a big dial in
the upper left corner of the screen, by a red x.,_Brooklyn

  A good shortcut to remember: there's a north-south alley between the "A" of
"LITTLE ITALY" and the "a" of "Salieri's" on the Map (Tab).

  Once Tommy's taxi gets close to Salieri's Bar, there's a cutscene.

  Cutscene: the wounded man says, "Finally, we're home" as Tommy parks across
the street from Salieri's Bar.  As Sam and the wounded man get out of the taxi,
the wounded man tells Tommy, "Wait here, friend.  Sam will get you a little
something from Mr. Salieri."  The wounded man adds, "Thanks for your help," and
he and Sam walk into the bar.

  While Tommy waits, he lights up a cigarette and sees that the two men standing
at the door of the bar are looking at him.  We can hear Tommy's heart pounding,
and he picks up his car keys from the seat beside him, as Sam comes back and
reaches into his suit.

  Sam pulls an envelope from his suit and says, "Mr. Salieri would like to thank
you, as well as myself and Paulie."  He hands Tommy the envelope and says, "It's
compensation for the damage to your car and your services.  It should be
enough."  Nervously, Tommy says, "Yes, uh, of course--thanks.  Uh, give my re-
gards to Mr. Salieri."

  Sam says, "Mr. Salieri wants you to know that he is very grateful to you.  If
you ever need anything you can come back and ask for help because Mr. Salieri
doesn't forget about friends who have helped him out.  If you're interested,
maybe we could find a job for you here and it would pay well.  We always have
positions for guys as good as you."

  Tommy says, "Okay, o-okay.  I'll think about it, thanks.  Uh, really--thanks.
I'd--I'd better go--to fix the car and so on."

  Sam: "All right.  I understand.  Just think about it.  And I hope it's clear
that this matter is only between ourselves.  You take care, kid."  Tommy drives
away and Sam returns to the bar.

  While Tommy has a glass of liquor and looks at a banded batch of dollar bills
on the table he's seated at in his home, we hear him still talking to Det. Nor-
man in a voice-over: "When I opened the envelope, I almost had a heart attack.
There was more than it would cost to do the repairs."

  "But I didn't for a minute think about their offer.  I didn't want to join
some criminals--even if they had all the money in the world.  Better to be poor
and alive than rich and dead, right?  I was gonna get my cab repaired and try to
forget it all as soon as possible.  As my mother always said: 'You can never
predict what God has in store for you.'"

  Video walkthrough

  by TheGamesPerson, 0rland0walkthrough, uberwolf420, and Willzyyy

  2   The Running Man

  The title might come from the Stephen King novel/Arnold Schwartzenegger movie
title.  Both feature people running for their lives.

                     02-01 The Running Man-Taxi Rank

  In south Central Island, a man walks to the taxi and asks, "Hey, could you
take me to the church downtown please?"  Tommy says, "Okay, okay."

  A few basics:

  The destination is indicated on the Map (Tab) by a blue arrow till Tommy gets
close enough to it for it to be shown on the Map, when it's indicated on the Map
by a blue X and on the radar by a red X.

  Watch the radar for blue lines--police cars.  You can let Tommy run through
red lights without drawing police attention unless a blue line is moving toward
Tommy's taxi, the white line in the middle of the radar, from about halfway be-
tween the edge and the middle of the radar.

  If you hear a whistle, it's a policeman on foot, and Tommy will probably evade
him by just driving.  If you hear a siren, it's a police car, and you can have
Tommy stop and be apprehended.  You see a scene of Tommy paying the fine, but
you don't have to manage his money earned and lost as in "Freeride."

  You might press F5 to turn off the speed limiter at times and be ready to turn
it on again and slow down if a police car approaches, but you won't fail the
mission due to the police unless Tommy fails to deliver the fare, such as by
letting Tommy be apprehended for a serious offense (see the section on "Po-

  The time allotted for each of these taxi mission is generous.  The time left
is indicated in red on the pocket watch in the upper right corner of the screen.

  Tommy's taxi is facing west in front of the Municipal Building--the south side
of the building indicated in brown north of the block indicated in red at the
south end of Central Island.

  Tommy has five minutes to take the fare to the church.  Have Tommy turn 180
degrees, go east to the T-intersection at the end of the road, go right, left,
left, go right and go east across the East Marshall Bridge, left, make the
fourth right, and drop the man off in front of the church--the north side of the
only building indicated in brown due south of "DOWN TOWN" on the Map (Tab).

                     02-01 The Running Man-Passenger 2

  Another man asks Tommy for a taxi ride: "Are you taken?  I need to go to the
hospital in New Ark."  Tommy says, "No problem."

  Tommy has five minutes to take the fare to the hospital in New Ark.

  One possible route which is easy to describe: have Tommy turn 180 degrees, go
to the T-intersection at the end of the road, go right to the T-intersection at
the end of the road, go left to go mainly northwest through the west side of
Downtown and New Ark to the north side of the T-intersection at the end of the
road, and go over the driveway to the steps of the hospital, which is indicated
in brown north of the northwest-most T-intersection of New Ark.

                     02-01 The Running Man-Passenger 3

  The third person who asks for a taxi ride looks like Sarah of mission 7--"Sar-
ah"--but sounds different.  (Thanks to the mafiascene forum where many noticed
that, as happens in many games, various NPCs show up in more than one role in
the game.  I think the guy in the cap of the first three that attack Sarah in
"Sarah" shows up in other places, for example.)

  She says, "I'm lucky you're here!  I need to get to the theater on Central Is-
land.  Take the Giuliano Bridge so that we can get there quickly."  Tommy says,
"Whatever you want."

  Tommy has five minutes to take the fare over the Giuliano Bridge to the thea-
ter on Central Island.

  (The setting of the game is supposed to look like a mix of New York and Chica-
go, but the red Giuliano Bridge is a touch of San Francisco--it looks like a
little version of the Golden Gate Bridge.)

  There are various ways to go south to get onto the Giuliano Bridge, but I'm
going to give a route that takes Tommy over one of the good shortcuts to know
for getting on or off the bridge when going to or from Lucas Bertone's auto

  Have Tommy drive south along the west side of New Ark.  When he's beneath the
Giuliano Bridge, have him turn left to go northeast over the walk (honking when
needed to get pedestrians out of the way), make a hairpin turn to the right at
the northeast end of the red guard rail of the bridge, go southwest over the
Giuliano Bridge, go south through the Y-intersection, go left, and drop her off
at the first--the west--corner across the street from the front of the theater,
which is the south side of the building indicated in brown east of the Y-inter-

  (She asks to be dropped off in front of the theater but won't get out till
Tommy parks at the corner across the street from the theater.)

                     02-01 The Running Man-Passenger 4

  The fourth passenger is a man in a tux who says, "Good day.  Could you take me
to Hoboken--Pompeii Bar?"  Tommy says, "Sure thing--get in."

  Tommy has five minutes to take the fare to the Pompeii Bar in Hoboken.

  There are various ways to go to the Pompeii Bar, but I'm going to give a
couple of the good shortcuts to know for Hoboken.

  Have Tommy make a U-turn, go right at the intersection, veer right at the
three way intersection, and go northeast across the Giuliano Bridge.

  Subsequent directions using one shortcut: continue straight on the road until
it makes a 90 degree bend to the north and go slowly through the alley (it has
five several foot drops) straight ahead, cross the street and go through the al-
ley straight ahead, continue straight down the road, and go left to drop the
passenger off at the Pompeii Bar, which is on the east side of the road south of
the "et" of "Market Ave" on the Map (Tab).

  Subsequent directions using another shortcut: have Tommy go east from the Giu-
liano Bridge, take the fourth right (just before the 90 degree bend to the
north), go left over the walk, and go due east to the Twister Theater, continue
east through the alley, continue east on the road to the T-intersection at the
end of the road, go left, go through the intersection, and drop the passenger
off at the Pompeii Bar, which is on the east side of the road south of the "et"
of "Market Ave" on the Map (Tab).

                     02-01 The Running Man-Passenger 5

  The fifth passenger is a man who says, "I need to get to the department store
car lot in Little Italy.  Can you take me there?"  Tommy says, "No problem.  Get

  Tommy has eight minutes to deliver the fare to the department store parking
lot in Little Italy.  If you had Tommy park facing south, the game has turned
his car to face north.  The fare says, "Go across the Giuliano Bridge and then
through the tunnel--it's the shortest way."

  Have Tommy go straight ahead, go north through an alley, turn left and go west
to the T-intersection at the end of the road (the fare complains that he wanted
to go over the Giuliano Bridge and asks if you know which one that is--ignore
him since that's where you're going), go left and continue across the Giuliano
Bridge (for some reason, the game breaks this trip into two objectives, and the
first is midway across the bridge), and either

  - make a sharp turn to the right at the Y-intersection or

  - make the first right then go left over a walk to the northwest branch of the

  continue northwest and through the Giuliano Street Tunnel, continue on the
road past a 90 degree bend to the south, and drop him off in the parking area at
the right side of the road.  The parking lot is catacorner southwest of the
southwest corner of the block of "LI" of "LITTLE ITALY" on the Map (Tab).

  The fare says, "This should cover it.  Keep the change."  After he gets out of
the taxi, Tommy says, "I need a coffee break."

                     02-02 The Running Man-Coffee Break

  Cutscene: while Tommy checks a wheel of his taxi, we hear him say in a voice-
over: "I had a cup of coffee and relaxed in the car.  While I was waiting to see
if I could get another customer, I noticed I wasn't far from Salieri's Bar."

  Tommy gets in his taxi for a coffee break in the parking area that's southwest
across the street from the southwest corner of the block of the "LI" of "LITTLE
ITALY" on the Map (Tab).

  The window beside Tommy is smashed a couple of times by a baseball bat.  Tommy
exclaims, "Jesus!"  A thug in brown clothes hits the taxi repeatedly with his
baseball bat.

  A thug in black clothes says, "We got you, you little rat" and yanks Tommy
from the taxi.  The thug in black clothes says, "Mr. Morello is pretty angry
with you--we're gonna have to teach you a little lesson so you remember that it
ain't right" as he drags Tommy to the side of the taxi.

  As Tommy sits on the street by his taxi covering his head, the thug in black
clothes kicks him, and the thug in brown clothes hits the taxi with a baseball
bat, we hear Tommy say in a voice-over: "Those bastards remembered the license
plate of my car and took it on themselves to hunt me down."

  (The two thugs work for Salieri's rival Morello and have come by to punish
Tommy for rescuing Sam and the wounded man the other day.)


  The thug in black clothes says, "Louie'll fix your face a little."  When the
thug with the bat is about to smash Tommy's face with it, Tommy breaks free.

  When you get control of Tommy, the gangster in black says, "Finish him off--
don't waste any more time on him."  Tommy has to run away from the two gang-
sters--one armed with a bat and the other armed with a handgun that he keeps
shooting at Tommy.

  You hear Tommy say in a voice-over (recounting what happened to Det. Norman)
"It was clear to me that I had to get out of there fast--I couldn't handle that
animal on my own.  I said to myself that now was probably the right moment for
Mr. Salieri to show his gratitude.  Salieri's Bar was just down the street and
the sight of it was certainly a lot nicer than a baseball bat to my head."

  The compass in the upper left corner of the screen points to Salieri's Bar and
translucent green arrows appear at several points along the way to help guide
you there.

  Have Tommy use the running version of the method of evading attackers used for
his driving at the end of "An Offer You Can't Refuse."  Have him run with side
to side movements and putting corners and things between himself and his attack-
ers to make himself harder to shoot.  Watch for cars when you have him cross the
street--vehicles will only stop for him if he pauses in their path long enough,
and you don't want to have him waste any time in his attacker's line of fire.

  Have Tommy

  - go ahead across the street and down the sidewalk,

  - turn right (as indicated by a translucent green arrow that moves side to
side) to go through an alley,

  - go ahead to the left to cross the street to a corner and ahead down the

  - turn right (as indicated by a translucent green arrow that moves side to
side) to enter the alley a car comes out of,

  - go left to go up the steps and ahead,

  - go right and ahead through an open area and through another alley and across
another open area,

  - go right down the steps and through the alley,

  - go left onto the sidewalk then left (as indicated by a translucent green ar-
row that moves side to side) to go through an alley,

  - go right to go through a little tunnel,

  - and go left on the sidewalk to the T-intersection and across the street to-
ward the front door (indicated by a translucent green arrow that moves up and
down above it) of Salieri's Bar.

  The guy in a white coat and red cap on the steps near the start of the first
alley Tommy runs into has a Steel Bar, which can be used as a weapon.

  (As you have Tommy run into the alley a car comes out of, a man on the left
in a dark suit and fedora with a blue hat band says, "Where the hell is she?  I
said three o' clock in the passageway."  Just past that, a man in a corner takes
a p**.  If you have Tommy punch him, he keeps urinating as he runs away.

  (As Tommy goes through the little tunnel before crossing the street to Sali-
eri's Bar, a woman says, "Where is he?  He said to meet him at three in the
passageway."  If you can risk having Tommy pause, you can have him tell her
about the guy waiting for a woman, one of which got the wrong passageway: "I
think he's waiting in the next street."  She says, "It must be a misunderstand-
ing--thanks a lot!"  Thanks to "Mafia Easter Eggs" by Underground.)

  (A couple threaten to kill each other in the alley just before the little tun-
nel.  But if Tommy punches the man, the lady yells, "Honey, those men have guns!
Help, police--someone is trying to kill my husband!"

  (Before the cutscene, if you use MafiaCon and noclip to have Tommy go into
Salieri's Bar, you see people drinking who are about to appear in the cutscene.
Thanks to "Mafia Observations" by AsaSK.  You can also use the noclip feature of
"MafiaCon1.2" or "Mafia Hack V1.03" to do that--see the "Mods" section.)

  Alternative method (using invincibility mode?) by Aknestik (see the link for
Aknestik's video below): have Tommy punch the back of the man with the Baseball
bat by the right front side of the car till he's knocked out (this takes several
minutes), crouch at the side of the car to get the other attacker to fire six
shots, and, while he's reloading, circle strafe him and use the bat on his back.

  Cutscene: Tommy enters Salieri's Bar.  Morello's two gangsters enter the bar
and we hear two shots.  A man (whom we later learn is Luigi the cook/bartender)
turns the sign hanging on the inside of the glass door from "OPEN" to "CLOSED."
Tommy has a drink at the bar by the wounded man Tommy rescued on a recent night
("An Offer You Can't Refuse") and who's recovered enough to be up and around.
Sam, whom Tommy rescued at the same time, has a drink nearby.

  Tommy (voice-over): "Salieri's boys saved my skin that time, but I certainly
wasn't in a good situation.  I had paid off my debts for the car repairs, but my
boss didn't want to employ anyone who's in the mob.  It just wasn't good busi-

  "When I saw the fancy get-up of Salieri's boys, I thought that it can't be too
bad to work for him.  Besides, I had nothing to lose.  Morello" (rival mob lead-
er) "was out to get me, so driving a cab wasn't the best job.  Plus, the pros-
pect of Salieri's dough wasn't so terrible.  So, like I always say: 'Better to
die young and loaded.'"

  In the lot behind Salieri's Bar, two men take the bodies of Morello's two
gangsters to a pickup truck.

  Video walkthrough

  Taxi fares by 0rland0walkthrough, uberwolf420, and TheGamesPerson

  Alley chase by 0rland0walkthrough, TheGamesPerson, and karoliuxgaming

  Alley chase alternative method by Aknestik

  Have Tommy lead the guy with the Baseball bat to the other side of the taxi
from the guy with a gun, hit the guy with the Baseball bat from behind (a lot)
to get his bat, go around the taxi just enough lure the guy with the gun to
shoot, charge him when he reloads, and hit him from behind (a lot) to get his
gun (S&W Model 10 M&P).  Have Tommy chase away or kill the guy with a Steel
bar.  You can now have Tommy safely interact with several people in the
alleys.  (You don't have to have Tommy kill any of them as Aknestik does.)

  3   Molotov Party

                     03-01 Molotov Party-Salieri Bar

  The voice of Don Salieri is George DiCenzo who played Vincent Bugliosi in the
1976 TV-movie "Helter Skelter," supplies the voice of Ubu in two episodes of
the animated TV series "Batman," 1993-1994, the print shop owner Earnest Kelly
in GTA "Vice City," 2002, etc.

  The voice of Frank is Dan Grimaldi who played a Bartender in a 1999 episode
of the TV series "Third Watch," Patsy Parisi in 47 2000-2007 episodes of the
TV series "The Sopranos," Johnny Opera Velardi in a 2016 episode of the TV
series "Limitless," etc.

  The voice of Vincenzo is by John Tormey who played Louie in the 1999 movie
"Ghost Dog," provides the voice of Harrison in the 2005 videogame "The Warri-
ors," supplies the voice of Vince in the videogame GTA "The Ballad of Gay
Tony," 2009, etc.

  The voice of Ralph (also Lucas Bertone, who appears later) is Jeff Gurner who
also supplies the voice for Jack Lupino in "Max Payne," 2001, a ped in GTA "San
Andreas," 2004, a ped in GTA "Liberty City Stories," 2005, Marshall Cormick/Fire
Giant King/ Jochris/Nameless Spirit in "Neverwinter Nights 2," 2006, Mori Kib-
butz in GTA "IV" "The Ballad of Gay Tony," 2009, etc.

  I use the cutscene part of this chapter to explain a few basics about the
American Mafia in segments set off by four asterisks at either end.

  Cutscene: presiding over a meeting in his office at Salieri's Bar with Tommy,
the wounded man Tommy rescued on a recent night, Sam, and Frank, Salieri says,
"Well, it looks like Morello is really trying to make me mad.  But I'm a reason-
able person."  He asks Tommy,  What do they call you, son?"  Tommy says, "Thom-
as Angelo."  Salieri says, "I've decided to give you a shot, Tommy--I like new
faces.  We're one big family here."

  (Don Salieri looks a little like Paul Sorvino as Paul "Paulie" Cicero in the
1990 movie "Goodfellas.")


  The American Mafia families:

  (According to Wikipedia, "The American Mafia (or simply the Mafia in the
United States), also known as Cosa Nostra or La Cosa Nostra, is an Italian-Amer-
ican criminal society and offshoot of the Sicilian Mafia.  Much like the Sicili-
an Mafia, the American Mafia had no formal name and is a secret criminal socie-
ty.  Its members usually refer to it as Cosa Nostra or by its English transla-
tion 'our thing'.  Another translation/meaning of the term is 'this thing of
ours'.  The press has also coined the name 'National Crime Syndicate' to refer
to the entirety of U.S. organized crime, including the Mafia.

  ("The Italian-American Mafia emerged in New York's Lower East Side and other
areas of the East Coast of the United States during the late 19th century fol-
lowing waves of Sicilian and Italian immigration.  It has its roots in the Si-
cilian Mafia, but has been a separate organization in the United States for many
years.  Neapolitan, Calabrian, and other Italian criminal groups merged with the
Sicilian Mafia to create the modern pan-Italian Mafia in North America.  Today,
the Italian-American Mafia cooperates in various criminal activities with the
Sicilian Mafia and other Italian organized crime groups, such as Camorra and

  ("There are five main New York City Mafia families, known as the Five Fami-
lies: the Gambino, Lucchese, Genovese, Bonanno and Colombo families.  The Itali-
an-American Mafia continues to dominate organized crime in the U.S.  It uses
this status to maintain control over much of the organized crime activity in
Chicago, Detroit, Boston, Buffalo, Pittsburgh, Cleveland, Philadelphia, Provi-
dence, New Jersey, and New York City, as well as in other cities in the North-
eastern United States and across the country, such as Las Vegas, New Orleans,
Miami, Kansas City and many others.  While each crime family operates indepen-
dently, nationwide coordination is provided by the Commission, which usually
consist of the bosses of each major family.")


  Salieri tells Tommy that "You already know Paulie and Sam."  (Tommy learned
at the bar that the man who was wounded and whom Tommy rescued on a recent night
is named Paulie.)  "Frank here is my right hand and looks after the legal side
of our business. The one behind the bar is Luigi.  This business ain't easy to
swallow, but Luigi's a wonderful cook.  Paul will introduce you to Vincenzo and
Ralph.  There are a lot of us, but those should be enough for now."


  The positions of Salieri and Frank in the chain of command:

  (According to Wikipedia: "A crime boss or boss is a person in charge of a
criminal organization.  A boss typically has unquestioned command over his sub-
ordinates, is greatly feared by his subordinates for his ruthlessness and will-
ingness to take lives in order to exert his influence, and profits come from the
criminal endeavors his organization engages in.

  ("Boss--Also known as the 'capo famiglia,' this is the highest level in the
criminal organization.

  ("Underboss"--second-in-command, sometimes a son.  Salieri's group doesn't
seem to have one.

  ("Consigliere--Also known as an advisor or 'right-hand man,' a consigliere is
a counselor to the boss of a crime family. The boss, underboss, and consigliere
constitute a three-man ruling panel, or 'Administration.'  The consigliere is
third ranked in the hierarchy but does not have capos or soldiers working for
him.  Like the boss, there is usually only one consigliere per criminal organi-

  ("Consigliere (Italian consigliere 'counselor'...) is a position in the Ameri-
can Mafia.  The word was popularized by Mario Puzo's novel The Godfather (1969),
and its film adaptation.  In the novel, a consigliere is an adviser or counselor
to a mafia boss, with the additional responsibility of representing the don in
important meetings both within the don's crime family and with other crime fam-
ilies.  The consigliere is a close, trusted friend and confidant, the mob's ver-
sion of an elder statesman.  He is devoid of ambition and dispenses disinter-
ested advice.  This passive image of the consigliere does not correspond with
what little is known of real-life consiglieri.

  ("A real-life Mafia consigliere is generally the number three person in a
crime family, after don (boss) and underboss.  A crime family normally has only
one consigliere at a time, but bosses have on occasion appointed more than one.
The boss, underboss, and consigliere constitute a three-man ruling panel, or


  "Now listen, and listen good, we have some rules around here: Don't cross
paths with the cops.  They're on our payroll, so they'll leave you alone, but if
you go too far, they'll all come after you, money or no money.  If they ever
pick you up, say nothing and I will take care of you.

  (This may explain why, compared to "Freeride," you don't have to manage Tom-
my's money during the main story missions--he's just shown as paying a fine if
he's apprehended by the police for a minor offense.  But if the police find out
Tommy has committed a serious offense, they'll try to kill or apprehend him, and
if they succeed, you'll fail the mission.)

  "I show my gratitude to those people that help me.  And there aren't many left
who betrayed me.  Capisci?"

  ("Capisci" is Italian, second person singular, present tense, for "capire":

  Tommy says, "Yes, Mr. Salieri."

  Salieri says, "I'm glad.  Today I'll give you a chance to get back at those
bastards who wrecked your taxi.  We'll see what you're made of.  Morello has a
bar where all his gorillas go.  They all have their cars parked behind the fence
next to the bar.  If you're good, they won't be there tomorrow morning, ha ha ha
ha.  Paulie'll go with you, just in case.  Go see Vincenzo for equipment and
Ralph for some wheels."

  Tommy, Paulie, and Sam leave the room.

  Frank says, "I wouldn't trust him so much.  He seemed hesitant.  He's just ac-
cepted now because he has no choice."

  Salieri says, "We'll see, Frank, we'll see.  I'm more concerned about what
Morello's problem is.  Does he really want to start a war?"

  On the way to meet Vincenzo, Paulie, who's walking with a limp, tells Tommy
that "Vincenzo is the Don's gun expert.  They've known each other since they
were kids.  He gets you whatever you want, Tommy guns to cannons--Vinny can set
you up.  I always pay him a visit before a job."


  The word "Don":

  ("Don," according to Wikipedia, "Although originally a title reserved for roy-
alty, select nobles, and church hierarchs, it is now often used as a mark of es-
teem for a person of personal, social or official distinction, such as a commun-
ity leader of long standing, a person of significant wealth, or a noble, but may
also be used ironically.  As a style, rather than a title or rank, it is used
with, and not instead of, a person's name.

  ("Syntactically, it is used in much the same way (although for a broader group
of persons) as 'Sir' and 'Dame' are used in English when speaking of or to a
person who has been knighted, e.g. 'Don Firstname' or 'Doña Firstname Lastname'.
Unlike 'The Honourable' in English, Don may be used when speaking directly to a
person, and unlike 'Mister' it must be used with a given name.  For example,
'Don Diego de la Vega,' or (abbreviating 'señor') 'Sr. Don Diego de la Vega,' or
simply 'Don Diego' (the secret identity of Zorro) are typical forms.  But a form
like 'Don de la Vega,' is not correct.

  ("In North America, Don has also been made popular by films depicting the Ma-
fia, such as The Godfather series, where the crime boss would claim for them-
selves the signs of respect that were traditionally granted in Italy to nobili-
ty.  This usage of the honorific in these films (e.g. Don Corleone, Don Barzini,
etc.) is not common or correct in normal historic usage in Italy.  The proper
Italian usage is similar to the Castilian Spanish usage mentioned in the previ-
ous paragraph.")


  (Paulie opens the door to Vincenzo's room.)

  Paulie says, "Buongiorno, Vincenzo!"  Vincenzo says, "Ciao, Paulie!"  Paulie
says, "This here's Tom--just started up with us."  Vincenzo says, "Pleased to
meet you, Tom!  What can I do for the both of yous?"

  ("Yous" or "yuz" is Brooklyn slang for "you" and can refer to one person or
more than one person.)

  Paulie says, "We've got a job to do, we need something to write off a few
cars."  As Vincenzo says, "This classic piece of sports equipment should do the
job, and if not..." he points to a Baseball bat in a corner of the room behind
Tommy, who turns to look at it.  Tommy goes toward the bat as Vincenzo adds,
"...I've mixed up a few cocktails."  Vincenzo puts a box full of Molotov cock-
tails on the table.

  [According to Wikipedia, Molotov Cocktails were "used for the first time in
the...Spanish Civil War (July 1936–April 1939)."]

  Vincenzo says, "Careful with 'em, though."

  Tommy goes to the door with the bat as Paulie picks up the box of Molotov

  Paulie says, "Thanks a lot, Vincenzo."  They begin to walk out but turn back
Vincenzo calls after them: "Bring back the bat--it's my nephew's!"  Paulie says,
"Sure thing," and he and Tommy leave.

  Tommy and Paulie, having stashed their weapons, walk across the lot behind
Salieri's Bar towards the garage.  Paulie says, "Ralph, who I'll introduce you
to, is a complete idiot, but he's got a special way with cars.  I don't get how
such a moron could know anything about anything, but that's the way it goes

  Paulie lifts the garage door open.  Inside the garage, Ralph stands up from
working on a car.

  Ralph says, "Hee-hee-heh-heh-heh, a v-v-v-v-visit!  How yous all doin,' Paul-
ie?"  Paulie says, "Hey, Ralphy!"

  Ralph says, "Yeah, I s-s-see you're still limpin,' so we got two c-cripples
working here."  Paulie reinforces the stigma that the stutter means Ralph isn't
bright by saying, "That's right, but I ain't a fool" despite the fact that his
outlook is self-contradictory (Paulie noticed Ralphy has a bright ability to
work on cars).  Ralphy mutters "Uhm--uh-huh."

  (As the game goes on, we learn Paulie's view is shared by Salieri, "Fairplay,"
but not Tommy.)

  Paulie says, "Ralph, this is Tom."  As Tommy and Ralphy shake hands, Paulie
says, "If you bring him a stolen car, Tommy, he'll make it your own, and no
one'll know the difference."

  Paulie says, "Ralph, Tom and me have a job to do.  You're supposed to have
some wheels for us?"  Ralphy says, "Right, heh heh heh heh, uh, here it is, uh"
and points to a Bolt Ace Fordor.  As he leads them to it, he says, "It ain't no
hot rod, heh heh, uh, but it should really do for you."  Tommy opens the driv-
er's door, gets into the car, and closes the door.  As Paulie walks to the pas-
senger door, he says, "Thanks, Ralphy."  Paulie opens the door, tells Tommy,
"Let's go," and gets into the car.

  The Bolt Ace Fordor is one of those very early model cars that have a Klaxon
horn that sounds like "ah-OOGA."

                     03-02 Molotov Party-City

  You can tell from the mission videos and speed run videos that you don't have
to believe the reviewer complaints that Tommy has to drive slowly in "Mafia...."
If you want to do something more about it, this is an early opportunity.

  Before having Tommy drive Paulie toward the bar, you can have Tommy kill a po-
liceman and take the gun.  The last time I tried that, the only policemen around
were pairs of them in cars.  You could also have Tommy jack cars till he finds a
ped with a Colt Detective Special and take that.  The easiest thing to do is
give Tommy a gun with "Mafia Hack V1.03"--see the "Mods" section.

  You can have Tommy use the gun to get the Bolt-Thrower Red.  It's 1957 Ford
Thunderbird except with bigger fins.  It's anachronistic, but it's fast and has
good handling.  Don't let Tommy flip it, though--it has a soft top and he'll
probably die if it lands upside-down.

  To get the Bolt-Thrower Red, have Tommy get on the West Marshall Bridge that
connects the Work's Quarter to Central Island.  Have him face east toward the
octagonal gray structure that's beside the north side of the bridge, and have
him shoot the west dark window until the screen goes dark for a fraction of a
second.  Then send him to the alley on the north side of the west end of the
East Marshall Bridge to get the Bolt-Thrower Red.  (See the video by pantomime-
0is0shit at the link at the end of this section.)

  If you don't want Tommy to get the 1957 Bolt-Thrower Red, just have him con-
tinue in the Bolt Ace Fordor.

  Have Tommy drive Paulie toward the bar--it's on the southeast corner of the
block of "ARK" of "NEW ARK" on the Map (Tab).,_New_Jersey

                     03-03 Molotov Party-Morello's Bar
  As you have Tommy drive close to the bar, Paulie tells Tommy, "Okay, we're
here.  Don't go through the front--find another way.  Take out the guard quietly
so you don't arouse any attention.  Smash the cars up with the bat and save the
fireworks for last.  There could be somethin' nice in that shed!  Take a look.
Good luck, buddy."  Tommy says, "Thanks.  I'll be back in a little while."

  When Tommy gets to within a door or two from the lot, have him park to the
west of the lot facing away from the lot or even in the lot to the west.

  Have him avoid the guard who faces front at the front of the lot, go around to
the back of the lot, go through the gate, fully power up his Baseball bat (RMB),
and hit the guard in the back of the head.

  (Option: have Tommy drive fast to kill the guard at the front of the lot.
It's risky because you want Tommy to drive fast enough to kill the guard--if the
guard is only injured, he calls to the four armed gangsters in the bar, who come
out and shoot at Tommy.  And you don't want to damage the Bolt-Thrower Red so
that the gas level drops too quickly.)

  (A similarly risky option is to have Tommy hit the guard less powerfully so he
calls to the four armed gangsters in the bar for help, kill most or all of them
by throwing a Molotov Cocktail at the front door of the bar, go inside for one
of their S&W Model 10 M&Ps or S&W Model 27 Magnums once the fire dies down, and
kill any survivors.  Thanks to Bloviator.)

  After Tommy uses a Baseball bat to knock out the guard, have him pick up the
brown wooden box that's by the middle of the side of the bar and place the box
into and at the bottom of the door that's more toward the front of the side of
the bar.  If you have Tommy use Molotovs to blow up the cars and arouse the at-
tention of the four armed gangsters in the bar, they may not be able to open the
door to attack Tommy so they get mad and yell (Thanks to Renegade9).  I've had a
gangster get past the crate, though.

  (Option: have Tommy use his car to push one of the three cars in the lot be-
side the other two so it's easier to blow up all three with two Molotovs, then
park to the west of the lot.)

  Have Tommy use the Baseball bat to hit each car enough to fill the damage me-
ter that's on the bottom of the screen and cause the game to announce that Tommy
has done enough damage.

  You could also have him stand at the back of the lot and throw the Molotovs at
them to blow them up (it's easier to have Tommy blow up all three if you had
Tommy use his car to push one of the three cars beside the other two).

  Have Tommy go into the shed at the north side of the lot (quick enough to
avoid the explosions if you had him use Molotovs) and get into the Falconer
Blue.  Once the three cars in the lot have been damaged enough, it can be
started.  (If you had Tommy use Molotovs, wait till the cars blow up to have
Tommy drive past them.)

  Have him drive it to Salieri's Bar, pausing if you want to watch Paulie drive
there on his own in the Bolt-Thrower Red (or, if you didn't have Tommy get the
Bolt-Thrower Red, in the Bolt Ace Fordor).  Have Tommy try to open (RMB) the
front or back door of the bar.

  Cutscene: Tommy and Paulie walk through the front door of Salieri's Bar.
Paulie says, "So we're back, boss."  Salieri, seated at a table, says, "Wonder-
ful, take a seat.  It all went well?"  Paulie says, "Sure, boss.  He's a natur-
al."  As Paulie and Tommy sit at Salieri's table, Paulie says, "Before they
could say 'genolees,' they were wheelless."

  Paulie refers to cannolis, Sicilian pastry deserts.  According to Wikipedia,
"The singular is cannolo (or in the Sicilian language cannolu), meaning 'little
tube,' with the etymology stemming from the Latin 'canna,' or reed."  (I'm just
guessing, but Paulie may also use the word euphemisticly.)

  Paulie says, "And before they could recover, we were gone.  Morello is probab-
ly pretty pissed right now."  Salieri asks, "Really?  I'm glad to hear it."
Paulie looks at Tommy and says, "He's one tough customer."

  Salieri stands up, so Tommy stands up, and Salieri shakes Tommy's hand and
says, "In that case, welcome to the family, Tommy."  Salieri gives Tommy a lit-
tle hug as he says, "You've passed the first test."  Tommy says, "It's an honor,
sir."  Salieri says, and now we've got a new member."  Paulie nods and says,
"I'd like to take him into the outfit, boss.  You can see he ain't scared.  And
he's done real good."

  Salieri and Tommy sit down.  Salieri says, "You didn't disappoint me, Tommy.
Now, let's drink!"  Tommy says, "Thanks."  They raise their glasses for a

  The cars Tommy takes on missions are available at the lot/garage behind Sali-
eri's Bar even if Tommy doesn't return them unless he destroys them.

  The Bolt Ace Fordor Green, Falconer Blue, and, if you had Tommy get it, the
Bolt-Thrower Red are added to Salieri's garage.

  The Bolt Model B series and the Bolt Ambulance, Firetruck, Hearse, and trucks
are available in "Freeride."

  The Falconer line is unlocked for "Freeride" if you have Tommy take the Fal-
coner Blue to Salieri's back lot, and the Bolt-Thrower Red is unlocked for
"Freeride" if you had it taken to Salieri's back lot.

  Video walkthrough

  by 0rland0walkthrough and uberwolf420

  Two versions of the mission by pantomime0is0shit--the second version shows how
to get the Bolt-Thrower Red and use it in the mission:

  4   Ordinary Routine

                     04-01 Ordinary Routine-Salieri Bar

  Cutscene: in his office with Tommy, Paulie, Sam, and Frank, Salieri says, "To-
day we're gonna visit a few places to collect some protection money.  Two res-
taurants and a motel outside of town.  Bill at the motel was late last time be-
cause he had a few problems, so today he'll pay a little more."

  Frank says, "You may have heard about how criminals can prey on businesses us-
ing various threats.  That certainly isn't the case with us.  People who pay us
receive services which his police certainly can't provide them with.  Last
month, for example, Sam and Paulie here solved a serious problem of violence in
a delightful restaurant.  The owner is now satisfied that nothing of that sort
will happen there again."

  (Despite what Frank said, a protection racket is typically an extortion
scheme, even if part of the deal is to provide some service of protection.  See
the Wikipedia articles at the next two links.)

  Salieri tells Tommy, "You'll do the driving.  Paulie and Sam will do the col-
lecting.  It'll be routine.  Tell Ralph to give you a car and you can go."  Tom-
my says, "Okay, boss."  Tommy, Paulie and Sam leave.

  Salieri says, "Well, you and I'll have a drink.  What do you say, Frank?"

  The cover of the sheet music for a 1916 song called "The Story of a Soul,"
music by Chas. K. Harris and lyrics by Leo Wood, is by the phone on the wall in
Salieri's Bar and on the wall of his office.  (I'm guessing the title is taken
from the autobiography of the same name by Therese of Lisieux, although it not
about that.  It's basically about a father explaining to his son what a soul

  Have Tommy go out the back door, through the gateway of the yard, up the
steps, and into Vincenzo's workshop.

  Cutscene: Tommy says, "Hey, Vincenzo--I need some kind of gun."  Vincenzo
says, "Hey, Tom--I think this'd do the trick."  He puts an S&W Model 10 M&P
handgun on the counter.  Tommy says, "It should work.  I wasn't planning on us-
ing it anyway.  Thanks."

  Have Tommy take the gun and go back to Salieri's back lot to see Ralph.

  Cutscene: Tommy says, "Hey, Ralphy--me and the boys have got a job to do and I
need some wheels."  Ralph says, "Hey, I s-s-sorted ou-out what you brought
me l-l-l-last time.  It is a g-g-g-good m-motor, Tom.  It has almost 60 horse-
power and goes a good 75 miles per hour.  He has four s-s-speeds and b-b-b-break
servos.  S-S-Simply b-b-beautiful!  Also, I had a look at how you can best s-s-
steal one."

  Tommy says, "I used to drive one when I was a cabby, so I know how to get into
one, Ralphy."  Ralph says, "Well, then I got another little number. It, uh, has
about 40 horsepower and goes at almost 60 miles an hour."  (That last line
sounded more like Lucas.)

  Ralph leads Tommy to a Bolt Model B Fordor car and shows him how to pick the

  Ralph says, "Ain't nothing swanky, but it's-it's a good enough drive.  You get
into it easy.  You just ta-t-take this little baby and stick it in here, p-p-p-
pry it a little and when it clicks you got it.  It's a p-piece a c-cake.  (Tommy
can now jack or pick the lock of any Bolt Model B.)  Tommy says, "Thanks,

  Have Tommy use the Blue Falconer since there's a car chase at the end of the
mission.  Have Tommy let Paulie and Sam get in his car then drive toward the

                     04-02 Ordinary Routine-After the Briefing

  (Across the street to the southwest from Salieri's is the Racine and Laramie
tobacco/cigars/pipe shop.  The name comes from a store which is one of the first
six buildings built in San Diego, was the first tobacco shop of San Diego, and
is still in use.)

  Have Tommy drive Paulie and Sam to the two restaurants and wait outside each
of them while the collection is made.  Have Tommy park on the side of the street
of the door of each place--I once had Paulie get killed trying to cross the
street.  (He's a member of the Mafia, a hardened murderer, but he hasn't learned
to cross the street by himself yet.)

  Paulie says, "Okay--first we'll go to a restaurant on Central Island."

  The first restaurant, which doesn't have a sign with a name in the front, is
at the northwest corner of the block that's north of the block of "TRA" of "CEN-
TRAL ISLAND" on the Map (Tab).

  Paulie says, "Stop.  Here it is."  Let Paulie go into the building then return
to the car.  Paulie says, "And now to Hoboken to the Pompeii Bar."

  The second restaurant is the Pompeii Bar, which is on the east side of the
street just south of the "et" of "Market Ave" on the Map (Tab).

  You can have Tommy use either of a couple of shortcuts on the way to the Pom-
peii Bar:

  - If you send Tommy east from the east end of the Giuliano Bridge to the 90
degree bend to the north, you can have him continue east instead and go through
the east-west alley.  The couple of metal pipe railings that go across it break
away when Tommy's vehicle bumps them.  The alley has steep steps that go down
from west to east.

  - You could also have Tommy turn right before the 90 degree bend then turn
left into the east-west walk through the construction area.  (I usually use that

  Paulie says, "Here it is.  Pull in, Tom."  Let Paulie go into the building
then return to the car.

   (You can have Tommy wait on the sidewalk--I had him wait about 20' south of
the door to the bar--when Paulie goes indoors to make the second collection so
that when Paulie comes out he may become flattened on the sidewalk till Tommy
gets back in his car.)

  Paulie says, "Now we're goin' to take in the country air.  We're goin' to
Clark's Motel out of town."

  Have Tommy drive toward the third destination--Clark's Motel.  Have Tommy go
north on the road and continue north through the alley, go left to the T-inter-
section at the end of the road, and go right to go north into the country.

                     04-03 Ordinary Routine-Clark's Motel

  Cutscene: Tommy's car arrives at Clark's Motel, a motel with Traco gas pumps
in front of it.  (The star on the Traco logo indicates it refers to Texaco gas.)

  Tommy, Paulie, and Sam get out of the car.  Paulie tells Tommy, "Wait for us
here, Tom.  We'll be back in a bit."  Tommy says, "Okay."  Paulie says, "Let's
go."  Paulie and Sam go into the motel to make the third collection.  Tommy dis-
regards a no smoking sign at the gas pumps and smokes a cigarette.

  (Tommy's red and white cigarette pack is probably meant to look the same as a
pack of Marlboros.)

  (The gas station attendants of the three working gas stations use an identical
pack and smoke while standing near their gas pumps, too.  Tommy has to shoot or
drive into one of those gas pumps to make it explode, though.

  (The lifeguard in "Happy Birthday!-At The Party" takes his cigarette from an
identical pack.

  (Ralphy, Salieri's car mechanic, uses an identical cigarette pack while not
doing something for Tommy in "You Lucky Bastard!"  Later in that mission, a
gangster briefly stands guard and smokes near the car to which Tommy later at-
taches explosives, then Tommy smokes a cigarette from a red and white pack till
the car blows up, accidentally killing Sergio Morello's mistress.  Even later in
that mission,  Tommy uses a cigarette from a red and white pack to ignite the
fuel leaking from a gas tanker rail car to blow it up to open a warehouse door
so he can kill Sergio Morello.

  (In "Moonlighting," Tommy takes a cigarette from an identical pack as Paulie
checks out the crates in the back of their truck.)

  Tommy hears three gunshots come from within the motel.  Paulie, who's been
shot in the belly, walks out and says, "Shit--bastards."  Tommy runs toward
Paulie who says, "Tom, I--I took one" and falls down.  He says, "It hurts."
Tommy picks up Paulie's head and shoulders and exclaims, "Jesus Christ, Paulie!"

  A gangster appears briefly at the door to point his gun at Tommy and say,
"Tell Salieri from here on out this place is ours--Capisci?  Don't come back
here or you'll end up in worse shape than your friends."

  Insistently, Paulie says, "Get Sam.  They want to beat some information out of
him.  Get him out of there."  Tommy says, "But I gotta get you to a doctor."
Paulie says, "That'll wait--first get Sam."  Tommy drags Paulie to their car,
leans him against a wheel, and says, "Screw regular routine."  Tommy takes out
his handgun.

  (Option: this mission normally ends with Tommy using his car to chase the oth-
er car, the big yellow topless Lassiter V16 Phaeton, nearby.  You can make the
ending easier by having Tommy use the S&W Model 10 M&P to shoot the center of
one of the wheels of the Lassiter about four times to make the wheel come off,
which causes the gangster who tries to escape with the money to stand by the car
and fight with his handgun and fists instead of try to escape, or by having Tom-
my shoot each tire to make it flat, which causes the gangster to make a slower,
sloppier escape effort.)

  (Another option: if you have Tommy shoot a wheel off the yellow Lassiter, he
won't need his car for a chase at the end of the mission, so you can have him
use the Thompson 1928 to shoot at the engine of his car to blow it up when the
dog, a Boxer, is near it to kill and behead the dog, then collect the dogs head.
It becomes a category called "Dogs head" below "Hands," and goes in the items
section of his Inventory, where it's listed as "Dogs head," and use it as a box-
ing glove on his right hand.)

  (The "Dogs head" gimmick is demonstrated by DarthMnich47 at the next link.)

  (Yet another option: send Tommy behind the Clark Motel, have him kill the dog,
then have him go to the left--facing the back of the motel--window.  Have him
shoot out the window, which causes the gangsters inside to start firing at him.
Have Tommy wait beside the window till the guy with a Thompson 1928 by the bar
has made several bursts of fire, then have Tommy shoot at the shelves of booze
by the machine gunner, then the lamp above him, to have the lamp drop and set
him on fire.  Thanks to Frosty 35.  I'll add that it changes the attack proce-
dure of some of the other gangsters.)

  (Yet even another in a cavalcade of options: to complete the mission in the
fastest, easiest way, have Tommy, facing the front of the motel, go close to the
next to the last window on the right in the front of the motel and shoot through
the window till you hear a guy groan in pain.  Have Tommy keep shooting at that
spot to create more groans till Tommy says, "If that's regular routine, I wonder
what the next job will be like."  Before you let anyone shoot at Tommy, you had
him kill the gangster who tries to escape with the money in "Get Him!"--the last
section of "Ordinary Routine"--and you've succeeded at "Ordinary Routine."

  (That's the fastest, easiest way to complete the mission and the second gim-
mick shown in the video by slunli at the next link.)

  If you don't use any of those options:

  Have Tommy go to the back of the motel and climb (Jump) the boxes, etc., to
get onto the balcony.  If you have him do it quickly, he may not need to waste
ammo shooting the dog, a Boxer, to avoid being bitten.  Have him go inside, go
right to the end of the hall to open the door and shoot the gangster who's sit-
ting on the toilet, and turn and crouch to shoot the three gangsters that come
up the stairs at the other end of the hall.  Have him collect a Colt or Magnum
if needed and go into the second room from that end of the hall for a Thompson

  To have Tommy go to a bathroom Health cabinet which has 30 Health, have him go
from the top of the stairway to the far end of the other branch of the second
floor hall, into the room on the right, across the room, and through the bath-
room door.

  Have Tommy go down the stairs, crouch and go forward as needed toward the big
doorway on the left to bring a gangster into view, wait till he fires six shots
and has to reload, then shoot him.  Have him go a little father forward and do
the same to a second gangster.

  If you didn't use the option to shoot the booze and lamp from outside and kill
the machine gunner that's behind the bar, have Tommy crouch at the end of the
bar and do it.

  (You can have Tommy go to the second entrance ahead and shoot the lamp from
there, etc., or just go to the second entrance and shoot the machine gunner, and
collect the Thompson 1928 while it still has ammo.  Otherwise, you can have Tom-
my go inside to use the end of the bar for cover, wait till the gangster with a
machine gun behind the bar makes several bursts of fire and has to reload, then
shoot him.)

  Have Tommy go into the room and go right to shoot the gangster in a white un-
dershirt that comes through a door.  Send Tommy through that door to Sam, who's
wounded and lying on the floor.

  (Before having Tommy kill the gangster behind the bar and the guy who comes
through a door, you can have him go through the door at the end of the hall, go
left, go through the next door, then go to the first bathroom stall.  Right
click when the Action icon appears and Tommy will urinate.  For the variety, you
can repeat it while he holds a weapon like the S&W Model 27 Magnum or the Thomp-
son 1928--it practically looks like he's doing it through the gun when he holds
the Colt 1911.)

  Cutscene: Tommy says, "Get up, Sam--it's over.  He really went to work on you,
buddy."  Tommy puts Sam's left arm over his shoulder to help him up.  Sam
groans, "Argh, Christ."  Tommy helps Sam walk out of the room saying, "It's
nothing--you'll be all right.  The doctor'll put you back together again.
You're tough as nails."

  As Tommy finishes saying that, the man in the white undershirt taps Tommy on
the shoulder, causing Tommy to turn to him, and the guy in the white undershirt
punches Tommy in the face, knocking him to the floor.  Tommy says, "Oh, shit,"
shakes his head, and rises to confront the man.

  (The man may say, "Lookee here--another customer for a face job.  C'mon then,
sonny.")  As the man runs across the room, have Tommy shoot him before he can
shoot back.  Have Tommy go to Sam, who's lying on the floor.

  Cutscene: Tommy kneels to help Sam up again and says, "That's it--I'll get you
back in the car.  Everything'll be okay."

  A gangster with a buzz cut and the satchel of money comes through the room
waving his gun at them and shouts, "Don't move, scumbag, or I'll fill you with
holes.  C'mon, just try it--you won't get past me."  Tommy says, "Sure thing,
buddy.  Uhh, just stay cool, everything's okay, just go--no problem."  The gang-
ster says, "Just try it" and goes out the front door.

  Sam says, "No.  Got--our--dough.  Get him."

                     04-04 Ordinary Routine-Get Him!

  If you had Tommy shoot one of the tires off the yellow Lassiter, have him beat
the gangster with the money, who's standing by the car, at a shoot-out.

  Otherwise, have Tommy get into his car and chase the escaping gangster's yel-
low Lassiter, have Tommy turn right to put a small fraction of the front of the
right side of his car against the left front corner of the gangster's car, and
have Tommy brake to try to stop the gangster's car at a wedge made of Tommy's
car and whatever is to the right of them.  You might also try using a driveby
shooting--scroll to a weapon and click the LMB--to cause the gangster to drive
into an oncoming vehicle and spin out.  When the gangster's car is stopped, the
gangster gets out to shoot Tommy.  Have Tommy crouch, go around his car, and
shoot the gangster.

  Tommy says, "If that's regular routine, I wonder what the next job will be

  The garage behind Salieri's Bar has a Bolt Model B Fordor Brown.  Tommy can
pick the lock of one or jack someone from it.  The Schubert Six and Schubert Six
Police are available for "Freeride."

  Video walkthrough

  by 0rland0walkthrough, Hyperen, and Willzyyy

         Intermezzo 1

  Cutscene: 1938

  Continuing the conversation in the cafe shown at the start of the game, Tommy
tells Det. Norman: "That's how I got into it--one minute a regular cabby, the
next a respected Mafioso."

  Det. Norman asks, "You were all right with killing people?  Usually people
have a problem with that."

  Tommy says, "You know, I ain't one of those people with a thirst for blood.  I
don't need violence in my life, and I don't look for trouble.  But I also don't
have any remorse.  They wanted to outsmart us, so we had to outsmart them.  No
excuses.  It was all the same to me--I wasn't interested in the fates of other

  "Everybody said it was just business and that the family sticks together.  It
was different from living alone and nobody givin' a damn about you.  Suddenly,
you're respected by all the people you meet.  Everybody knows you can help them,
but you can also destroy their lives.  And everybody tries to ingratiate them-
selves to you."

  Det. Norman asks, "And what about the police?  You walked away, just like
that, from a massacre.  Didn't you have any problem with that?"

  Tommy says, "You work for the police--you ought to know.  You know the Mafia
runs the whole city.  The Salieri family makes over 25 million bucks every year.
The papers were full of it, but nobody saw nothing...if they wanted to stay
alive.  We paid off the bureaucrats six grand a month.  Your bosses had li-
quor at trade price and got pay-offs for 'special jobs' from both Salieri and
Morello.  Case closed, lack of evidence.  Cops would even move shipments of
drink for us.  I guess you'd have heard something about that."

  Det. Norman asks, "So what about your two friends?"  Tommy says, "Well, they
were better off than you'd think.  Salieri had a good doc for his boys, and it's
not like he ever asked any questions.  In a few weeks they'd be healthy and back
on the streets again.

  "The only one who worried us was Morello.  He wanted to be the big cheese,
which Salieri couldn't let him do.  Salieri had no intention of being in second

  "You know, a person becomes a Don because of his thirst for power, and he
doesn't care about any other rules than his own.  That's how it is, detective--
so he'd be his own boss, independent of the police, of the state, of anyone.
That's why a person becomes a Don.

  "Salieri and Morello both wanted it all.  They kept sparring with each other
but they both knew that if it all blew up, it would be hell.  The big difference
between them was in their methods.  I heard a little story about Morello...."

  Tommy's memory is depicted.

  The voice of Morello is John Doman who played Deputy Police Commissioner Wil-
liam Rawls in the 2002-2008 HBO series "The Wire," etc.

  Morello is being driven in a Silver Fletcher (Pierce Silver Arrow), which
stops at a traffic light.  A Bolt Model B Fordor bumps into the back of it.

  All the man get out of their cars.  The man from the Bolt tells Morello, "I,
uh--I'm, I'm sorry, sir.  Um, I-I didn't mean it."  Morello yells, "You idiot!
D'you know what you've done?  D'you know how much that car cost?"  The man says,
"I, uh, I was driving slowly, Mr. Morello.  Uh, I don't know how, uh"  Morello
says, "D'you mean to say that I--I crashed into your car?"  The man says, "Err--
uh, no--sir, I o'--I only--I wanted--it's--no, sir, I...."

  Morello punches him yelling, "No."  A nearby policeman notices it but looks
away.  Morello shouts, "Bas--tard--gets--in--my--way!" while yanking the man's
head into his car with each syllable.  The man falls to the street bloody and
unconscious.  Morello kicks him then he and his men get back in his car.

  As Morello is driven away, the policeman looks at the victim but doesn't move
to do anything about it, and one of several bystanders walks over to the body on
the street.

  Tommy tells Det. Norman: "Salieri built his respect as a businessman.  Every-
body knew that they didn't need to fear him if they did what they should.  They
knew that if they needed something, they could come to Mr. Salieri.  So Salieri
made friends, often helped people with various problems, and expected the same
in return.  When somebody crossed him, they broke a cardinal rule and everybody
knew what would happen.

  "Morello was just a mean bastard.  He built his power through violence.  Even
his friends feared him.  Most people just tried to avoid him."

  Intermezzo 1 recorded in HD by Mindfukc

  5   Fairplay

                     05-01 Fairplay-Salieri Bar

  Cutscene: 1932

  At a table at Salieri's Bar, Salieri tells Tommy, "Listen, Tommy--I have a
delicate job for you.  I don't know anyone else who could do it better than you.
You're a good driver and you have experience.

  "Well, to make it simple, tomorrow all the best motors are gonna race at the
city track and I bet on one kid who's been a favorite up until now.  I helped
him along in his career a little.  I like fast cars and I said to myself that I
could make back a little on that investment--you understand.

  "And then Ralphy starts saying that some European has come over and his car is
certain to win.  Ralphy knows cars, he's real good with them, but otherwise he's
a complete moron.  What, he couldn't have told me before I bet on that kid?  But
still, what the hell is a guy, God knows from where, doing here?  These are
American races.

  "Me and the Consiglieri" (Frank) "here were thinking about what to do because
a lot of our boys have bet the same as me and they certainly wouldn't be happy
if they lost their dough.  And how would that make me look?  Like an old idiot.
Tommy, I can't let that happen.

  "We thought with our Consiglieri about what to do with it.  If something hap-
pens to him" (the European driver), "that's no way--it won't be fair play, I
won't enjoy my winning at all.

  "Ralph told me that he knows a guy who guards the racetrack garage.  Tonight
you're gonna go there and take this European's car to a mechanic who knows his
way around these machines.  He'll take a look at theirs and maybe improve ours.
As soon as he's finished working on it, you'll take it back.  It's important
that the car is back in its place before anybody catches on.  And don't even
think about crashing it or getting caught by the cops.  Are we clear?"

  During the last handful of statements by Salieri, Tommy tried to interrupt a
few times by saying "But" and "I" and Salieri ignored him.  Tommy says, "Yes,

  Salieri says, "If you pull it off, you'll, of course, get a share of the win-
nings.  Now go.  Ralph will tell you where and how."

  Have Tommy go out the back door into the night.  (One of the boxes by the fire
in the middle of the lot contains a doll of a woman.  Thanks to "Mafia Observa-
tions" by AsaSK.  Her arms are outstretched like she was an earlier considera-
tion for use in the "parnik" code.)  Send Tommy into the garage to talk to

  Tommy says, "Hey, Ralphy--you got some news about this job?"

  Ralphy gives Tommy his instructions: "S-S-S-S-S-Sure, Tommy.  You need to go
to the c-c-cccity race track and borrow that mo-mo-mo-mo-motor there.  My f-
friend Bo-Bo-Bo-Bobby works there.  Go round back there and a-along the wa-way
is the gate-gatehouse.  T-T-T-Tell Bobby that that R-Ralph s-sent you and Bob-
by'll take you to the car.  I-It's already been agreed wi-wi-with him."

  Tommy asks, "And then?"  Ralphy says, "Y-Y-Y-Yous have to take it to the auto
service of my f-f-f-friend Luca Bertone.  It's in New Ark under the Giuliano
Bridge.  He'll t-t-ta-take a look at it and t-tune it a little.  And then you
just take it back."  Tommy says, "This should be easy enough."

  Ralphy says, "But you-you-you've gotta get it done before 1:15 am, when the
g-g-guard changes, so that nobody kn-kn-knows that somebody drove the motor in
the night.  The-The-There can't even be a scratch on it and-and try to avoid the
cops.  They-They-They-They mustn't catch you."

  Tommy says, "Hmm--and how'll I get there?"  Ralphy leads Tommy to a Schubert
Six car and says, "Well, I've got something new in.  Ain't no big thing to sw-
sw-swipe one--w-w-w-watch.  You just stick a piece of w-w-wire in here and twist
it a-a-a little and you get inside where you gotta join these two w-wires."
(Tommy can now jack or pick the lock of any Schubert Six.)  Tommy says, "Yeah,
it shouldn't be a problem.  Thanks, Ralphy."

  Ralphy says, "Now don't you go sparing the gas, Tom.  Heh-heh."

  (Tommy has to go to Bobby at the gatehouse of the racetrack where Bobby will
take Tommy inside to the race car.  Tommy has to drive it to Lucas Bertone's
auto service shop where Lucas will "tune it a little," then Tommy has to drive
it back to the race track.  It has to be done before 1:15 am when the gatehouse
guard changes, the race car can't be scratched, and Tommy can't draw the atten-
tion of the police.)

  Have Tommy pick the lock of the Schubert Six and drive it from Salieri's back
lot toward the street.

                     05-02 Fairplay-City

  A pocket watch appears in the upper right corner of the screen.  The first
several drives (to Bobby, to Lucas, then to Bobby again) are timed, but the tim-
ing is generous and, despite Salieri's and Ralph's warning to avoid the police,
there aren't any policemen to watch for.  The race car is supposed to be kept
from getting a scratch but the car can bump things and you can pass the mission
as long as you don't fill the damage bar at the bottom of the screen.  The
fourth drive is untimed--you just have Tommy drive from the race track to Sali-
eri's Bar.

  The pocket watch gives Tommy 12 minutes.  Have Tommy go right to the T-inter-
section at the end of the street, go left, go right to a Y-intersection, go
left, go right (not at the trolley loop--go past that) to go west, and continue
ahead beyond the northwest corner of the west-most block of the Works Quarter to
go west into the country.

  (At the northeast corner of the most western block of the Works Quarter, Tommy
will pass three people standing by a fire to keep warm.  You can wait till the
fourth and untimed trip to let him take a closer look.)

  Have Tommy go to the gate of the racetrack and get out of his car to talk to
Bobby at the gatehouse.  Bobby says, "Evenin.'  You must be Ralph's friend."
Tommy says, "That's right."  Bobby says, "Okay, we'll take your car."

  After Bobby opens the gate and gets into Tommy's car, Bobby says, "Go in and
go over to the garage."  Have Tommy drive through the gate and tunnel, into the
lot, and park where it's indicated by the red X on the radar--across from a ga-

  Bobby says, "Okay, we're here buddy.  C'mon, we haven't got a lot of time."
Have Tommy get out of his car and go to the garage, and Bobby opens the garage
door.  The Carozella C-Otto 4WD race car is in the garage.

  Cutscene: Tommy says, "Okay--is that it?"  Bobby says, "Yeah, buddy.  Be real
careful.  There can't even be a scratch on it, and avoid the cops like the devil
'cause this car will be real obvious."  Tommy says, "That's right."  Bobby
says, "In about half an hour, the second guard'll come, so you gotta be back by
then, buddy.  And be real careful--that car goes fast.  Maybe it's the fastest
car in the world, who knows?"  Tommy says, "Sure, Bobby--no problem.  I'll take
care of it in a half hour."

                     05-03 Fairplay-The Racing Circuit

  Have Tommy get into the right side of the race car.  A damage bar appears at
the bottom of the screen.  The pocket watch gives Tommy seven minutes.

  Send Tommy east, across the West Marshall Bridge to Central Island, northeast
to the Y-intersection and veer right, across the Giuliano Bridge, to the end of
the left red guard rail, make a hairpin turn around it to the left, go over the
sidewalk, under the bridge, and to the open garage door of Lucas Bertone's auto

  (When you have Tommy go across the Giuliano Bridge, you can see a silent scene
involving a man standing on the side rail who's gathered a crowd of five people,
an ambulance, two cars, and a Bolt Ace Pickup.  The man on the side rail and two
of the others are engaged in a pantomime of a discussion to have the man on the
side rail change his mind about jumping off the bridge.

  (They'll still be there during "Fairplay-Return to Salieri's Bar" if you want
to look at them without a time limit.  The Great Depression started in 1929 and
lasted into the late 1930's.  The man on the guard rail may be meant as repre-
senting those who took it the hardest and that the Golden Gate Bridge is the
most popular place for suicide attempts in the world.  The Golden Gate Bridge
was built from 1933 to 1937.)

  The voice of Lucas Bertone (also Ralph, who appeared earlier) is Jeff Gurner
who also supplies the voice for Jack Lupino in "Max Payne," 2001, a ped in GTA
"San Andreas," 2004, a ped in GTA "Liberty City Stories," 2005, Marshall Cor-
mick/Fire Giant King/ Jochris/Nameless Spirit in "Neverwinter Nights 2," 2006,
Mori Kibbutz in GTA IV "The Ballad of Gay Tony," 2009, etc.

  Cutscene: Tommy parks the race car in Lucas' service station.  Lucas says,
"Hey hey, there.  You're from Mr. Salieri, right?"  Tommy gets out of the race
car.  Lucas says, "I'm Lucas Bertone" and extends his right hand.  Tommy says,
"Hi.  I'm Tom."  They shake  hands.

  Tommy says, "They say you can take the bite out of this monster."  Lucas says,
"I reckon so."  Tommy says, "Well, you'd better get movin'--we only have 27 min-
utes left."  Lucas says, "Hmm, that ain't much time."  Lucas looks the race car
over.  "We'll see what can be done.  You can hang out a while."

  Tommy smokes a cigarette in another room then returns and asks, "Hey--how's it
going in there?"  Lucas says, "Just finished.  You can go."  Tommy gets in the
race car.  Lucas says, "Uh, but you're gonna have to hurry--it ain't gonna run
as well as when you first brought it in."

  Tommy says, "Thanks.  Mr. Salieri appreciates your work."  Lucas says, "Sure--
give my regards to him.  If he ever needs anything again I'd be glad to help
out.  I bet on the same driver as him."

                     05-04 Fairplay-Lucas Bertone

  The pocket watch gives Tommy five minutes to drive the race car back into the
garage at the racetrack.  The damage bar, starting with no damage indicated, ap-
pears at the bottom of the screen.

  Cutscene: Bobby says, "So you pulled it off, buddy!  And the car isn't even
scratched!"  Tommy says, "Thanks, Bobby.  It really 'was' the fastest car in the
world."  Bobby says, "Sure is--we're lucky you managed it.  I bet on the Don's
car, too."  Tommy says, "It seems everybody did."  Bobby says, "I bet on it--so
did almost everybody in my neighborhood."  Tommy says, "I figure the driver's
pretty important too."  Bobby says, "Sure.  Well, I won't keep you.  Goodnight."
Tommy says, "Take care, Bobby.  Thanks for the help."

                     05-05 Fairplay-Return to Salieri's Bar

  Have Tommy drive the Schubert Six back to Salieri's Bar--there's no time lim-
it.  (You might have Tommy look at the three people standing around a fire to
keep warm you passed before at the northeast corner of the most western block of
the Works Quarter, and look at the scene on the Giuliano Bridge, before going to
Salieri's Bar.)

  (GTW note: I once paused before having Tommy drive from the race track and
saw Bobby walking away.  I wondered where he was going--it was like he was going
home after work--so I had Tommy follow him.  He went through the tunnel and ba-
sically followed the road, sometimes cutting across the grass instead of follow-
ing a curve in the road.  He walked into one of the racing circuit billboards,
paused, then went back.  I just thought it was interesting because you never see
people waling along that road, but it looked like there was a ped path there for
something.  Maybe it's there to give peds a direction to walk in if Tommy jacks
them from their car there during "Freeride.")

  The Schubert Six Red is added to the garage behind Salieri's Bar.

  Video walkthrough

  by 0rland0walkthrough, TheGamesPerson, and Willzyyy

  6   Fairplay (Part 2)

                     06-01 Fairplay-Salieri Bar

  The voice of Luigi is Paul Scannapieco who played Vincent Forelli/Desk Clerk
in a couple 1993 and 1995 episodes of the TV series "Law and Order," a Tailor
in a 2002 episode of the TV series "Ed," etc.

  Cutscene: Tommy comes in through the front door of Salieri's Bar and says,
"Hey, Luigi."  Luigi, the bartender/cook, says, "Hey, Tommy."  Tommy asks,
"Where is everybody?"  Luigi says, "They're all at the track--you're late."
Tommy sits at the bar and says, "I needed to get a little sleep after last
night's job."  As Tommy says that, the phone starts ringing.  Luigi says, "Sure"
and answers the phone: "Hello?  Yes.  Sir, he just got in.  Sure.  That's for
you, Tom."  He hands the receiver to Tommy.

  Tommy asks, "Hello?"  Frank, Salieri's right hand man and legal consultant, is
on the other end of the line.  Frank says, "Frank here.  Tom?  You did well yes-
terday, but now we need your help again.  Come over to the racing track right
away.  That guy who was supposed to win the race got his arm broken by some
thug--probably no coincidence.  Anyway, you're gonna have to race."

  Tommy says, "But--but--Frank--I...."

  Frank says, "Tom, it's a half an hour before the race, and I don't have time
to teach someone else how to drive.  Christ, Tom, this concerns a big bag of
money.  I hope you understand that?"  Tom says, "Yeah--okay--Frank, but...."
Frank says, "So I expect to see you here at the track in a few minutes."  Frank
hangs up.

  Tommy puts the receiver back on the phone.  Luigi tells Tommy, "You don't look
too excited."  As Tommy turns to leave, he says, "That's because I ain't."

  Have Tommy drive from the back lot of Salieri's Bar toward the street.  (The
drive to the racetrack will be timed, but Tommy can make it in an old Bolt.)

                     06-02 Fairplay-City

  Tommy has five minutes to drive from the city to the racetrack and to the spot
indicated on the radar with an X--to the right of Frank, who's talking with a
couple of guys by a white race car.

                     06-03 Fairplay-Before the race

  Cutscene: Frank says, "Hey, Tommy--I knew we could count on you" and shakes
Tommy's hand.  Tommy says, "You really want me to do this?!  I've never raced
before!"  Frank says, "Okay, I know it won't be easy, but we don't have a
choice.  If you can do it, we won't lose out."  Tommy asks, "Do I look like I
can do this?  I don't even know the rules."

  Frank says, "Look, it's a cake walk.  You go five laps, and you need to come
in first for us to win.  If you come in second the dough's lost.  But since we
tuned that clown's car a little, everything should go smoothly.  Also, at those
speeds it's quite normal for someone to bang into you, so watch out for those
other bastards.  Good luck, Tom.  I know you can do it."

  As Frank begins to walk away, Tommy says, "Well, I don't believe it."

  Frank returns, clears his throat, and says, "Tom, half the neighborhood and
all our boys bet on the Don's boy.  Do you know what it would mean if you lost?
The Don would lose.  You would lose all the respect which we've busted our asses
to build up.  People gave us their trust as well as their dough.  Do you under-
stand what's at stake?"

  Tommy says, "Yeah, I got it, Frank.  I understand."  Frank says, "Take it
easy, son.  Show them what you're made of."

  After a 3, 2, 1, START countdown is shown on the screen, Tommy has to win a
five lap race against 12 competitors.  (The 13th uses the car Lucas worked on to
not perform well--it doesn't have the ability to leave its starting position, so
it's removed from the track by the time Tommy makes one lap.)

  If you have version 1.1 or 1.2 of the game, you get a menu of choices just be-
fore the race: you can set the difficulty at very easy, easy, normal, hard, or
extreme, and damage to Tommy's race car can be turned on or off.

  Tommy's race car is a Brubaker 4WD, which is long on speed and short on turn-
ing traction.  You have to supply the care to have the car keep good enough
traction because Tommy can lose his lead if he goes off course.

  The areas of grass and dirt beside the track are slipperier and should be
avoided, so get used to sacrificing speed sometimes before turns in the name of
traction for turns: coast through and even brake a bit before the sharper turns
(there's a little S-shaped curve that Tommy can cut across the edges of a little
if you brake a bit for it), tap the keys for turning and acceleration for broad-
er curves, and only hold the key to accelerate for most of the broadest turns
and while coming out of turns.

  Besides seeing if a competitor is gaining on Tommy, you can also see the shape
of the path ahead so determine how much speed to use by looking at the basic
outline of the nearby part of the track on the radar.

  Then build speed by repeating the race.  Once you get used to having Tommy
slow down for turns, just using a little braking here and there, it's not that

  If Tommy's Brubaker 4WD overturns and won't right itself, you can use the Re-
set key, Num 0, although, like sliding off course, resetting Tommy's car takes
so much time it can cause Tommy to lose the lead.

  If you have version 1.0, you can use the shortcut gimmick to win the race:

  After the 1st checkpoint, have Tommy turn left and follow the path.  After a
checkpoint message appears, press Num 0, then continue from the start of the
race and repeat.  You can choose which version of "Mafia" you play with "Mafia
Swap 101"--see the "Mods" section.  But if you have V1.1 or V1.2, it would prob-
ably be easier to just use the next option:

  You can win the race easily with any version of the game by using "Mafia Hack
V1.03": with it, pressing 0 lets Tommy win the race regardless of what position
he finishes in, and pressing 9 lets him win in one lap.  See the "Mods" section.

  If Tommy wins, you see race cars driving around the track at various "camera"
angles.  It's not the race, it's just a scenic background.  Against this back-
ground, the order and race times of Tommy and the others crossing the finish
line are shown.  You're also given Tommy's best lap time and total race time,
and the best lap times of each of the 12 racers who made it through the race, so
you can replay the mission and try to beat your old scores.  You can press F2 to
hide the results and watch the scenic background.

  (GTW note: one of the competitors is Kirk Windstein, and my last name, Win-
stein, goes back to a Henri Windstein.)

  (Kirk and nine of the other competitors have the names of people who have been
members of Death Metal bands.  Thank to Bloviator.)

  (One of the signs on the race track wall is "SAFETY FAST," which refers to the
1923 Harold Lloyd movie "Safety Last," which in turn is a variation on the com-
mon advice to put "safety first.")!

  Leave the race and race results screen at any time.

  Cutscene: Tommy stands on the highest of three levels on the winners podium,
has a winner's wreath put around his neck, and happily accepts a trophy, which
he holds overhead before a cheering crowd.

  At a victory party at Salieri's Bar, Salieri tells Tommy, "I knew you wouldn't
let us down, Tommy.  You are really one of us now.  A lot of people made a lot
of money on that race, Tommy, and you get all the credit, so you won't come out
short.  You should stop by and see Lucas Bertone.  He also bet and won a pile of
money, so he wants to repay you, too...somehow."  Tommy says, "Okay, I will."

  As Tommy leaves, a lady at the bar tells him, "Congratulations, you big hero."
(She's Michelle--she has the titular role in "The Whore.")  Tommy says,

                     06-04 Fairplay-Victory

  (If you use "MafiaCon1.2" after the race to send Tommy back to the race track,
the race loads again according to "Mafia Observations" by AsaSK.  You can also
use the noclip feature of "Mafia Hack V1.03" to try that--see the "Mods" sec-

  (Most subsequent missions end with a task from Lucas, but this is the only one
that's mandatory.  It's good to have Tommy do them, though, to make more cars
available to him and to increase the chances that he can jack or pick the lock
of another's car.)

  Have Tommy drive to Lucas Bertone's auto service shop south of the east end of
the Giuliano Bridge.

  Cutscene: Tommy walks into the service station and asks, "Hello.  Is there
anyone home?"  Lucas greets Tommy gladly: "Hey, Tommy.  Right here.  Hey hey,
Tom!  Congratulations on winnin,' huh?  Ah, you did great!  I didn't really
think you'd do it at first, uh, but when you got going, I knew how it would end,
yeah.  Thanks to you I won a big bag of money, and, just so yous know I'm not
ungrateful, I'll teach you a few tricks."

  Lucas says, "Uh, y'see that beaut'?"  He leads Tommy to a Lassiter V16 Phae-
ton and says, "Well, now, I can't give it to you, but I can show you how to lift
one and where."  As Lucas picks the lock, he says, "Watch how easy it is to get
into this baby."  (Tommy can now jack or pick the lock of a Lassiter V16 Phaeton
or Lassiter V16 Charon.)  Lucas says, "There you go--piece of cake."  Tommy
says, "Okay--I figure I can manage that."

  Lucas says, "There's another one that belongs to a loaded official down at
City Hall.  Durin' the day it sits in the car lot behind the Municipal Buildin'
on Central Island.  Tommy says, "I think I might go and check if it's, uh,
parked correctly."  Lucas says, " When you get tired of that, stop back here.  I
always have somethin' new."  Tommy says, "Thanks, Lucas.  I'll come by sometime
after work.  I'll be seein' you."

                     06-05 Fairplay-Lucas Bertone

  Have Tommy drive south to the south side of the Municipal Building (the build-
ing indicated in brown north of the mainly red block at the south end of Central
Island on the Map--Tab) to steal a parked Lassiter V16 Phaeton when no policemen
are around, drive it to the lot behind Salieri's Bar, park it, and try to open
(RMB) the front or back door of the bar to save the game.

  Tommy (voice-over) when the screen blacks out: "And so I made a few new
friends and got my first luxury car.  It didn't seem so bad being a gangster."

  The Lassiter V16 Phaeton Yellow is added to the garage behind Salieri's Bar.

  The Lassiter V16 Phaeton and Lassiter V16 Charon are available for use in

  Video walkthroughs

  Video walkthrough
  Whole mission
  by Willzyyy and 0rland0walkthrough

  The race by TheGamesPerson

  Having Tommy see Lucas then get a Lassiter V6 Phaeton by 0rland0walkthrough

  7a  Sarah

                     07-01 Sarah-Salieri Bar

  The voice of Sarah is Cara Buono.  She played Kelli Moltisanti in seven
2006-2007 episodes of the TV series "The Sopranos," Dr. Faye Miller in 10 2010
episodes of the TV series "Mad Men," Martine Rousseau in eight 2014-2015 epi-
sodes of the TV series "Person of Interest," etc.

  Cutscene: Tommy (voice-over): "One evening after a slow day, I was sitting
alone at Salieri's and just drinking.  Luigi came over to me and asked me if I
wouldn't do him a favor."

  In Salieri's Bar, Luigi the bartender/cook asks Tommy, "Hey, Tommy.  You know
my daughter, right?"  Tommy looks at her and says, "Yeah, Luigi--nice girl.  You
must be proud."  Luigi says, "Thanks, Tommy.  She sometimes helps out here be-
hind the bar.

  "Thing is, I don't want her to walk home alone tonight.  Only yesterday, some
stupid punks gave her some problems--you know, with all that dirty talk and all
that?  You know I am worried about the girl, so I thought that maybe you could
see her home.  It's not far away.  You're a gentleman, and you have a lot of
respect in this neighborhood.  Those punks wouldn't try anything with you

  Tommy says, "No problem, Luigi.  It'll be a walk in the park."

  Luigi says, "Oh, Tom, you cannot imagine how grateful I am.  Damn, I was wor-
ried--no one knows who these guys are!  Come in for lunch tomorrow and I'll do
you something special."

  Luigi says, "Sarah--come over here!"  Sarah approaches them and Luigi says,
"Sarah, this is Tommy."  They shake hands.  Luigi says, "He'll take you home and
make sure those punks don't bother you anymore."  Tommy says, "Hello."  Sarah
says, "Hello.  Thanks a lot.  It won't take you long--I don't live very far from
here.  Let me get my coat and then we can go."  Tommy says, "Okay.  I'll wait
for you outside."

                     07-02 Sarah-Moonlight Stroll

  Tommy and Sarah appear outside the front door of Salieri's Bar at dusk.  Have
him equip the Knuckle Dusters (brass knuckles) he's given for the mission to be
ready for the upcoming fight.

  Sarah says, "It's really nice of you to be doin' this.  Those clowns were
really strange.  I was really nervous."  Tommy says, "No problem--Paulie and
I'll deal with those trouble-makers later."

  Sarah starts walking east.  Have Tommy walk beside her.

  Sarah asks, "So, you also work for Mr. Salieri, don't you?  He's a nice man,
he's always a lot of fun.  Tommy says, "Yeah, I work for him sometimes.  But we
usually ain't laughing and havin' fun."  She asks, "So, what do you actually
do?"  He says, "Hm, I usually just chauffeur the Don around.  Even though he oc-
casionally surprises me--like when he wanted me to drive in the race."

  Sarah says, "Yeah, I saw that.  You drove really well."  Tommy says, "Ah, I
was just real lucky."  She says, "You're so modest.  It had to be more than luck
to beat those guys.  He says, "Well, I used to drive a taxi...and the only real
racing I've ever done was the night before."   As they walk into the north-south
alley east of Salieri's Bar, she says, "There you go.  You see, you got talent!"
Tommy says, "Hmm, you might be right.  Anyway, it wasn't too pretty.  I don't
like being in the spotlight."

  Cutscene: three men come through a door on the west side of the alley.  One
says, "Hey, lookee here!  Who's the cute pair?"  Sarah says, "There they are!"
A second man of the three men says, "What's up?  You were alone last night, dar-
lin,' and tonight you have a boyfriend."  The three men stand side by side
across the alley.

  Tommy says "Boys, I think it would be better if you'd just go away and not
make any problems."  A third man of the three men says, "I think that the only
one here with a problem is you, chief."  Tommy says, "If I were in your shoes,
I'd leave right now.  You never know what might happen."  The second man of the
three says, "We'll see, lover boy!"

                     07-03 Sarah-Surprise

  Sarah's Health Bar appears over Tommy's.  You mainly have Tommy fight with her
harassers, but you also need to have him draw them away from Sarah and not leave
her alone around them too long.

  I had the best luck just having Tommy circle strafe them with the Knuckle
Dusters and keep moving to avoid clinches, which can cause Tommy to not punch
and take a lot of damage.  If he gets into a clinch, it may help to have him
Crouch (I use C) and move away or do a side roll (quickly tap a side movement
button twice) to move away.

  Other things you might try include having Tommy go right to get a Plank, which
is leaning against a wooden pallet aka a skid (a rectangular structure used to
store things off the ground and make it easy to move them with a forklift in a
storage room) that's leaning against the wall.  The plank is a more powerful me-
lee weapon than his fists, but Tommy stands still while a melee weapon powers
up and he can end up in too many clinches.  You might try having him back up and
move around to avoid clinches while swinging the Plank without powering it up,
but it was easier for me to have him use the Knuckle Dusters.

  He might get a Knife from the guy in the tan cap to use against them (although
I didn't have that happen in several efforts).  It's a one hit kill if you power
it up before having Tommy strike with it.

  After Tommy makes them run away or kills them, have him continue in the alley
then go left through a winding alley (blocked off except during this mission) to
where Sarah is being harassed by two men who are harassing Sarah by talking
trash and coming on to her.  Have Tommy attack them and a man with a Baseball
bat who joins the fight.

  (According to "Mafia Observations" by AsaSK, one of the men Tommy fights with
looks like the councillor's son that's shot at the end of "Better Get Used To

  Have Tommy talk to Sarah, who's grateful and says, "Oh, thank you.  If you
hadn't been there, I don't know what woulda happened."  Tommy says, "It's okay,
Sarah--anytime."  Sarah says, "I was really scared, Tom.  Are you okay?  Come
on, we're almost home--I'll take a look at you there."

  Have Tommy escort her through the open door ahead and to the right, through
the door across from that, and through an alley to the sidewalk.  Have him go
ahead of her to scare off any of the men if needed--they may block her way, but
they're through fighting.

  Tommy and Sarah continue with their conversation as you have him escort her
west, north across the street, then west on the sidewalk.

  Sarah says, "I live alone right next door to Pop. My mother left us not long
after I was born.  So, you work with Paulie, too?  He's really funny."  Tommy
says, "Yeah, yeah.  He's really funny.  I always said that he could have been an
actor."  Sarah says, "Sometimes he acts real strange--it's really creepy.  I
don't know how a person can change moods so suddenly.  He must have been through
a lot in his life."  Tommy says, "Yeah, he's been around the block a few times.
He grew up on the streets and everything rubbed off on him--maybe that's why he
behaves kind of rough to strangers.  He's real grateful to Don Salieri.  Who
knows what would have happened if he hadn't taken him under his wing.

  Sarah: Yeah, Mr. Salieri even helped out my Dad a lot.  He's almost like a
grandfather to me."  Tommy says, "Yeah, Don Salieri's a good guy."

  Have Tommy escort Sarah north on the sidewalk, into her apartment building
(it's at the steps with black hand rails on the east side of the north-south
street above the 2nd "I" of "LITTLE ITALY" on the Map--Tab), and to her door,
where she says, "Okay, here we are.  Come inside."

  Cutscene: Sarah lets Tommy into her apartment and says, "So this is my king-
dom.  Come in and take a load off.  I'll have a look at your wounds."  Tommy
says, "This is quite a kingdom" and sits on her bed.

  Sarah brings a first-aid kit to him and says, "Roll up your sleeves, sir--help
is at hand."  She sits beside him and says, "Well, let's have a look.  Hmm.  It
doesn't look too serious."  Tommy says, "Yeah, yeah, that's true.  They looked a
lot worse than they are."  Sarah says, "Hmm.  Hold on a second--I'll clean it."
She tends to his wound and says, "There you go.  It didn't even hurt."  Tommy
says, "Thank you."  Sarah says, "It's me who should be thanking you."  They look
into each other's eyes for a moment.

  Sarah asks, "Would you care for a drink, Tom?"  We see that she bandaged his
left forearm.  Tommy says, "Well, I could use a little whiskey if you got it."
Sarah says, "Sure thing."  While she leaves the room to get the whiskey, Tommy
sits on the bed with a couple of bounces as if trying it out and says, "This
evening's gettin' interesting."

  Sarah returns with a glass of whiskey for each of them and says, "Here you go,
hero.  So, do you swing?"  Tommy asks, "What?"  She asks, "Do you like dancing?
Music?  I have a gramophone."  Tommy tries his drink and says, "Yeah, I like mu-
sic."  Sarah turns on the gramophone ("You Rascal, You" by The Mills Brothers)
then kneels by Tommy.

  Sarah asks, "Are Salieri's men tough with everyone?"  Tommy says, "Well, we
try to be gentle with people sometimes."  She says, "Some of you, maybe."  Tommy
says, "But only a few."  Sarah asks, "And are you one of Salieri's tough guys?"
Tommy says, "Only sometimes."  Sarah sits beside him and says, "Well, I think
you're a very good bad man."  Tommy says, "Oh, sometimes I'm even a very bad
good man."  We see a brief shot of Tommy kissing her then a brief shot of their
heads and shoulders while they make love.

  During a long shot of them lying in bed while the "camera" pans away, Tommy is
heard talking to Det. Norman in a voice over: "Sarah was an angel.  I had a lot
of girls before that, but that was something different.  Very different.  It was
clear to me that if I was going to spend the rest of my life with someone, it
would be with her."

  Video walkthrough
  by thebestmyhay and 0rland0walkthrough

  7b  Better Get Used to It

                     07-04 Better Get Used To It-Salieri Bar

  Cutscene: Salieri is seen in his office in Salieri's Bar presiding over a
meeting with Frank, Tommy, Paulie, and Sam.  Tommy is heard in a voice-over
talking to Det. Norman: "The very next day I told Salieri what happened with the
punks.  The gang of hoodlums had set up residence in his territory causing trou-
ble and scaring good people.  Don Salieri was not pleased."

  Salieri angrily says, " What?  In my territory?  The nerve!  And, on top of
that, they attack defenseless women!  Did anything happen to Sarah, Tommy?"
Tommy says, "No, boss.  She's okay.  I took care of it."  Salieri says, "Good.
Why the hell didn't Luigi say something?  We could have taken care of this imme-
diately.  I won't stand for those chicken shits attacking people in my terri-
tory.  Who do they think they are?  They pay me for protection, so we've gotta
get these punks and put them where they belong."

  Paulie says, "Me and Tom'll fix it.  Those bastards think this is freakin'
Luna Park or somethin'?  I'll rip 'em apart with my own hands."  Paulie simu-
lates pulling a knife across his throat indicating he'd kill them.

  (Paulie referred to the chain of Luna Park amusement parks.)

  Salieri says, "Paulie, Paulie, take it easy.  Nobody's killing anybody, get
it?  I want you to teach them a lesson.  Break every bone in their bodies and
leave 'em laying in a pool of their own blood.  Make sure those bastards need
wheelchairs.  Little kids'll laugh at their busted faces.  Let everybody see
what happens when somebody trashes my territory."  Tommy says, "Sounds interest-
ing, boss" and Paulie says, "That ain't a bad idea at all."

  Salieri says, "We'll need to find out where they're located.  Big Biff might
know something.  He's always standin' around in Chinatown.  Go find him and ask
him."  Paulie says, "No problem, boss."

  (You can have Tommy turn on Salieri's gramophone to hear "I'm Not Rough" by
Louis Armstrong and his Hot Five.)

  Have Tommy get Frank to tell him: "It's good that we're cleanin' up the
streets.  People will trust us more knowing that the streets are safe in our
territory."  Send Tommy to Luigi at the bar to have him say, "Tom, thank you!
Who knows what would have happened if you hadn't walked Sarah home.  I am in-
debted to you."

  (A lady sitting by a window of Salieri's Bar smokes a long cigarette which is
identical to the pen the front desk clerk uses in the Corleone hotel in mission
8--"The Whore."  The lady also works at the hotel as a whore.  Thanks to "Mafia
Observations" by AsaSK.  I'll add that in that mission you can have Tommy ap-
proach her in the front lobby of the hotel or while she goes upstairs and get
her to talk: "Today I feel like havin' a party!  What about it?"  A duplicate
woman--twin?--sits at a table next to the table of the manager in a white suit
whom Tommy has to shoot.)

  Have Tommy go outside and go up the fire escape with Paulie to Vincenzo's

  Cutscene: Vincenzo says, "Salute, boys!  So, what'll it be today?"  Paulie
says, "We gotta give a few clowns a good beatin,' Vinny."  Vincenzo says, "The
best bet would be these superb bats.  This one here's autographed by one of the
MVPs of the league."  He puts a bat on the counter.

  Tommy says, "Wow, I can't believe it!  Is this really his?"  Vincenzo says,
"Well, to tell you the truth it ain't.  But if you're smashing someone in the
face with it," he chuckles as he says, "they certainly won't question ya."

  Paulie says, "We'll need some heaters too--you never know."  Vincenzo says,
"My words exactly.  I've got these Colt 1911s, great automatics."  Paulie says,
"Thanks, Vinnie."

  Have Tommy take the Baseball bat and a Colt 1911 and equip the Baseball bat.

  You might have Tommy take the Lassiter Phaeton, which is fast and heavy, or,
if you had Tommy get it during "Molotov Party," the Bolt-Thrower Red, which is
fast and has good handling, because there's a chase later which you might sup-
pliment with some car ramming.

  Have Tommy drive Paulie toward the street.

                     07-05 Better Get Used To It-City

  Chinatown is now open.

  Have Tommy drive Paulie north to Chinatown to meet Big Biff, who's in the lit-
tle square below the "T" in "CHINA TOWN" on the Map (Tab).

  Biff, who sounds a little drunk, says, "Howdy, partners--how's tricks?"  Press
the RMB to have Paulie say, "Hey, you fat bastard.  We need a little piece of
information."  Biff asks, "What's goin' on?"  Paulie says, "A gang of jokers
have set themselves up in our territory and they're givin' people a bad time.
They messed with Luigi's daughter.  If it wasn't for Tom here, who knows what
they would've done to her.  We need to know where they meet so we can deliver
them a message from Don Salieri."

  Biff says, "Came to the right place, Paulie--I know what's goin' on.  A few
people have already had problems with them, and they told me" (they) "meet at
the old service station near the Terranova Bridge.  It's a little ways from
here.  You can get there through a sort of side door across the yard.  Send them
my regards, Paulie."

  Paulie says, "Thanks, Biff.  I owe you one.  We gotta go."  Biff says, "Sure!
Take it easy, boys!"

  Have Tommy drive Paulie to the GOOD service station near the north end of the
east side of the triangular east block of Chinatown.  Have Tommy get out of the
car and Paulie gets out, too.

                     07-06 Better Get Used To It-Service Station

  Paulie says, "I think this is the place."

  Have Tommy go with Paulie to the red doors and you can have Tommy kick one
open or let Paulie do it.  Paulie says, "Let's do it, and remember, Tom: no

  (If you use "MafiaCon1.2" to send Tommy through the wall that's a little to
the right of the red door you have Tommy kick open, you find the son of the city
councillor and his friend who are seen later in cutscenes.  Their next cutscene
won't play till Tommy kills enough of the gangsters in the area, though.  Thanks
to "Mafia Observations" by AsaSK.  You can also use the noclip feature of "Mafia
Hack V1.03" to do that and have Tommy take care of some of the gangsters ahead
of time while he's there--see the "Mods" section.)

  Have them go to the far left end of the lot.  Paulie confronts one of the
gang, who's in an alley,

  Paulie says, "Hey, pal--Don Salieri sends his regards."  The gangster says,
"Go ahead--I'd really love to hear it."

  A melee fight starts with him.  Help Paulie finish him off.  Have Tommy and
Paulie take care of another couple of gang members there or in the adjoining lot
on the right.

  The gang members use their fists, Knuckle Dusters, Baseball bats, and Crow-
bars.  Have Tommy keep moving to avoid clinches and try to lure attackers toward
Paulie so they can pair up in attacking gang members.  You occasionally get a
chance to have Tommy give a gang member a fully powered Baseball bat in the

  Have Tommy move through the alley into another lot and fight another four gang

  Have Tommy go through an alley into a lot where a man who isn't part of the
gang says, "Thanks.  Thank God you showed up--finally someone to deal with those
bastards.  The cops didn't lift a finger because one of those punks is supposed
to be the son of someone down at city hall."

  Have Tommy equip the Colt 1911, go across the lot, up the steps and ahead on
the ramp of the fire escape, drop down onto some cylindrical containers and
crates then the ground, run out from between buildings to the right side of the
porch of another building, and get behind the corner across the wall from the
corner where a gangster has an S&W Model 27 Magnum.  (Instead, you might have
Tommy run out from between buildings and shoot the gangster who has a Magnum
right away before he can react.)

  The gangster says, "Somebody stopped in for a tuning!"  Paulie says, "Tom,
those bastards have heaters.  Forget the baseball bats--it's life or death."

  Have Tommy stay behind the corner for cover, where he has a vantage point to
shoot the two men with Colt Detective Specials that come over the wall beyond
the gangster with a Magnum.  Then have Tommy move out to shoot the gangster who
has the Magnum (if he hasn't already).  Have Tommy collect weapons.

  Have Tommy go to the corner the gangster with a Magnum was behind and use the
corner for cover to shoot the gangster with a Colt 1911 who's in an alley dia-
gonally across the next area of the lot.  Have Tommy go to the alley and shoot a
gangster who has a S&W Model 27 Magnum farther back in the alley, then have Tom-
my shoot two gangsters who have a Colt Detective Special and a S&W Model 10 M&P
at the end of the alley.

  Game saved.

  Cutscene: Tommy and Paulie approach two of the gangsters, who are standing by
a car, and one of the gangsters says, "What are you tryin' to pull here?"  Paul-
ie says, "I'm tryin' to kick your ass out of this part of town!" and shoots at
them.  (These gangsters weren't shooting at them, so Paulie should have adhered
to Salieri's orders and not used his gun here.)  As they get in their car, the
other gangster says, "These guys are mafia, Johnny--let's hit the road!"  The
two gangsters drive away.  Paulie says, "Shit!  Quick, get into the car!  We
gotta get 'em!"

                     07-07 Better Get Used To It-Chase

  Have Tommy get in his car, let Paulie get in, and chase the gangsters' car
while Paulie shoots at it.

  (As in "Sarah," this mission has a Plank Tommy can use for a weapon, though
there's no use for it in the rest of this mission.  The chase goes right past
the aftermath of an accident between a car and a truck at the corner a block
north of the "A" of "LITTLE ITALY" on the map--Tab.  A man and a woman stand by
the vehicles and there's a batch of planks on the ground nearby.  The Plank is
on the ground near the man.  If Tommy provokes him, he'll use it as a weapon.
The woman says, "Aloha," "You look good today, Mr. Angelo," and "How are you,
Mr. Angelo?"

  (If you check these things out quickly, you may be able to have Tommy catch up
with the gangster's car, indicated by a blue X on the Map--Tab, in time to pass
the mission.  You'll probably need to send Tommy's car south on the walk to the
next east-west road and go west.)

  If you let the gangsters' car get too far away (such as by having Tommy get
the Plank and talk to the wreck survivors), a pocket watch appears showing the
two minutes you have to either have Tommy's car catch up with the gangsters' car
or fail the mission.  (If you fail the mission, at least the last save to load
begins with the cutscene just before the chase.)

  The route the gangsters' car takes from the service station on the east side
of Chinatown:

  It goes southwest and follows the bend in the road to the west, left to go
from one slanted T-intersection to another, south across the walk to the next
street (at the top of the "A" of "LITTLE ITALY" on the Map--Tab), continues
south through the north-south alley east of Salieri's Bar, right, right to go
north through a north-south alley (with the "L" of "LITTLE ITALY" on the Map at
the north end) and crashes through the red entrance gate of a lot,

  left to a T-intersection, left, right through an alley that's in the middle of
the block to the west, ahead to go west on the street, right to a dead end, and
left onto a street-like walk not indicated by a red-orange line on the Map.
There, the car stalls out with black smoke rising from the engine.

  There are two possible final cutscenes if you succeed.

  I've had Tommy wreck the gangsters' car, such as by driving into the front
side of it or pushing it from behind through the alley by Salieri's Bar into the
wall across the street from it, and I've had Tommy's car just follow the gang-
ster's car to the end of the chase where the gangster's car stops, and had Tommy
get out of his car, and gotten a cutscene.  The beginning of that cutscene is:

  Cutscene: the gangsters' car has stopped as we hear Paulie call out "Go and
nail him!"  The passenger seems unconscious but the driver raises his hands (in
surrender?).  Tommy aims a handgun at the driver but seems unwilling to shoot
him. Paulie shoots the driver.  Paulie says, "You can't feel sorry for these
animals.  He'd shoot you in the back the first opportunity he gets."

  Tommy is heard describing his conscience to Det. Norman in a voice-over: "I
thought about what my mother or Sarah would do if they saw me there."

  Paulie goes to shoot the passenger but his handgun is out of bullets and just
clicks.  Paulie lowers his gun and says, "This one's finished.  One less to wor-
ry about."


  I've also had Tommy's car only manage to follow the gangster's car closely and
gotten a different cutscene before getting to the end of the route.  The begin-
ning of that cutscene is:

  Cutscene: Tommy's car chases the gangsters' car till the gangsters' car runs
into a wall.  The upper part of the passenger's body has gone through the wind-
shield.  The car horn sounds for a couple of moments then the driver falls out
of the door and crawls.  Paulie calls out "Go and nail him!"  Tommy aims a hand-
gun at the driver but seems unwilling to shoot him.  Paulie says, "You feelin'
bad for them or what?" and shoots the driver.  Paulie says, "You can't feel sor-
ry for these animals.  He'd shoot you in the back the first opportunity he

  Paulie goes to shoot the passenger but his handgun is out of bullets and just
clicks.  Paulie lowers his gun and says, "This one's finished.  One less to wor-
ry about."

  Tommy is heard describing his conscience to Det. Norman in a voice-over: "I
thought about what my mother or Sarah would do if they saw me there."

  Either way, the rest of the cutscene is:

  Tommy keeps looking at the driver the way he was doing before.  Paulie asks,
"Why are you standing there with that look on your face?  Remember?  Those guys
wanted to do your girl yesterday.  You better get used to it."

  As Tommy turns from the dead driver, he's heard talking to Det. Norman in a
voice-over: "I got used to it."

  Video walkthroughs
  by uberwolf420, 0rland0walkthrough, TheGamesPerson, XmafiaguyX, and willzyyy

  uberwolf420  (end of Sarah)  initial meeting
  uberwolf420  go see biff  alley fight
  uberwolf420  alley fight  car chase

  orland0walkthrough  initial meeting  go see biff  alley fight

  TheGamesPerson  initial meeting  see biff
  TheGamesPerson  alley fight  chase

  XmafiaguyX  alley fight
  XmafiaguyX car chase

  willzyyy whole

  by Aknestik--different methods, no chase required:

  At the gas station, have Tommy drive the Bolt Ace through the red doors and
wait in the car while Paulie takes care of the first melee fight then gets in
the car.  Have Tommy drive down a step, careful not to have the car overturn, to
the next batch of fighters, hit a couple with the car, drive to the fire escape
stairs, and park.

  Have him go up the stairs, across the ramp, and drop down to the crates and
cylindrical containers then the ground.  The gangsters in the first lot and at
the entrance to the alley aren't triggered to shoot and are non-solid, but the
one farther in the alley shoots--have Tommy and Paulie kill him.  Have Tommy
continue past two more gangsters that aren't triggered to shoot and are non-sol-
id and go to the two gangsters who stand by their car.  Have Tommy knock them
out with his Baseball bat.

  Have Tommy run back through the alleys and lots, climbing over boxes to get
over a wall by a glowing yellow window, to get the other melee fighters to fight
but just run past them, go back up the fire escape, over the ramp, and down to
the shootout area to trigger the first gun man to say his line: "Somebody
stopped in for a tuning."  The cutscene shown just before the chase appears.
Have Tommy run toward the gangster's car shooting at the back window.  The final
cutscene is shown.

  (Aknestik's method provides some variety but went wrong more often than not
when I tried it: Paulie would run ahead after the first two gangsters and get
killed instead of returning to the car, etc.)

  by pantomime0is0shit--two Bolt-Thrower Red chases, one with it in the cutscene
caused if you let the chase go on longer

  City-Night and Countryside-Night are available for "Freeride."

  8a  The Whore

                     08-01 The Whore-Talk With Frank

  Cutscene: Tommy and Frank are shown walking east together toward Salieri's
Bar.  Frank says, "Your last mission didn't exactly work out, Tom.  Your killing
everybody means a lot of problems for us."  Tommy says, "They tried to rape Sar-
ah!  The cops oughta thank me."  Frank says, "I know, but the one you let get
away will make trouble."  Tommy says, "What?!  We didn't let anybody get away--
they're all dead!"  Frank: "One lived--they pulled him out of the car wreck."
Tommy says, "Shit."

  Frank says, "The one you killed?--was the son of a city councillor" (actually
Paulie killed the councillor's son, the driver of the gangsters' car, at the end
of the last mission)--"the mayor's friend and Morello's accomplice.  And the one
who lived?--will go crying to the councillor.  Daddy didn't exactly love his
son, but in these cases a person can remember a lot of good things.  By the way,
his funeral's today."  Tommy says, "Pity I can't make it."

  Frank says, "You're lucky that second one didn't know who you were and
couldn't give you up.  But that's not why I sent for you.  Tom, I have quite a
delicate job for you today.  C'mon, let's get in the car."  Tommy gets in the
driver's seat and Frank gets in the passenger seat of a Falconer Blue parked in
front of the bar.

  Frank says, "An owner of one of the businesses which the Don has invested a
lot of money in has suddenly decided to forget his obligation and he has taken
up with Mr. Morello.  It seems that Morello is trying to test our limits.  We're
not going to play his game."  Tommy asks, "So what's goin' down?"  Frank says,
"We're going to blow the place up."

  Tommy asks, "What?!  What kind of joint is it?"  Frank says, "A hotel.  Uh,
that is, it's a brothel, Tom.  But no regular whorehouse--it's a place for
classy society types."  Tommy asks, " And I have to knock them all off?"  Frank
says, "Of course not.  We'll just liquidate the owner and blow up his office.
That should be enough of a warning for the others."  Tommy asks, "'We' means
'me'--right, Frank?  I take out the owner and I blow up the hotel."

  Frank says, "Exactly.  And there's one more thing.  One of their girls is
passing information about our activities to Morello.  We'll need her eliminated,
too."  Tommy asks, "Frank, I-I--I have to kill a woman?"  Frank asks, "Worst
luck, huh?  Here's a photo of her."  Frank hands Tommy a photograph of her.
Tommy says, "She's cute and she looks familiar.  Are you certain this is her?"
Frank says, "Unfortunately, yes.  Her big mouth has lost us a pile of money and
some of our people."  Tommy asks, "Why don't Paulie or Sam do it?"  Frank says,
"We know the place in and out.  They'd be dead before they can get it togeth-

  Tommy asks, "Mmm, so what's the plan?"  Frank says, "It's Downtown--the Corle-
one Hotel" (a reference to the crime family of "The Godfather" series of mov-
ies).  "Find the boss and shoot him.  You can do it in public--it'll be a warn-
ing.  Then, take care of the girl.  The owner's office is on the top floor.

Grab any documents and money you find there and then set up the explosives.  You
won't have time for much else."  Tommy says, "This won't be no picnic."  Frank
says, "I know, but if we don't take care of this now?--we are next in line."
Tommy says, "Maybe you're right."  Frank says, "The weapon and explosives are
here in the car.  Tom, good luck."

  Tommy has 28 bullets for his Colt 1911 and, if you didn't have him take the
Falconer Blue at the end of "Molotov Party," can now jack or pick the lock of a
Falconer.  (Thanks to Bloviator.)

  Have Tommy drive to the Corleone Hotel--it's on the most western north-south
street on the third block north of the southwest corner of Downtown.  (Have him
jack cars sometime along the way to get a Baseball bat if you want him to use
one for one of the Stealth methods described below.)  Have Tommy go through the
front door (RMB) of the Corleone Hotel.

                     08-02 The Whore-Hotel Corleone

  Have Tommy go through the front hall doors into the lobby.  You can get the
people there to say things (RMB).  A guy sitting on a couch says, "It's pretty
quiet just now, but you just wait till the evening!"  The prostitute who dances
with the sailor in the first dining room is the woman you have Tommy save from
the Chinese sea dragon in FRE.

  Have Tommy talk several times with the clerk at the front desk.

  Tommy says, "Afternoon.  Where would I find the manager, please?"  The clerk
says, "He's in the hotel restaurant having lunch, sir.  He's just through those
doors--he's the man in the white suit."

  Tommy says, "Much obliged.  Uh, by the way--I'm looking for the girl in this
photo--she works here.  Do you know where I could find her?"  The clerk says,
"And who are you?  A shamus or vice?  Nah, I've never seen her before.  You want
to enjoy yourself, choose from one of the girls down here."  Tommy says, "Well,
I'm no shamus.  I just need to talk with her."  The clerk says, "Like I said--
never seen her.  So be kind enough to get out and don't make no problems."

  Tommy says, "Watch the mouth, old-timer.  I ain't used to it."  The clerk
says, "Me, neither.  And my two-headed sawed-off, from just under the counter,
was saying that your behavior is not acceptable.  So I advise a slow cool exit."
Tommy says, "Mm.  I'll remember you."

  If you have Tommy bother the clerk beyond that, he'll use the shotgun to shoot

  Tommy is supposed to

  -  kill the manager who's in a white suit (location: have Tommy face the front
desk, go through the door on the left, a dining room, and into the next dining
room--the manager is on the right),

  - get the key to the director's office from a wall of a little room behind the
front desk (there's a Health cabinet with 30 Health near the key),

  - kill the whore (location: have Tommy go to the third floor, go right through
the open glass doors, go through the hall and right around the bend to the first
door on the left, which has a door mat)--in a cutscene, he decides not to kill
her and lets her escape on the promise that she'll never return to town,

  - get documents from the director's office (location: from the whore's apart-
ment, have Tommy go up the stairs to the fourth floor, go right through the open
glass doors to a little hall, and go to the wooden door with a sign that says
"DIRECTOR" on the left), plant a bomb there, and (within the 20 seconds shown by
the pocket watch) escape (have Tommy go back through the wooden door and run to-
ward the window that's at the end of the hall--a cutscene does the rest).

  There's more than one order in which to do the first several things, and more
than one way to do them, before going to the director's office.  A few possibil-

  Shoot-out: have Tommy kill the manager with a Colt 1911, get into a big shoot-
out with others including the front desk clerk, take the key for the director's
office from a wall behind the front desk, and talk to the whore.

  Stealth: have Tommy get a Knife from the Hotel, talk to the whore, kill the
manager with a Knife and avoid the shoot-out, then sneak around the front desk
clerk to get the key to the director's office from a wall behind the front desk
(the desk clerk may become frightened but the others don't react because the
game isn't programmed for this possibility).

  Stealth: have Tommy get a Baseball bat from a motorist on the way to the Cor-
leone Hotel, use the bat to knock out everyone, including the manager, he'd nor-
mally shoot in a shoot-out (the others don't react because the game isn't pro-
grammed for this possibility), get the key to the director's office from a wall
behind the front desk, and skip the talk with the whore.

  Shoot-out (see the links for video walkthroughs by 0rland0walkthrough and
uberwolf420 at the end of this section):

  Have Tommy go into the front lobby, talk to the front desk clerk, go to the
second dining room, stand on the far side of the manager in a white suit so the
manager's bodyguard can be seen seated in the room beyond him, shoot the manager
then the bodyguard, crouch and shoot through the door to kill three gangsters
and the front desk clerk, who has a Sawed-off shotgun, who attack from the front
lobby, go to the first dining room and shoot the sailor (who may attack Tommy
with an S&W Model 10 M&P otherwise), gather weapons, get the key to the direc-
tor's room and use the Health cabinet in the little room behind the front desk,

  go up the stairs to the second floor and kill the gangster in the waiting
room, kill three gangsters who approach from the third and fourth floors, go to
the third floor, go right through the open glass doors, go through the hall and
right around the bend to the first door on the left, and open (RMB) the door for
the cutscene of a talk with the whore (Michelle, who congratulated Tommy for
winning the race of "Fairplay").

  Cutscene: Tommy, with his handgun drawn, quietly enters the apartment, closes
the door, and opens the bathroom door.  The prostitute, who's sitting in the
bathtub having a bubble bath, screams: "Aaai...what?...Tom?"  We see four
flashes of Tommy's memory of her as the woman at Salieri's Bar who told him
"Congratulations, you big hero" after he won the race in "Fairplay.")

  Tommy asks, "Michelle?" and looks at her and the photograph he's holding in
his other hand to be sure he has the right woman.  Michelle asks, "What-what are
you doing?  What's going on?  What-what are you gonna do?  What do you want from

  The voice actress for Michelle is Laura Maxwell who's appeared in movies and
TV shows and (as Laura Bubbles) supplied the voice of a pedestrian for "Vice
City," 2002.

  Tommy says, "I'm sorry, Michelle, but I heard that a bunch of people got
knocked off because of your talk and someone lost a lot of dough.  You're dan-
gerous to us."  Panicked, Michelle pleads: "It--it--it isn't true.  It couldn't
be true!  Tom--wait!"  (GTW note: Tom Waits is a whole different person.)  "I--I
didn't know I'd...hurt anyone.  I--I wanted to help my brother and...."

  While she pleads, we hear Tommy thinking to himself in a voice-over: "I knew
it.  This could only happen to me--a total screw-up.  I can't just kill a young
girl.  A young naive fool who wanted to help her own brother--probably a real
bastard.  On the other hand, is it worth gettin' killed over it?"

  Tommy decides to cut her a break: "Get dressed and get out."  Michelle says,
"Thank you."  Tommy says, "This place is gonna blow in a little while.  I don't
wanna see you in this town again.  Nobody can see you here anymore."  Michelle
says, "Thank you so very much."  Tommy tells her: "In this town you're dead.  Go
away and never show your face here again--get it?"  Michelle says, "I promise
you will never hear about me again."

  Have Tommy go back around the bend to the left and halfway through the hall
and up the stairs on the right to the fourth floor,

  go right through the open glass doors into the small hall and go left to the
director's office, open the door and immediately use a gun (preferably a shot-
gun) to shoot the armed gangster (and the unarmed manager if you let him run
away before) who's in the director's office, plant the bomb (RMB--it's shown in
a cutscene), and go back through the door and toward the window at the far end
of the hall.

  Stealth with a Knife (see the links for the video walkthroughs by petufo and
Aknestik at the end of this section):

  Each does the mission differently than the other--petufo uses the Knife as
little as possible and Aknestik uses fully-powered Knife jabs, one hit kills, a

  Petufo warns that, if you use his method, you shouldn't have Tommy take the
keys before he kills the manager or Tommy will only have a Colt 1911 in the next

  Have Tommy go into the front lobby, go through the glass doors at the far
right side, go left to the end of the hall, go left into the stairwell and go up
the metal stairs to the second floor, go through the wooden door then the door
across the hall from it into a room (this is the room a pretty blonde whore runs
to from the second floor lobby if Tommy gets the gangsters to attack), go right
to a small stand to get a Knife,

  go back through the two doors into the stairwell and go up to the third floor,
go through the wooden door, go right to the end of the hall and around the bend
to the right to the first door on the left, enter (RMB) the room for the cut-
scene of a talk with the whore (Michelle, who congratulated Tommy for winning
the race of "Fairplay"), go back around the bend to the left and halfway through
the hall and through the open glass doors on the left, go left and down the
stairs to the front lobby on the first floor,

  go to the second dining room, go counter-clockwise around the manager's table
at as much distance as the little space allows and turn to his back, immediately
press I and equip a Knife from the Inventory only long enough to use a fully-
powered Knife on the back of the manager then switch to Empty Hands (I use E),
go to the front lobby, go behind the front desk and climb onto the small stand
behind the front desk clerk, wiggle ahead or do side rolls to drop onto the
floor past the stand and get the key to the director's office, go back over the
stand the same way, go around the front desk to talk to the front desk clerk,

  go up the stairs to the fourth floor, go right through the open glass doors
into the small hall and go left into the director's office, plant the bomb (the
gangster there will ignore Tommy), and go back through the door and toward the
window at the far end of the hall.

  Stealth with a Baseball bat (see the link for the video walkthrough by Fiedore
at the end of this section):

  Have Tommy get a Baseball bat from a motorist on the way to the Corleone Ho-

  use a fully-powered Baseball bat through the windows of the front hall doors
to knock out the two door guards, ignore the front desk clerk and go to the sec-
ond dining room to knock out the manager who's in a white suit, go across the
room and knock out the bodyguard who's seated, go back to the first dining room
and knock out the sailor who's dancing with a prostitute so he doesn't have the
chance to attack Tommy with an S&W Model 10 M&P, go back to the front lobby and
knock out the front desk clerk, get the key for the director's office,

  go to the second floor and knock out the gangster in the waiting room, go to
the third floor and knock out the gangster who's walking around, skip the talk
with the whore,

  go to the fourth floor and go right into the short hall, go to the director's
office on the left, plant the bomb (the gangster there will ignore him), and run
back through the wooden door toward the window at the far end of the hall ahead.

  A few options:

  Send Tommy to the manager and right click to have Tommy say, "This is the way
everybody ends up when they sell out to Morello."  The manager says, "What's
your business here?!  Guards, shoot him!"  He runs upstairs to his office and
the guards shoot at Tommy.  If you have Tommy shoot the manager before he can
run away, the manager says, "Who...who sent you?  Why--aaarrgghh."  (You may
need to replay the mission to get him to say it.  (Thanks to "Mafia Observa-
tions" by AsaSK.)

  When Tommy enters the Corleone Hotel, a blonde prostitute says, "You want a
good time, Sweety?" to a sailor.  You can have Tommy follow the man and woman to
a room and Tommy will hear them having sex on the other side of the door.
(Thanks to Bloviator.)  To find the room otherwise, have Tommy use the main
stairway to go to the second floor and go right to the first door on the left
side of the hall.

  When Tommy enters the hotel, you can have him punch the same prostitute to
cause her to run around the hotel with the sailor following her everywhere.
(Thanks to "Mafia Easter Eggs" by Underground.)

  Cutscene: Tommy runs to the end of the hall and the explosion happens as he
jumps through the window onto the roof of a nearby building.  He lands with a
roll, looks back at the fire, and sarcastically says, "Just regular work."

                     08-03 The Whore-Rooftops

  Tommy is on the roof of a building near the hotel.  There are a couple of ways
to have Tommy handle the next section:

  - a lot of shoot-outs

  - one shoot-out

  A lot of shoot-outs:

  Have him go ahead and to the right, get on the ledge that's at a 90 degree an-
gle to the side of the roof, go over the ledge and up the fire escape, go right
over the fire escape ramp, through the gray door, up the stairs, through the
gray door, onto the ledge on the right or left then the higher ledge beside it,
right on the small rectangular roof, onto the wide ledge on the far left from
which to make a running jump onto the lower roof ahead, diagonally across the
roof, onto the ledge, jump down to the box-like structures and down onto the
roof, left onto the box-like structures and down onto a lower roof,

  then clock-wise around a roof structure and use the edge of a wall on the left
for cover, or get onto the box-like structure with little smoke stacks beyond
it, and shoot the five policeman armed with Colt Detective Specials and one
armed with a U.S. Rifle M1903 Springfield that are on the roof below.  (Tommy
may need to go down to the roof to shoot one that may get in a little space at
the far side of the box-like structure with little smoke stacks.)  Have him get
on the lower roof those policemen were on.

  There are two policemen, one with a Colt Detective Special and the other with
an S&W Model 10 M&P, that repeatedly briefly appear above the roof ledge high up
to the left as Tommy goes to the far end of the roof. A couple of the ways you
might have Tommy kill them:

  - have Tommy go to the spot where the policeman with a rifle was and toward
them enough that the roof ledge acts as a cover.  When they occasionally stand
up, just the tops of their heads appear--have Tommy shoot them.

  - have Tommy go ahead to the left, get on the wooden scaffolding, and go up to
the roof to shoot them.  (Thanks to Bloviator.)



  - have Tommy shoot the five policemen that climb up from below him, and the
policeman with a Thompson 1928 on the street, on the first fire escape

  - have Tommy go left at the top of the fire escape to shoot the policemen

  One shoot-out (see the links for the video walkthroughs by poosh and thewitch-
er1990 at the end of this section):

  Have Tommy go ahead and to the far right corner of the roof, get on the ledge,
make a running jump to the ledge of the nearby building, and go left on the
ledge.  When he gets to the corner that has several projections that each have a
narrow ledge for Tommy to use, have him continue by facing the building (Mouse
aim) and pressing against it while walking sideways (Forward and Left).  (This
may take several tries.)  Have him walk sideways that way to the next corner and
use it for cover to shoot a policeman with a Thompson 1928 that's ahead down on
the street, walk sideways as before to the next corner, and jump to the ledge of
the nearby building.

  Have him either go to the edge of the fire escape and drop down onto the fire
escape or jump across onto the ledge of the initial building, go to the edge of
the fire escape, and drop down onto the fire escape.  (This may take several
tries, too.)  Have him climb it to the top, go right over the fire escape ramp,
through the gray door, and so on as with the other method except the police
aren't activated to shoot.

  Alternate version by chiko (see the link for the video walkthrough by chiko at
the end of this section): have Tommy go ahead and to the right to the ledge
that's at a 90 degree angle to the side of the roof and shoot the policeman who
has a Thompson 1928 before using the method given above.

  After the shoot-out with one or a batch of policemen, have Tommy go from the
roof where the policeman with a rifle was to get on the wooden scaffolding at-
tached to a building and go around the corner of the building.

  Cutscene: Tommy uses a ladder to connect the scaffolding with the scaffolding
attached to the Downtown church and crawls over the ladder to it, then the lad-
der falls to the ground below.

  How to have Tommy get back into the Corleone Hotel by TGOSeraph and liakoCC:

  Have Tommy go left from the top of the fire escape, go ahead and right to the
corner of the roof, and make a running jump down to the nearest corner of the
roof below to go through that roof into the Corleone Hotel.  Try to have him
land in the hall behind the window with flames in it.

  SomebodyFromRussia has Tommy go left from the top of the fire escape, go ahead
and left to a spot several feet from the left corner of the roof, and jump down
to a spot just past the middle of the projection of the roof below.

  The people aren't activated to move, the flames are non-solid, and the explo-
sives haven't exploded.

  If you didn't have Tommy take the Falconer Blue at the end of "Molotov Party,"
the Falconer cars are available for "Freeride."

  Video walkthrough

  Corleone Hotel

  by 0rland0walkthrough and uberwolf420--shoot-outs

  by petufo (Czech) and Aknestik--just a Knife

  by Fiedore--just a Baseball bat Tommy took from a driver before going to the
Corleone Hotel


  by uberwolf420

  by poosh and thewitcher1990: how to have Tommy have only one shoot-out with a

  by Chiko: same thing except having Tommy shoot the policeman before going over
the narrow ledges

  8b  The Priest

                     08-04 The Priest-Surprise

  (When the mission starts, you can have Tommy, on the top of the church tower,
go to the edge of the building near the bucket hanging above so he can see the
worker on the ground below.  Have him shoot the bucket and it falls to hit the
head of the worker and kill him.  It's at 6:12 in the video by Dzorcz at the
next link.)

  Have Tommy go down the wooden stairs.  There's a Health cabinet with 100
Health, which you may want to have Tommy use now or after some of the upcoming
shoot-out, at a landing about halfway down.

  Cutscene: Tommy escapes the shoot-out and goes from his life as a crap shoot
to it being sent right down the crapper.  He opens a door a bit and looks
through the crack to see that the church he went into is holding the funeral
service for Billy that Frank told Tommy about in the intro cutscene.  Billy was
the councillor's son, who was among those of Morello's men killed by Tommy and
Paulie in the recent shoot-out.  One of those attending is Billy's buddy, the
man who survived and told Morello's group, and another of those attending is the
councillor, who's an accomplice of Morello.

  As the councillor consoles Billy's mother, who is crying, the priest says some
nice things about Billy (Billy probably didn't explain some of his career
choices to the priest).

  The priest says, "...and was taken from us unexpectedly.  The Lord awaits his
flock with opened arms and those such as Billy are awaited in the heavenly
realm.  Billy was a good son, brother and friend.  We will all remember him in
that light and pray for his salvation, since he did so much good."

  The priest has Billy's buddy come before the others to say a few words about
Billy: "And now Billy's friend, who was with him during the last moments of his
short life on this Earth, would like to say a few words.  Come, my son!"

  Billy's friend says, "Thank you, father.  You know, I--I wanted to pay my re-
spects to Bill today and to tell him that I considered him as my own brother,
and that his death was a great loss for me.  I was present at his death...."

  When the priest opens a side door, he inadvertently reveals Tommy to Billy's
buddy, who yells to the others, "That's the one!  That's the bastard who killed
Billy!  Get him!"  A batch of the others open fire.  (I bet you could get in
trouble doing that in a church.)  One of the attackers yells, "Go!" to the coun-
cillor, who leads his wife away, and another attacker tells the priest, "Get
down, fadda."

  (In the cutscene in which Tommy is recognized by Billy's buddy, one of the men
who draws a gun is Sergio Morello according to "Mafia Observations" by AsaSK.
He means the guy with black hair and a red tie sitting beside the councillor and
his wife.  Morello isn't in the resulting shoot-out, though, so I guess he just
draws his gun for defense as he escapes.)

  Most of the people assembled leave except for six attackers.

  Have Tommy

  - use the door for cover and immediately get one gangster who's right ahead,

  - move to use the doorway for cover to shoot one in the pews on the left then
another in the pews to the right--carve them new pews,

  - move farther out to shoot the gangster in the pulpit, the elevated platform,
on the right side of the room (you might need to have Tommy jump up on the pul-
pit then climb the stairs of it a bit to get him),

  - shoot the gangster with a Thompson 1928 in a balcony in the back (possibly
having Tommy go to the pulpit and use it for cover), and

  - shoot another who might be at the middle left side of the church if Tommy
didn't shoot him already.  (You might send Tommy to the front of the left side
to get him.)

  Have Tommy collect a weapon or two.

  Have Tommy stand by the door he used to enter the room and shoot four gang-
sters with Pump-action shotguns who come in the door at other end of the room.

  Cutscene: there's a brief overhead shot looking down at Tommy, who's standing
by Billy's open coffin.  Then Tommy aims his gun at the door that the priest
opens behind him.  The priest says, "Oh, it is only I.  My son, don't shoot--I
am unarmed" as Tommy lowers his gun and turns back to Billy.

  The priest says, "What have you done, my son?  Such suffering for nothing!
God is forgiving, but this is terrible.  Don't you know murder is the greatest
sin?"  Tommy turns his face halfway toward the priest and says, "I know, father.
But somehow everything got fouled up.  I made a mistake somewhere."  The priest
says, "So many people have died without reason.  They could have done much more
with their lives."

  Tommy turns to the priest and says, "Father, these people were criminals,
cheats, murderers.  The one lying in the front wanted to rape my girl.  Maybe
God wanted it this way.  A lot of people will have an easier life because of
this."  The priest says, "Yes, the Lord works in mysterious ways.  But what
about you?  You can look yourself in the face?  Your hands are stained with
blood that you'll never wash off."  Tommy looks down and says, "I know that, fa-

  The priest says, "Look around you--such a waste!  We'll have to consecrate the
church again--everything is shot up!  I can't let my parishioners in here.  What
am I going to do?"  Tommy hands the priest a batch of dollar bills and says,
"Maybe this'll help?"  After the priest accepts the money, Tommy begins to walk
away and says, "Pray for my soul, father.  I'll need it."  The priest says, "I
will, my son.  I certainly will."  As he walks away, Tommy says, "By the way,
father--your little speech about Billy.  I'm wondering about your conscience.
Billy wasn't such a good person, and he didn't do good when he was alive."

                     08-05 The Priest-Escape

  The handcuffs and wanted bar appear in the middle of the top of the screen.

  The Lassiter V16 Charon, nearby in front of the church, is a hearse with good
speed and handling and a protective roof.  If you have Tommy get into it, the
handcuffs are replaced with the symbol of a puzzled policeman.  You can either
have Tommy immediately take the first left onto the nearby side street and park
behind a building till the wanting bar subsides and goes away, which works some-
times, try to elude the police in it, or at least try to get it to the back lot
at the bar in one piece.

  Savatoon's method: have Tommy run behind the church and through the back
street to get into a tram that's stopped, crouch till the wanted rating goes
down, jack a vehicle, and go back to the bar.  Don_Nero just has Tommy wait in
the back of the church.

  The Falconer Blue and, if you had Tommy bring it to the back lot of Salieri's
Bar, Lassiter V16 Charon Black are added to Salieri's garage.

  The Bolt V8 cars (Bolt V8 Coupe, Bolt V8 Fordor, Bolt V8 Roadster, Bolt V8
Touring, and Bolt V8 Tudor) are available in "Freeride."

  Video walkthrough

  by uberwolf420, 0rland0walkthrough, TheGamesPerson, XmafiaguyX, and willzyyy

  willzyyy  whole mission into Intermezzo 2

         Intermezzo 2

  Cutscene: 1938

  In the cafe, Tommy continues to describe his experiences working for Salieri
to Det. Norman.  (In "The Priest," Tommy told Det. Norman that one of the gang-
sters Tommy and Paulie thought they killed during "Better Get Used To It" lived
till Billy's funeral to identify Tommy to the councillor as the man that killed
the councillor's son Billy.  Tommy had to survive a big shoot-out at the funer-

  Det. Norman asks, "You must be joking, right?  How could you get through
this?"  Tommy says, "Now it was really bad.  Billy's pop, the council man,
wasn't very happy with us, and he was in bed with Morello's."  (The possessive
of "Morello" might mean "Morello's mob," and a plural version, "the Morellos,"
would mean the Morello brothers.  I think the voice actor just misspoke and they
left it in.)  "Without the mafia's help, he wouldn't have got his seat.  He also
started to mobilize the police.  So we now had both the mob and the police
against us."

  Det. Norman says, "Ah, come on."  Tommy says, "Hey, both sides benefited from
it.  The police could look good in the fight against crime and at the same time
get fat pay-offs from Morello, who they left alone.  And with the help of the
police, Morello could eliminate his greatest competitor.  An ideal situation.
And things were going bad for us: Salieri lost a bundle, and I wasn't doing too
good after all that killin.'

  "It started to seem that there was no point to anything, that I should enjoy
everything as much as possible and quickly while I still had the chance, when
it's so easy to lose your life.  Maybe that's why Paulie and me started drink-

  Det. Norman asks, "You weren't fallin' apart, maybe?"  Tommy says, "My life
was just a trail of murders, crimes and alcohol.  If Frank hadn't helped me out
I would have ended up worse.  It was weird, but suddenly he came to me and
wanted to help."

  Tommy and Frank leave Salieri's Bar.  As Tommy approaches the driver's door of
the Falconer Blue parked in front of the bar, Frank asks, "Could you give me a
ride home, Tommy?"  Tommy says, "Sure, Frank--get in."  As they get into the
car, Frank asks, "So, how's life, Tommy?"  Tommy says, "Yeah, going okay,
just...just...ah, nothing."

  Frank says, "I heard you and Paulie are living it up--you two are getting
pretty well-known around town."  Tommy begins to drive to Frank's house and
says, "Just something to do with our money."  Frank says, "If you don't want to
end up a wreck, find some meaning in your life."

  Tommy asks, "What?  You want to preach to me about a sense of life?"  Frank
says, "I've seen a few good guys who couldn't deal with their problems and they
end up real bad.  Usually somebody knocks you off for your money, or maybe you
go nuts and all your buddies and pretty dames disappear.  Anyway, the Don
doesn't want drunks with trembling hands working for him.  Those kind of people
just bring problems.  If you don't watch out, the next thing you know, your best
friend kills you without blinking an eye."

  Tommy asks, "What should I do then?"  Frank says, "Come on, be yourself!  May-
be invest the dough in some kind of investment.  I could give you a few tips.
Give up the partying.  Go to the races with the Don on Sundays.  Try taking a
dame to the theater, or at least the movies.  There's a lot of things you can

  Tommy says, "And who should I take, Frank?  A decent girl doesn't want a kill-
er."  Frank says, "You know, a policeman will murder to uphold the law--you en-
force our laws.  It's the same thing--we're just on the other side of the fence.
You're not a murderer, Tom."

  (GTW note: Frank and Tom are a couple of the relatively nicer guys in this
mob, but Frank is trying to rationalize that killing so the group you're a part
of can make money illegally isn't murder.  And Tommy tries to do the same thing
in "Intermezzo 4.")

  "But still, your wife mustn't interfere with your business.  Remember: never
take the job home--it just brings trouble."

  Tommy asks, "And where would I find a woman for me, Frank?"  Frank says, "I
thought that you had something with Luigi's daughter--Sarah.  I think she's a
wonderful girl.  But you alone know best how far it'll go with her."  Tommy
says, "I'm not going to endanger somebody like Sarah, Frank."

  (The cutscene ends with them going through the southern section of the Works
Quarter--we don't find out where Frank lives.)

  Intermezzo 2 by olivierkahm

  9   A Trip to the Country

                     09-01 A Trip To The Country-Salieri Bar

  Cutscene: 1933

  Tommy is heard in a voice-over talking to Det. Norman: "One day Frank asked me
to stop by at the bar.  He said he had a little job for me, so, of course, I
showed up."

  On a rainy night, Frank meets Tommy in the back lot of Salieri's Bar.  Frank
says, "Tom, we've got two trucks full of the best liquor coming in from Canada."
(It's the Prohibition era of 1920 to 1933.)  "Sam's gone out to the hand-off
point to meet them.  They're at an old farm outside of town and we need to get
the shipment to the city.  I'm sending two trucks out--Paulie's going with one
of them.  I want you to go with them and keep an eye over everything just to
make sure it all goes smoothly.  Get a car from Ralphy and join up with Paulie
over" (at) "our warehouse.  Paulie'll give you some weapons when you get there."
Tommy says, "Okay, Frank."

  (You can use MafiaCon to have Tommy enter Salieri's Bar or Vinnie's workshop
to see interiors which are prepared as if to be used for this mission.  Thanks
to "Mafia Observations" by AsaSK.  You can also use the noclip feature of "Mafia
Hack V1.03" to do that--see the "Mods" section.)

  Have Tommy see Ralph.

  Cutscene: Tommy asks, "So what have you got for me today, Ralphy?"  Ralphy
says, "Hey T-ah-T-T-Tom, I have h-here a new machine for yous.  It has 65 horse-
power and if you put your foot down, it'll go over 75 miles per hour."

  Have Tommy follow Ralph to a Bolt V8 Roadster.  Ralph says, "Th-Th-Th-They put
a new l-l-l-lock on it, but it ain't no p-p-problem.  Here--watch."  Ralphy
shows Tommy how to pick the lock of a Bolt V8 Roadster (a good car except it
doesn't have a protective hard top).  (Tommy can now jack or pick the lock of
the remaining Bolt vehicles.)

  Ralph: S-S-S-S-See?  It's-it's-it's r-real easy.  You can t-t-t-take this car,
or something older--whatever you want."  Tommy says, "Thanks, Ralphy."

  Have Tommy take the Bolt V8 or whatever car and drive toward the street.

                     09-02 A Trip To The Country-City

  The Terranova Bridge is open.

  Have Tommy drive into the entrance of the lot for the Salieri Warehouse in Ho-
boken.  (The Map--Tab--shows a thin road for most of the most northern block of
Hoboken.  Have Tommy go north on the eastern road of that block and into the lot
entrance on the right.)

  Cutscene: in the lot of Salieri's warehouse, Paulie says, "Hey, Tommy.  We're
goin' to a farm outside of town to pick up a couple o' truckloads of good booze.
We wanted you wid us in case of any trouble, but it should be real easy.  You"
("We"?) "really have to do nothin'--just be there.  The boys'll load up the
trucks and we'll come back.  Sam is already there waitin' for us, so probably be
drinking most of it before we even get there.  I'll do the drivin.'  The cops
have been paid off, so there's nothin' to worry about."

  As they get into a truck with Paulie at the wheel, Tommy says, "Looks like I
could've just stayed home and slept."  Paulie says, "Hey, if I gotta be up, you
gotta be up, heh heh."  Once they're both in the truck, Paulie says, "Let's go."
Paulie's truck and another pull out of the lot and drive into the countryside.

                     09-03 A Trip To The Country-The Farm

  Cutscene: driving through the countryside, Paulie says, "This is the life: to-
tal ease, countryside, no stress.  You know, we oughta do this more often."
Tommy says, "Better in the daytime."

  Paulie says, "Heh heh heh heh.  I think you'd rather be with Luigi's little
girl--Sarah, right?  That's your nightshift, heh heh heh."  Tommy says, "Lay
off.  What d'you know about it?"  Paulie says, "Same way as everybody else
knows.  Heck, even Luigi knows that you're chasing her.  I figure he ain't too
bothered--you saved her virginity, after all, heh heh heh heh.  I bet you stole
it right back, huh?"  Tommy says, "Shut up, Paulie.  I didn't know you were

  Paulie says, "Ah, c'mon, Tom!  I'm kidding.  She's a good girl.  You're good
for each other."  Tommy says, "I ain't so sure.  Uh. somehow, I can't imagine
coming home and saying: 'Guess what, Sarah?  Had a hell of a day at work today--
I had to kill ten people!'"  Paulie says, "You can't talk about stuff like that
at home.  If you don't act like the way they describe you in the papers and
you're good to her, she'll ignore all that crap.  Hey, heh heh, she's loaded!"
Tommy asks, "So it seems normal to you to hide who you really are from your own
wife your whole life?"  Paulie says, "Don't worry so much."

  When they don't find Sam at the meeting place at the edge of the farm, Paulie
says, "Damn it."  Tommy asks, "What's going on?"  Paulie says, "Sam should be
waitin' here, but he isn't."  Tommy says, "It smells fishy."  Paulie says,

"Look, we'll wait here with the trucks.  You go quietly t' check out what's go-
in' on."  Tommy says, "Thanks for the confidence."  Paulie says, "Here's some
toys to take with you."

  Tommy has a Pump-action shotgun and a Colt 1911 given to him by Paulie.  Have
him equip the shotgun and go over the bridge and along the path to near the end
of the path, go right on a path, and go left on a path to the truck.

  Cutscene: when Tommy opens the driver's door of the truck, a dead man falls
out.  Tommy exclaims, "Je-sus!"  A couple of armed men, one an undercover plain-
clothes policeman with a light brown coat (see "09-07 A Trip To The Country-Lu-
cas Bertone" below) and a handgun and the other a gangster in a dark suit and a
shotgun, appear nearby with their weapons pointed at Tommy, who turns and points
his shotgun at them when one says, "Eh, your friend--he's fallen sick."

  Tommy asks, "Who are you?  Are you from the police?"  The undercover policeman
says, "Eh, Mr. Morello and the sheriff would like to send their regards and in-
form you that from this point on?--they'll be taking over your duties here, heh
heh heh."

  Tommy shoots one of them with his shotgun then dives to roll to the side.

  Tommy has to get back to Paulie's truck.

  Have Tommy use his shotgun and either use the side of the truck for cover or
circle strafe to shoot the two men at a safe distance then go to the left side
(facing the barn) of the barn that's by the truck to shoot a gangster who's
armed with a handgun.  Have him collect ammo as needed (now and throughout what
follows) then equip the Colt 1911.

  Have Tommy go ahead and right and far enough to the right of the barn to shoot
the gangster at the doorway of the loft.  (I've also had him fall to the ground
or run down inside the barn to the first floor.)

  Have Tommy equip the shotgun, crouch, and shoot the gangster with a handgun
who's behind the right (facing the barn) barn door.  Have him shoot the under-
cover policeman who's behind a bale of hay in the corner across from the last
gangster.  Have Tommy go up the stairs backwards and shoot the gangster who's
got a shotgun on the second floor by the opening in the floor for the stairs.
There's a Health cabinet worth 30 Health on the first floor by the stairs.

  Have Tommy equip the Colt 1911, crouch, and continue on the path to shoot a
gangster who has a shotgun on the porch of the little one story house on the
left side of the path, then shoot the undercover policeman who has a shotgun by
the doorway or porch.

  Have Tommy continue on the path and crouch to shoot the gangster who has a
shotgun, then the undercover policeman who has a handgun, who may run about ten
feet out from the door of the even smaller house on the right side of the path.

  Have Tommy continue on the path, possibly needing to shoot a gangster who runs
toward him if the gangster isn't killed by Paulie and his men, and go to the two
trucks, where shooting is going on.  One truck is on fire and Paulie waits in
front of the other one.

  Cutscene: in front of Paulie's truck, Tommy tells Paulie, "They're all dead!"
Paulie asks, "What?"  Tommy says, "The truck crew--out there in the back--they
wasted them."  Paulie asks, "What?  What about Sam--did you see him?"  Tommy
says, "No, I didn't see him.  But the barn was locked--he might be in there."
Paulie says, "We ain't leavin' without him.  We have to go back and get him."
Tommy says, "Okay, we'll go back, but we gotta find a crowbar or something so we
can break open that barn door."  Paulie says, "Okay, let's go."

  Paulie tells the others by their trucks: "You boys stay here for now and watch
the trucks.  Waste anyone who gets within a hundred yards--besides us, of
course."  One of the men in Paulie's crew says, "Okay, boss."

  Paulie's Health bar appears above Tommy's.

  Have Tommy go with Paulie back on the same path.  Paulie says he needs some-
thing to pry open the locked door of the red barn on the left.  He goes across
the path to the second floor of a big shed for a crowbar.  You can have Tommy
use the Health cabinet on the ground level of the shed for 30 Health.  Paulie
goes back to the door of the red barn.

                     09-04 A Trip To The Country-Saving Sam

  Have Tommy equip the shotgun, crouch near the door, and be ready to shoot up
at a gangster who's on the second floor when Paulie breaks the door open.

  (After Paulie opens the barn door with what he called a crowbar, he drops it.
You can have Tommy pick it up.  It's actually a Steel Bar and Tommy can use it
as a weapon.  The Steel Bar is a more powerful melee weapon than the Crowbar.
Thanks to Bloviator.)

  Have Tommy shoot the gangster who's on the second floor, go forward in a
crouch to shoot the gangster who has a shotgun behind the right side of the wag-
on in the middle of the room and a gangster who has a handgun behind some crates
on the left side of the room.  Have Tommy go backwards up the stairs to shoot a
gangster who's on the second floor by the opening in the floor for the stairs.
There's a Health cabinet with 30 Health across from the top of the stairs on
this floor.

  Have Tommy go to the third floor and go to Sam, who's laying wounded on the

  Cutscene: Paulie exclaims, "Sam!  Jesus, what have they done to you?  You
still in one piece?"  Sam says, "Eh--just in the wrong place at the wrong time
again, I guess."  Paulie asks, "Can you walk?"  Sam says, "Probably not too
good."  Paulie says, "Okay, hang on--I'll get the truck.  We'll get you to the
doctor.  You'll make it!  Sam!  Tom--wait here with him.  I'll be back in a sec-
ond."  Paulie leaves and Tommy says, "It'll be okay, Sam.  We've gotten through
worse."  Sam says, "Sure.  We have?"

  Sam's Health bar, with only 9 Health, appears above Paulie's and Tommy's
Health bars.

  Tommy hears a vehicle outside and says, "Paulie's coming."  But Sam says,
"Tom--I don't think that's no truck."  Tommy says, "Shit."

  Two police cars park outside.  Two policemen in blue uniforms and two under-
cover policemen come from them.

  You can have Tommy use the Colt 1911 to shoot from the barn opening near Sam
at the men who come from the cars, but I once had Tommy get stuck on Sam's col-
lision files and unable to move till he was killed.  You also don't want to draw
fire in Sam's direction, so I'd more likely have Tommy equip the shotgun then go
downstairs to the second floor and stand at the opening in the floor for the
stairs (around the area the last gangster Tommy shot used) and shoot any men
that come up the stairs.  Tommy may need to go downstairs after a couple of them
that stay on the first floor or fire from across the path.

  Paulie parks the truck in front of the barn and calls out to Tommy, "What the
hell's goin' on here?  Tom, are you alive?  Get out here and help me!"  Send
Tommy out to Paulie.

  Cutscene: Tommy talks with Paulie in the rainy night just outside the barn by
Paulie's truck.  Paulie exclaims, "Christ, that was a massacre!  This is one
hell of a night."  Tommy says, "It looks like they want to get us completely out
of the picture."  Paulie says, "Yeah?  Well, that ain't gonna be so easy.  Is
Sam okay upstairs?"  Tommy says, "Yeah, he's okay.  At least he isn't any
worse."  Paulie says, "Okay, I'll get him.  You keep watch here."

  Paulie goes into the barn and we hear him call to Sam, "Sam--it's me, Paulie!
C'mon, we're goin' home."  Sam says, "Ulgh, we're goin' to the doctor.  I ain't
feelin' so good.  I must be coming down with somethin.'"  Paulie jokes, "Hmm, I
guess so--your nose is runnin' a little."  As Paulie carries Sam in his arms
from the barn to the back of the truck, he says, " Sam, I'll put you in the
back.  Tom will be with you just in case."  Sam says, "Okay."

  As Paulie tells Tommy, "Tom, go with him and keep an eye out," we see a couple
of cars approaching.  Paulie tells Tommy, "There's a Thompson if you need it."
Tommy says, "Got it."  When Tommy sees the cars approaching, he says, "Paulie,
it looks like we got more company."  Paulie calls out, "There's a Thompson and
some ammo back there.  Get behind those crates and watch out!  Fire as soon as
they get behind us!"  Paulie gets out of the truck and calls out, "Make sure
they don't get past us!"

                     09-05 A Trip To The Country-Return Journey

  Only Tommy's Health bar appears.  This is a sort of rail shooter in which you
don't see Tommy--you control his Thompson 1928 that can swivel from one spot.

  As Paulie drives the truck through the country, have Tommy stop three pursuing
cars by shooting from the back of the truck at the driver or at least the engine
of each car when it drives up behind the truck.  I usually aim below the driver
and fire a small burst of shots that take the aim up past the driver.

  Cutscene: Paulie drives the truck to the front of the doctor's house and says,
"We're here.  Tom--get Sam ready.  I'll go wake the doc up."  Tommy takes Sam's
left arm over his shoulder and helps him walk to the door of the doctor's house
saying, "Sam, we're at the doctor."  Paulie rings the doorbell.  The doctor
opens the door and asks, "God, is that you, Paulie?  What are you doing here so
late?"  Paulie says, "Good evening, doc.  I'm sorry, but we had an accident and
we need your help."  The doctor says, "Okay.  Where is he?  Bring him inside."
Paulie says, "Okay."

  Later, as Tommy joins Paulie in the truck, Paulie says, "That was our doctor--
he doesn't ask questions and Sam's in good company."  Tommy asks, "Are you sure
that he isn't just an untrained butcher?"  As Paulie begins to drive he says,
"Definitely not--he is the best!  The best paid doctor in the city.  If you get
hurt, you will be thankful that we have him."  Tommy says, "Okay.  I hope he'll
do his best for Sam."

  Paulie parks the truck back in the lot at Salieri's warehouse.  Tommy and
Paulie get out of the truck and stand by it to talk.  Paulie says, "Ahhh, at
least that's all over.  We could have all ended up a lot worse off than Sam
did.  When I catch that bastard who double-crossed us, I'll tear his head off."
Tommy says, "It looks like someone has had enough of us."  Paulie says, "It sure
does.  I don't know about you, but I'm goin' to get a shot o' something.  When
the Don finds out what happened there'll be hell to pay.  This means a real war,
and it ain't good."  Tommy says, "It certainly ain't."  Paulie says, "All right,
so good night, Tom."  Tommy says, "Have a good night, or, at least, try to have

                     09-06 A Trip To The Country-The Warehouse

  You can have Tommy return to Salieri's Bar, but if you want Tommy to do the
optional mission for Lucas Bertone first, send Tommy to see Lucas at his auto
service shop south of the east end of the Giuliano Bridge.  Don't have Tommy
take a slow car because it's a timed mission.  The Bolt V8 Roadster in the lot
at Salieri's warehouse is good enough.

  But you can have Tommy use the gimmick to get a Lassiter V16 Police car in-
stead before having him see Lucas.  You can use it to pass the mission or play
with some glitches.

  How to get a Lassiter V16 Police car

  From the southwest corner of the most northern block of Hoboken (the block
that's mostly a narrow road), have Tommy go north on the east side of that nar-
row road to the north end of the orange fence/south end of the wooden fence.
One of the thick wooden support posts of the wooden fence is there.  Have Tommy
go north to the third wooden support post and walk through it into a big dirt

  Have Tommy go south-southeast toward the five story brick building with a tree
at the west end of the north side of it.  The Lassiter V16 Police car is farther
east by that building.

  The car is pointed west, so have Tommy turn it to drive east-northeast over
the lot to a place a bit east of the west end of the straight east-west part of
the railroad track (see the Map--Tab) where there's no wooden fence to prevent
Tommy from driving onto the track.  Have him go east or west on the railroad
track to a railroad crossing then get onto the road.

  Unfortunately, like any police vehicle, it can't be saved at the garage (or-
ganized crime would consider a police vehicle to be too hot to keep in the lot,
I guess).

  MsSepeteus and OLD_NICK show how to get the car in the videos at the next

  The location of the Lassiter V16 Police car, and the enter and exit locations
for it, are indicated on the FR and FRE map by Gavel.

  The mission as it's normally done

  Have Tommy see Lucas Bertone.

  Cutscene: Lucas says, "Ah, Tommy--you've come like a gift from heaven!  A
stoolie just called me and said that the cops wanna pick one of my friends up.
Hey, we gotta let him know as fast as possible.  He lives in a house in Hoboken.
Could you go and warn him?"  Tommy says, "Okay, Lucas."

                     09-07 A Trip To The Country-Lucas Bertone

  Tommy has five minutes to go to Lucas' friend's place in the middle of the
north side of the block that's north of the two blocks of "BOKEN" of "HOBOKEN"
on the Map (Tab).  Have Tommy go east from the east end of the Giuliano Bridge,
and just before the 90 degree bend to the north have Tommy go right, go left
over the walk through the construction area, continue east through the Twister
Theater parking lot and through the alley, go left, and go right.

  Have Tommy go to the front door and talk (RMB) to Lucas' friend.  Tommy bangs
on the door, and Lucas' friend calls from behind it: "What is it?  What do you
want this time at night?"  Tommy says, "Lucas Bertone sent me.  You gotta disap-
pear--the cops'll be here any minute."  Lucas' friend says, "Shit!  Thank Lucas
for me--and you too, of course.  I better go out the back so no one sees me.
Goodbye."  Tommy says, "Good luck."

  If you have Tommy stay till the police men show up and enter the house,
you'll see that, unlike the usual police officers, they dress differently, drive
a Lassiter V16 Police car, and having Tommy fight them isn't enough to immedi-
ately create an arrest warrant or police assault state.  (Thanks to Bloviator.)

  Besides three police officers dressed in blue, one is an undercover plain-
clothes police man in a light brown coat.  Tommy had to fight some undercover
policemen earlier in this mission, has to fight a batch of them in "Omerta" and
they may appear, depending on what you have Tommy do, in "Election Campaign."

  Two of the officers dressed in blue, and the undercover policeman, have Pump-
action shotguns, and the other officer dressed blue has a handgun.

  Two of the officers in blue uniforms stand guard by the door of Lucas'
friend's place and the other two officers go into the building.  If Tommy at-
tacks them, they attack Tommy.  Normally, Tommy can't use their Lassiter V16 Po-
lice car.

  The mission done with a Lassiter V16 Police car

  See "How to get a Lassiter V16 Police car" in the previous section.

  Normally, the game causes the car to start transporting the four policeman to
Lucas' friend's place when there are 20 seconds left on the Pocket Watch and has
the car arrive at Lucas' friend's place a little after Tommy's time limit ex-
pires.  Once the policemen get out of the car, Tommy can't use it.

  By having Tommy get in the car and put it in a different location before ini-
tiating the mission, you can cause a few different things to happen--thanks to
MsSepeteus for the following methods:

  - Do the mission the normal way to pass it then have Tommy get back in the
driver's seat with what would be more than 20 seconds left on the Pocket Watch
(or the car will just disappear to be used by the policemen).  The four police-
men appear in it with Tommy--one of the officers dressed in blue is fused to-
gether with Tommy.  The car teleports to an east-west road a bit west of the
southwest corner of the most northern block (the one mostly indicated by a nar-
row line) of Hoboken.

  You can have Tommy accelerate the car but not steer it.  If you accelerate, it
steers itself to Lucas' friend's place.  It goes east, goes right, goes left,
and, unless you have it accelerate, stops a bit west of Lucas' friend's place.
As the time expires.  Tommy says, "Damn it--I didn't make it."  Once the car is
by the spot where it usually stops, you get complete control of the car.  If you
stop, the policemen get out and you can't use the car, so keep accelerating as
long as you want to drive it.

  If you stop outside somewhere, the policemen go to Lucas' friend's place.  If
you stop in an interior, like inside Lucas Bertone's garage, the policemen get
out of the car and stand still.

  - An easier way to get the same effect: start the mission with the car parked
at Lucas' service station and have Tommy get in the driver's seat.  When there's
about 20 seconds left on the Pocket Watch, the car disappears from the service
station and, as in the last example, reappears with the four policemen inside it
on an east-west road a bit west of the southwest corner of the most northern
block of Hoboken.  The rest is the same as the last example.

  - Start the mission with the car parked at Lucas' service station and have
Tommy get in the back seat.  When there's about 20 seconds left on the Pocket
Watch, the police appear in the car and it teleports to an east-west road a bit
west of the southwest corner of the most northern block of Hoboken.  Tommy is
driven to Lucas' friend's place.  You fail the mission because the police get
there after the time expires.  The police get out of the car and two stand guard
at the door of Lucas' friend's place and two go through the door.  Tommy can't
use the car.

  - Start the mission with the car parked at Lucas' place but don't have Tommy
get in the car.  When there's about 20 seconds left on the timer, the card dis-

  Again, the methods of MsSepeteus and OLD_NICK are in the videos at the next

  The end of the mission either way

  Have Tommy drive back to Lucas.

  Cutscene: Lucas says, "So--what?"  Tommy says, "Fine.  Went well.  He thanked
you and then he quickly disappeared."  Lucas exclaims, "Ah, thank God!  Hey, I
have a reward for ya, Tommy!

  Have Tommy follow Lucas to an olive green-yellow Ulver Airstream Fordor.  Lu-
cas says, "Hey, this is totally new.  It's a little different than those other
cars--it's the first line of cars with an aerodynamic form, yeah.  Hey, they
look pretty sharp to me, but many people don't like 'em.  The main thing is that
it purrs like a kitten, yeah."  (The Ulver is based on a 1934-37 Chrysler Air-
flow, which was ahead of its time in aerodynamic design but was ultimately a
commercial failure.)

  Lucas says, "And you can snag one easy: you just stick this wire in here?--
boom, that's it" as he shows Tommy how to pick the lock of it.  (Tommy can now
jack or pick the lock of any Ulver.)  Lucas says, "One guy who lives in Oakwood
has the same model.  He parks it in front of the garage next to his house, hah?"
Tommy says, "Great, thanks."

                     09-08 A Trip To The Country-Lucas Bertone 2

  (The design of the Genuine Motor Oil cans in Lucas' garage is taken from the
Gulf Oil logo of the time period.)

  Have Tommy get the Ulver Airstream Fordor from a driveway at the northwest
corner of the southeast block in Oakwood, drive it to the lot behind Salieri's
Bar, and have him try to open (RMB) the front or back door to save the game.

  (The design of "Pepe Cola" on the sign inside Salieri's Bar is the same, other
than the spelling change, as a Pepsi Cola logo of the time period.)

  The Bolt V8 Roadster Blue and Ulver Airstream Fordor Yellow are added to the
cars in the back lot at Salieri's Bar.

  The Schubert Extra Six cars (Schubert Extra Six Fordor, Schubert Extra Six Tu-
dor, Schubert Extra Six Police Fordor, Schubert Extra Six Police Tudor) and Ul-
ver cars (Ulver Airstream Fordor, Ulver Airstream Tudor) are available in "Free-

  Video walkthrough
  by 0rland0walkthrough, uberwolf420, TheGamesPerson, and willzyyy


  10  Omerta

                     10-01 Omerta-Salieri Bar

  Cutscene: in his office in Salieri's Bar, Salieri angrily tells Tommy, "Yes-
terday was the worst disaster we've had.  We lost eight men, the whole shipment,
and Sam can't even stand up.  This is a war and we're in a hell of a fix.  He's
already got the prosecutor on his side, and he's digging up a load of dirt on
us.  He's also pretty close to the councillor whose boy you knocked off, Tommy,
so he's got the cops after us."

  Tommy says, "They ain't got nothing on us."  Salieri says, "That's where
you're wrong: yesterday Frank handed over all our account books.  The prosecutor
is having a field day."  Tommy says, "Damn it!"

  Salieri says, "Frank wouldn't be out for blood, but he doesn't seem to mind
too much if I go to jail for life.  Those account books will give the prosecutor
a truckload of evidence for the case against us, but without Frank it'll be for
nothing.  We've got to liquidate Frank."

  Tommy says, "You mean hit him?  You tryin' to tell me I've gotta knock Frank
off?"  Salieri says, "More than twenty years I've known Frank.  All I got, I got
with him.  But Frank broke the Omerta--I don't know why, but he must have his
reasons.  And we've got our own reasons to rub him out and get those books back.
Otherwise, we'll do time--and plenty of it."

  (According to Wikipedia: "Omertà is a popular attitude and code of honor, com-
mon in areas of southern Italy, such as Sicily, Calabria, and Campania, where
criminal organizations like the Mafia, 'Ndrangheta, and Camorra are strong.  A
common definition is the 'code of silence.'  In English, it is often rendered
omerta, without an accent, leading to frequent mispronunciation.  This grave ac-
cent in Italian and Sicilian indicates that the final a is stressed.

  ("Omertà implies 'the categorical prohibition of cooperation with state au-
thorities or reliance on its services, even when one has been victim of a
crime.'  Even if somebody is convicted for a crime he has not committed, he is
supposed to serve the sentence without giving the police any information about
the real criminal, even if that criminal has nothing to do with the Mafia him-
self.  Within Mafia culture, breaking omertà is punishable by death.")

  Tommy says, "Whatever you want, boss, if there ain't no other way."  Salieri
says, "There isn't!  I figure today's our last chance to do something before
they move Frank out of our reach."  Dejectedly, Tommy asks, "What do you want me
to do?"

  Salieri puts two photographs on the table and says, "First, find these men and
find out where they've got Frank.  They're good stoolies--they have connections
with the cops and in the courthouse.  One of them is sure to know.  You already
know Big Biff's" (seen before in "Better Get Used to It") "from Chinatown, and
Little Tony's always loafing on the island" (Central Island) "near the museum.
Then, track down Frank.  Whatever you do, don't kill him till he tells you where
those books are.  Capisci?"  Tommy says, "Got it."

  Salieri says, "Frank's going to have protection--you'll have to knock them off
first.  Once you know where the books are, kill him."  Tommy sadly says, "Okay,
boss--whatever you want."  Salieri says, "Good luck, Tommy.  Get a gun from Vin-
cenzo and a car off Ralphy.  And remember, if you don't do this right, we're
done for."

  As Tommy leaves, Salieri says, "God damn it.  What have you done, Frank?  You
were a brother to me."  Salieri puts his head in his hands and closes his eyes.

  Tommy's objectives are to find Frank, get the account books, and kill him.

  (When you send Tommy into the back lot of the bar, you can see a man in a blue
shirt on a balcony of the building north of the building Vincenzo's workshop is
in.  Thanks to "Mafia Observations" by AsaSK.)

  Have Tommy go to Vincenzo's workshop.

  Cutscene: Sorrowful, Tommy says, "Hello, Vince.  I guess you know why I'm
here."  Vincenzo says, "Right.  What can you do?"  He sighs and says, "Frank
knew what would happen."

  Tommy asks, "What do you got for me?"  Vincenzo lays a Colt 1911 on the count-
er and says, "A Colt 1911 should be enough, but here's a Sawed-off as well."  He
puts a Sawed-off shotgun on the counter and says, "In Sicily they call it a Lu-
para."  He chuckles as he says, "When they find someone shot by one of these ba-
bies, everyone knows the deal."

  He adds, "Unfortunately, this is the perfect situation to use it.  It's got a
short range, but it covers a lot of real estate--you can't miss."

  Tommy says, "I'd never thought that I'd meet with Sicilian tradition like

  Have Tommy take the weapons, go to the lot, and talk to Ralphy.  Tommy asks,
"What do you got for me today, Ralphy?"  Ralphy says, "He-He-Hey, T-T-Tommy!  I
got a new car.  Just a bit better than that-than-than that V-V-V-V8, has 80 h-
orsepower.  Pretty good little m-m-m-machine."

  Have Tommy follow Ralphy to a Schubert Extra Six Fordor car.  Ralphy says,
"They changed the locks a bit, but, eh, they're no problem when you're in th-th-
th-the business."  He shows Tommy how to pick the lock of a Schubert Extra Six
Fordor.  (Tommy can now jack or pick the lock of any Schubert Extra Six.)  He
says, "That's it."  Tommy says, "Thanks, Ralphy."

  Have Tommy drive toward the street.

  (Ralph taught Tommy how to pick the lock of a blown up Schubert Extra Six
Fordor in a video by tpemail but the link is inacive.  To perform the gimmick
just have Tommy blow up a car before Ralph gets to it to pick the lock and
Ralph performs the lockpicking animation anyway.)

                     10-02 Omerta-City

  Have Tommy drive to see Big Biff across the street from the north side of the
square below the "T" of "CHINA TOWN" on the Map (Tab) and talk to him.  Tommy
says, "Greetings from Mr. Salieri, Biff.  We need to know where the cops've got
Frank."  Big Biff says, "Sorry, Tommy.  I don't know nothing about it.  Pay Lit-
tle Tony a visit--he's 'like this' with the cops."

  ("Like this" is usually indicated by the speaker holding up two fingers held
together, but this game came out in 2002 and Biff had mitten hands.)

  Have Tommy drive to the art gallery museum--the building indicated by a big
brown rectangle at the south end of Central Island--and talk to Little Tony,
who's on the museum entrance walk by the sidewalk.  Tommy asks, "How are you,
Tony?  Mr. Salieri needs to know where the cops are holding consiglieri Frank,
and Big Biff suggested you might know something."

  Little Tony says, "Hey there, Tom.  Uh, look, I don't know, uh, where--where--
where--where they've got Frank exactly, but, uh, I do know there's a scumbag,
uh, that's been blurtin' stuff--uh, something about Frank and the c', and the
cops the other day.  They call 'im, uh, Idiot Joe 'cos he's a complete idiot.
He hangs out, uh, on the lot under the bridge a--a little ways from Bertone's
service station.  Uh, you'll know him--he's completely bald."  Tommy says,
"Great, Tony--I owe you one."

  There's a Boxer dog on the same entrance walk.  (You can use "Mafia Hack
V1.03"--see the "Mods" section--to give Tommy a Grenade, have him blow up the
dog, and get a Boxer dog boxing glove.)

  Have Tommy drive toward the lot on the east side of the road that goes beneath
the east end of the Giuliano Bridge.

                     10-03 Omerta-City 2

  Have Tommy talk to Idiot Joe, the bald man in the middle of a group of three
men in the lot, to find out where Frank is.  Joe doesn't want to admit who he is
but accidentally lets it slip.  You can skip the next batch of conversation
(which may be as big a number of back and forths of conversation between two
people at one time in the game as between Tommy and Sarah) by having Tommy hit

  Tommy asks, "Hey hey, there--you Joe by chance?"  Joe says, "Got the wrong
guy--I'm Pete."  Tommy says, "Well, then--I'm George."  Joe says, "Sorry to hear
that."  Tommy asks, " Say, ain't you got a twin brother by the name of Joe?"
Joe says, "My brothers ain't none of your business."  Tommy says, "Well, I gotta
talk to somebody named Joe damn quick."  Joe says, "Don't know that fella."
Tommy says, "I ain't gettin' through to you--it's pretty damn important."  Joe
says, "What's important is that, uh, you gotta scram!"

  Tommy says, "Take it easy.  I ain't leaving till I find out where Joe is."
Joe says, "That's tough, George.  Mom used to always say: Joe, don't go talking
to strangers or taking their candies."  Tommy asks, "What did I tell you: JOE!"
Joe says, "Go screw yourself!"  Tommy, trying to be patient, says, "I wanna know
where the fuzz's got Salieri's consiglieri Frank and you're my man."  Joe asks,
"What nut told you that?  I dunno shit!  Jeez."  Tommy says, "Don't try and rile
me, Joe.  Just remember real quick."  Joe says, "Christ!  I told ya I dunno any-
thing about it, buck.  Just scram."  Tommy, losing his patience, asks, "You wan-
na play hardball, huh?  Spill it!"  Joe says, "Buzz off!"  Tommy says, "COME ON,
Joe!"  Joe says, "Go to hell."  Tommy asks, "Where's Frank, Joe?"  Joe asks,
"You deaf or what?"

  Have Tommy punch him a little and Joe says, "Okay, okay, already--you win,
man. You win!  For Christ's sake, stop hitting me--I'll spill the beans."  Tommy
says, "I'm all ears."  Joe says, "Frank and those bastards agreed that if he
gave the account books they'd pack him off to Europe.  You'd better move it--
he's probably leaving today.  They've been holding him in some joint opposite
the tennis courts in Oak Alley."  (He means Oakwood.)  "That's all I can tell
ya.  Now leave me alone, y'rat!"  Tommy says, "You've been a big help, Joe.
Next time get to the point a bit earlier."

  Have Tommy drive to the house where Frank is being held.  It's the third house
from the east end of the southern east-west street of the southeast-most block
(not counting the winding road to Oak Hill) of Oakwood.  It's a little house
across from the parking lot of the tennis courts.  The parking lot is indicated
on the Map (Tab) by the west-most area of the several light beige shapes south
and southeast of that block.  Tommy says, "It looks like I'm at the right

  Cutscene: two plainclothes undercover police men in dark suits (you can tell
they're undercover policemen because when they leave the car at the airport
they've changed into long light brown coats) escort Frank from the house into a
Lassiter V16 Police car.  A man with a pink-gray coat over his dark suit gets
into the driver's seat and drives them away.

  When you get control of Tommy again, he says to himself that they must be wor-
ried about Frank to drive him in an armor-plated car, and he wants to find out
where they're going.  Have Tommy follow the police car.  It goes west and
through the 90 degree bend to the north, north past the circle, left, and right.

  At the next intersection, Tommy's car may get past the front of a truck that's
about to park across much of the opening through a road construction area if
Tommy's car is following the police car closely--otherwise, have Tommy's car
bump past the back end of the parked truck.

  Have Tommy continue north to the T-intersection at the end of the road, go
left, go right to the T-intersection at the end of the road, and go right.

  Don't let the police car, which has invincibility and bumps traffic out of the
way, get too far ahead though Tommy might attract police attention for speeding.
The police car goes north from the northeast corner of New Ark into the country
and turns left onto the entrance drive for the airport.

                    10-04 Omerta-The Airport

  Cutscene: Frank and the two plainclothes undercover police men--the two police
men now wearing long light brown coats--run from the car into the airport ter-

  Immediately have Tommy move quickly to the right to avoid being hit by the po-
lice car as it leaves.

  Have Tommy equip the Colt 1911 and move toward the doorway Frank ran into.
Have him use it for cover to shoot four gangsters who are wearing dark suits.
One gangster has an S&W Model 10 M&P inside on the right who makes brief appear-
ances from behind the corner of a wall and a pillar, and one behind the "CHECK-
IN" counter farther back along the right wall is armed with an S&W Model 10 M&P.
Have Tommy move farther into the room and use the pillars for cover to shoot the
gangster with a Colt 1911 at the far left and middle of the room, and shoot the
gangster with a Thompson 1928 at the far left.

  (The reflections on the floor are created, as such reflections are created in
some other games, by having a duplicate of the room below an invisible floor.
The reflection of the bridge in the country is created the same way.  Thanks to
"Mafia Observations" by AsaSK.)

  Frank runs from a hall past the reception desk on the right and out the middle
doorway of three back doorways which are close together.

  Have Tommy collect weapons and either use the Health cabinet, which has 100
Health, on the left wall now or after some of the upcoming fight.

  Have Tommy go through one of the three back doors, beyond the railing for the
lawn, and go right.

  There are four plainclothes undercover police men in long light brown coats,
who use Thompson 1928s to attack Tommy, either by the corner of the hedges ahead
or who run farther ahead to the left hanger--HANGER NO. 1.  One or more will
probably get to the hanger while you have Tommy shoot the others.  You'll prob-
ably find one or two have gone even farther along in the areas described below.

  Have Tommy run after the green pickup truck that parks ahead and to the right.
The driver either ignores Tommy or attacks him with a Crowbar, so have Tommy
shoot the driver when he gets out.  (The man with a Crowbar may be killed by
Tommy's attackers in the hanger.  Thanks to "Mafia Observations" by AsaSK.)  You
can have Tommy take the Crowbar to make it easier for him to beat up Big Stan
for Lucas Bertone later.


  The left hanger has three gangsters in dark suits and may have some or all of
the previously mentioned four plainclothes undercover police men in long light
brown coats, some using big crates for cover.

  You might have Tommy try to run over some of them with the truck, although it
carries the risk of using a vehicle for cover--if it gets shot enough, it might
explode.  To avoid that risk, have Tommy use cover or distance for protection
while he shoots.  As always, if you have Tommy use the Thompson 1928, use taps
of the LMB--if you hold it down, the aim will go up.

  One gangster with a Thompson 1928 is always behind the green crate on the near
right side.  Another with a Colt 1911 may be behind the gray crate farther back
on the right or go farther back or come closer, and the third has a Thompson
1928 at the middle of the left side.  Have Tommy crouch, use the crates for cov-
er or at least some distance for protection, and shoot the attackers.

  One of the previously mentioned four plainclothes undercover police men in
long light brown coats may be waiting to attack farther along on the left side--
possibly in front of or just around the far left corner of the hanger--if so,
have Tommy shoot them.

  Have Tommy use the corner of the hanger for cover to shoot the sniper on the
red and white tower in the distance to the left of the hanger.  You might have
Tommy use the Colt 1911 for that but a Thompson 1928 will do.  The sniper's U.S.
Rifle M1903 Springfield may fall to the ground where Tommy can get it.

  Have Tommy go to the right side of the right building of the next group of
buildings (they're shaped like the hangers but have smaller doors) and use the
back corner for cover or distance for protection to shoot any of the original
four plainclothes undercover police men in long light brown coats remaining--
they're probably somewhere along the back walls of the buildings or ahead in the
parking lot--and a fifth one with a Thompson 1928 that's probably near Frank,
who's cowering in the middle of the sidewalk on the other side of the parking
lot.  Have Tommy go to Frank.

  Cutscene: Frank rises to his feet as Tommy approaches him.  Frank says, "Tom."
Tommy, aiming his gun at Frank, says, "Frank--the Don sent me, and you know
why."  Frank says, "I know why--I know."

  Tommy says, "I don't get what happened to you--I thought you were my friend.
I'd" ("ve") "never guessed that something like this would happen."  Tommy
shouts, "Why the hell did you do it?!"

  Frank says, "Tom, I couldn't go on this way.  Too many people have died lately
and I--I don't have the stomach for it.  It used to be different with the Don in
the old days.  Maybe I'm just getting too old.  Tom, this is a war and I don't
want to fight anymore.  I--I got a child and I--I thought I'd finally get some

  Tommy asks, "You couldn't have done this some other way?  You didn't have to
sell us out."

  Frank says, "They came for me and I had to surrender.  They have my wife and
daughter, Tom, if I don't give them the books, they'll kill 'em.  Before we used
to solve things like men--you, Paulie, or Sam would get them back--but I can't
take that risk this time.  I don't want to lose them, Tom.  I can't live without
them.  They told me if I did what they wanted they'd release them and send us to
Europe"--Frank looks down at one of the dead plainclothes undercover police
men--"where we'd start again."

  Tommy says, "Cops?!  The cops are blackmailing you and want to kill your fami-
ly?!"  Frank reminds Tommy: "Ever since you and Paulie killed that Billy kid,
the cops and Morello have been working hand in hand.  The councillor, that kid's
father, got where he is thanks to Morello.  Morello wanted to get me to talk and
the police would then liquidate the Don.  Both sides would then get what they

  Tommy says, "I'm afraid the situation has changed somewhat.  Where are the
books, Frank?"  Frank says, "I haven't got them, Tom."  Tommy asks, "You handed
them over already?!"  Frank says, "No, no, Tom.  I'll tell you where they are,
if you get my wife and daughter back.  We were supposed to wait here at the air-
port, so they must be holding them somewhere around here.  Kill me after if you
want, just make sure they get out of this city alive."  Tommy says, "Fine.  But
you'll have to give me those books first, Frank."

  Tommy says, "Sorry, but in case you're lying," takes the handcuffs from a
nearby dead undercover policeman, and handcuffs Frank to a lamppost.

                     10-05 Omerta-Frank

  Have Tommy turn from Frank toward the hanger-like buildings, go past the last
such building on the right, kill a gangster and an undercover plainclothes po-
lice man, and go up the steps and through the front door of the little one story
building across from the hanger-like building.

  Have Tommy go through the last left at the end of the hall to a little open
room, shoot the man on the phone to the police (three police cars of police will
arrive with shotguns and attack later if you don't), and go to the woman in a
dark red coat and a pink hat who's beside a little girl.  Have Tommy talk to the

  Cutscene: Tommy asks, "Are you Frank's wife?"  Frank's wife March gasps and
says, "You've come to save us.  I am indebted to you.  Where is Frank?"  Tommy
says, "He's here.  Wait here--I'll be right back."

  Have Tommy use the Health cabinet, which has 50 Health, on the wall behind

  (A man and woman hug at the end of the hall.  If you have Tommy kill one of
them, the other tries to punch Tommy.  Likewise, if you have Tommy hide behind
the couple, let the man at the phone finish his call so the police arrive and
shoot at Tommy from the entrance to the building, and one of the policemen kills
one of the couple, the survivor will start punching the policeman.  Thanks to
"Mafia Observations" by AsaSK.)

  (If you have Tommy kill the man, the woman will chase Tommy.  She's the only
woman in the game who fights back rather than just cowering or screaming.
Thanks to "Mafia Easter Eggs" by Underground.)

  Have Tommy go back to Frank and release him from the handcuffs.

  Cutscene: Tommy unlocks Frank's handcuffs and tells him, "They're okay, Frank.
Come with me."

  Have Tommy lead Frank to his family.

  Cutscene: March takes Frank by the hands and says, "Frank!  Oh, good grief.
Thank God you're all right!"  Alice (the little girl) says, "Daddy!"  Frank
says, "March!  Alice!  Darling!"

  Frank tell Tommy, "Thanks, Tom.  They promised they'd give me plane tickets
when I gave them the books.  Those tickets must be here somewhere.  Could you
try to find them?"  Tommy says, "Okay--I'll do that, Frank.  Wait here for me.
I hope you ain't planning no funny business."

  (If you allowed the police to arrive, the police around the reception building
won't shoot at Tommy if he hides behind Frank.  Thanks to "Mafia Observations"
by AsaSK.)

  Have Tommy go outside, go right to go past the right side of the building be-
hind the red and white tower, across the lot, past the right side of the one
story building by a flag pole, through the front door on the left side of the
two story airport terminal (where the first shoot-out was) past that, get the
tickets from the counter on the right, through one of the three back doors, go
right on the runway, past the small airplane, and go to Frank and his family,

who are waiting on the walk by the AIR-SCHOOL building they were in.

  If you have Tommy talk (RMB) to March, she tells Tommy, "I'm glad you got rid
of those crooks.  The police behave worse than gangsters," "Poor Alice--all of
this isn't good for her," "I think the plane's taking off soon," and "You are
such a good person, Tom."

  Cutscene: Frank rises from Alice to face Tommy, who hands Frank the tickets
and says, "Here you go, Frank."  Frank says, "Thanks, Tom.  Let me say goodbye
to March and Alice and then we'll sort out this business."  March exclaims,
"What?  Frank!  You aren't flying with us?!  What?!  What?!"  Frank tells her,
"I can't, March.  Tommy and I have a very serious situation here that we must
sort out.  Right, Tom?"

  Tommy says, "Frank, just tell me where the books are and go with them."  Frank
asks, "What?  How would you explain it to the Don?"  Tommy says, "Forget about
it--that's my problem.  Where are the books?"  Frank says, "I'll never forget
this.  Here's the key to a safe box in the First National Bank downtown.  The
books are there.  Take it, Tom."  Frank gives Tommy the key.  Tommy says,

  Frank says, "And Tom--thanks for everything you've done for us.  I'm indebted
to you.  And tell the Don I'm sorry for the way things had to end."  Tommy says,
"To the Don, you're dead, Frank.  If he finds out you're not, then this isn't
finished.  Now just go."  March says, "Tommy, I'll never forget how you helped
us.  God bless you" and gives Tommy a kiss.  As Frank's family leaves, Alice
says, "Goodbye, mister!"  Frank pauses to tell Tommy, "And, uh, don't forget
what I told you in the car that time."

  Tommy turns to watch Frank's family walk away.  We see him looking at them as
we hear Tommy in a voice-over talking to Det. Norman in 1938: "In the end your
best friend kills you.  Frank told me that in the car."  (Frank also told Tommy
that it was a possibility if he kept carousing and it was much better to settle
down with a woman--"Intermezzo 2.")  "And now it was me who was meant to kill a
friend.  Only I didn't do it.

  "'Don't do to others what you wouldn't want them to do to you,' or however
they say it."  (It's a variation of the Golden Rule.)  "And I didn't want Paulie
to knock me off anytime soon.  Heh, I may have given him a reason to do just
that today.  I brought it on myself.  I just hope he likes me as much as I like

  Have Tommy go back across the tarmac past the little airplane, go left past
the one story building by a flagpole, go to the parking lot of the two story
airport terminal building (possibly using the Health cabinet worth 100 Health in
the terminal), and get into a car.  Have him drive from the parking lot down the
entrance/exit road toward the street.

                     10-06 Omerta-An Act Of Grace

  Have Tommy drive to the right and over the country road to northeast New Ark.
Have him continue south on the same road, take the 90 degree bend to the west,
take the second left, and park at the front of the First National Bank on the
right side of the road.  Have Tommy try to open (RMB) the door.

  Cutscene: we see the front of the First National Bank and hear Tommy in a
voice-over talking to Det. Norman in 1938: "Frank didn't lie--the briefcase with
the account books was in the safe box"--(it was) "no problem getting it."

  You can either send Tommy to Salieri's Bar and try to open (RMB) one of the
doors there to save the game or send him to Lucas Bertone's auto service shop
for an optional mission.

  If you want Tommy to do the mission for Lucas, have Tommy go to see Lucas at
Bertone's auto service shop just south of the east end of the Giuliano Bridge.

  Lucas says, "Hello there, Tommy!  How's it going?"  Have Tommy talk (RMB) to

  Cutscene:  Tommy says, "Fine--and you?"  Lucas says, "I'm great, but some
bouncer from Hoboken beat up my buddy.  He hangs around the Black Cat Bar.  You
know, I want someone to go and, uh, teach him a lesson?"  Tommy says, "That
won't be a problem."  Lucas says, "You'd do that, Tommy?  Oh, that's great.
Hey, but, uh, don't shoot him.  I don't want you to kill him--just, uh, hit him
until he begs for mercy, yeah.  If you do this, then I'll get you a real exhibi-
tion piece."

  Tommy says, "Sure.  What's the scum look like?"  Lucas says, "Ah, he's a real
big gorilla, some character at the Black Cat Bar--you can't miss him.  His
name's Big Stan.  You just tell him it's a lesson from Carlo."  Tommy says,
"Okay, I'll go to it."

                     10-07 Omerta-Lucas Bertone

  Lucas wants Tommy to beat up, not kill, Stan the bouncer at the Black Cat Bar
for beating up Lucas' buddy.

  Send Tommy to the Black Cat Bar, which is along the elevated section of side-
walk in southwest Little Italy at the bend in the road north of the last "R" of
"WORKS QUARTER" on the Map (Tab).  Have Tommy talk to the man standing there.

  Cutscene: Tommy asks, "Big Stan?"  Stan asks, "Who wants to know?"  Tommy
says, "I've got a message from Carlo."  Stan asks, "You wanna get it like him or
what?"  Tommy says, "No, not me."  Stan says, "It looks like today you're in

  Have Tommy circle strafe Big Stan with punches, or while hitting him with the
Crowbar taken from the truck driver at the airport, till he says, "Shit, you
bastard--I'll get you" and cowers, then chase him away.

  Have Tommy go back to Lucas and tell him what happened.

  Cutscene: Lucas asks, "So he, uh, learned his lesson?"  Tommy says, "If he
doesn't get new teeth, he'll have to eat baby food."  Lucas says, "Heh heh heh
heh--ah, Carlo will be real happy!"  Tommy asks, "So, where's the car?"

  Have Tommy follow Lucas to a black Thor 810 car.  Lucas says, "A guy in the
Millionaire's Quarter up in Oak Hill has got it.  It's a minor technical revolu-
tion: great motor, drives real good--it's, uh, front-wheel drive, you see."
Tommy says, "Yeah, movie stars drive those cars!"   Lucas says, "That's right.
Look at the lock--it's a piece of cake.  But when you go for it, be careful: the
guy has some bodyguards."  Have Tommy say (RMB) "Thanks, Lucas."

  The Thor 810 is based on a 1936 Cord 810.  According to Wikipedia:

  "The body design of the Cord 810 was the work of designer Gordon M. Buehrig
and his team of stylists, which included young Vince Gardner.  The first Ameri-
can front-wheel drive car with independent front suspension, but archaic tube
rear axle with semi-elliptic rear springs, it used 4,739 cc (289 cu in) Lycoming
V8 of the same 125 hp (93 kW) as the L-29.  The semi-automatic four-speed trans-
mission (three plus overdrive) extended in front of the engine, like a Traction
Avant. (This transmission was later modified and used in the rear-engined 1948
Tucker Sedan.)  This allowed Buehrig to dispense with the driveshaft and trans-
mission tunnel; as a result, the new car was so low it required no running

  "Reportedly[who?] conceived as a Duesenberg and nearly devoid of chrome, and
had hidden door hinges and rear-hinged hood, rather than the side-opening type
more usual at the time, both new items.  Pontoon fenders were featured with
headlights (modified Stinson landing lights) that disappeared into the fenders
via dashboard hand cranks; concealed fuel filler door; variable-speed windshield
wipers (at a time when any wipers were rare, and those would often be operated
by hand); and the famous louvered wraparound grill, from which its nickname
"coffin-nose" derived, were also featured.  Its engine-turned dashboard included
complete instrumentation, a tachometer, and standard radio (which would not be-
come an industry standard offering until well into the 1950s).

  "The new car caused a sensation at the New York Auto Show in November 1935."

                     10-08 Omerta-Lucas Bertone 2

  Have Tommy go to Oak Hill, the most eastern community on the Map and the big-
gest hill in Lost Heaven.  There are two routes to it--north and south.  The
south route is long and curvy and the north route is straighter and steep.

  Have Tommy park by the Thor 810 Sedan FWD Orange by the garage on the west
side of the road that's east of the "LL" of "OAK HILL" on the Map (Tab).  Have
Tommy stand by his car.  When the guy walking around the driveway walks to the
strip of grass along the road, have Tommy pick the lock, get in, and, if no po-
lice are nearby, use it to run him down, or just shoot him when he's turned
away, or he'll call the police on Tommy.

  Have Tommy drive it to the back lot of Salieri's Bar, talk to Ralphy if you
want to discard any vehicles from the garage, and have Tommy try to open (RMB)
the front or back door to save the game.

  The Schubert Extra Six Fordor White and Thor 810 Sedan FWD Orange are added to
the back lot or garage of Salieri's Bar.

  The Thor 810 cars (Thor 810 Phaeton FWD and Thor 810 Sedan FWD) are available
for "Freeride."

  Video walkthrough
  by 0rland0walkthrough, uberwolf420, and willzyyy

  11  Visiting Rich People

                     11-01 Visiting Rich People-Salieri Bar

  Cutscene: the camera pans in on Frank's tombstone: FRANK COLLETTI 1877-1933.
The stone has a Christian cross on it and a red wreath leaned against it.  Tom-
my, in a voice-over talking to Det. Norman in 1938, says, "Luckily, everybody
bought that Frank was dead and that I had disposed of his body.  So Frank's fu-
neral took place without Frank.

  "The Mafia has a habit of organizing grand funerals for important people where
they forget the unfinished business they have with each other or with the dead.
The deceased are only shown in a good light--it's the principle of every gang-
ster, at least at a funeral.  So it happened that not only Salieri and our peo-
ple made long speeches about their best friend Frank, but even Morello and other

  "Morello and Salieri cried on each other's shoulders.  It didn't seem like
they had been at each other's throats only the day before.  Frank would have
been spinning in his grave had he actually been dead.  I guess everything turned
out pretty well only I had to think up something about Frank's family.  Salieri,
of course, wanted to help out his best friend's poor widow till the end of her
days.  I couldn't let him know that they were really resting comfortably in Eu-
rope at that moment."

  (You can extract file Hrbitov01 from the maps folder.  It's a picture of the
funeral but it isn't used in the game.  Thanks to "Mafia Observations" by

  Cutscene: at a table in Salieri's Bar, which is closed and only partly lit,
Salieri has a talk with Tommy.  Salieri says, "Tommy, it seems our problems
aren't over.  The prosecutor who nearly got Frank against us is digging up more
dirt, and I've heard he even has witnesses.  It looks like that councillor whose
son you shot is sorely craving revenge.  The prosecutor is a good friend of his,
and, if we don't nip it in the bud, they'll make big problems for us."  Tommy
says, "That doesn't sound too good."

  Salieri says, "What's even worse is that guy doesn't trust anyone.  He has all
the evidence against us in a safe at his villa.  Sam and Paulie are taking care
of the witnesses right now as we speak and you've got to get that evidence,

  Tommy asks, "How will we get to it?"  Salieri says, "Well, today we have an
excellent opportunity.  Mr. Prosecutor has decided to go to the theater and no-
body else will be home--that is, nobody apart from the home security, of course,
but his study will be empty.  His villa is in the Millionaire's Quarter--Mr.
Prosecutor isn't exactly a poor boy."  Luigi puts drinks on the table.  Salieri
says, "Thanks, Luigi."

  Salieri says, "Your only concern is how to get in, but there'll be guards
around the villa.  Once inside you should be fine--the villa will be empty.  The
prosecutor's office is on the first floor and there should be a safe in the
wall.  For that, you'll have Salvatore with you.  That's a guy who manages to
open every safe in America.  Once you've got all of the evidence, leave before
the prosecutor arrives back home."

  Tommy asks, "Okay, boss.  Where can I find this Salvatore?"  Salieri says,
"He'll be waiting for you down in Hoboken on the corner next to the stadium so
you can pick him up on the way there.  I don't have to tell you how important
this job is to us, Tommy.  Buona fortuna!"  Tommy says, "I'll do my best, boss."

  When Tommy rises from the table, Salieri says, "And Tommy--if you happen to
bump into the prosecutor, don't kill him no matter what.  It'll just bring us
more problems."  Tommy says, "You can depend on it, boss."

  If you have Tommy talk to Salieri, he says, "You don't know how much I miss
Frank.  Even if he sold us out, he was always good to talk to."

  Sam is seated at a table taking a break in the far back room.  If you have
Tommy go to the back lot to where Ralphy is meeting a man, you can have Tommy
follow the man and find that he walks into the bar and into the room Sam is in.
If you have Tommy talk to Sam, Sam says, "Just go--the job won't work," "I won't
keep you now, Tom," and "You gotta go so the Don don't get pissed."

  If you have Tommy talk to Luigi, he says, "That business with Frank has really
gotten Don Salieri shaken.  He's probably feeling guilty, but I don't think he's
got any reason to.  He had to do it.  It's better to die honorably than to be-
tray the family and live like an outcast."

  (It's another example of how criminals rationalize crime, at least their own.
Salieri thought he had Frank killed, and the murder was to keep Frank from tell-
ing the truth about Salieri's crimes, mainly illegal ways to make money and mur-
ders for the sake of them, which he'd kill his best friend to get away with.

  (As one criminal lies or even murders to get away with their crimes, a group
of criminals agrees to tell the same lie or even murder so they all get away
with them, one no more to be mistaken for an honorable or ethical a thing than
the other.  It shows how far they'll overindulge themselves at others' unneces-
sary hurt or even murder, not how committed to honor they are.  Someone can com-
mit to a priority group with a good or bad cause, of Allies or Nazis, and
they're not on the same moral plane for the sake of commitment to a group.)

  Have Tommy go to Vincenzo's workshop.

  Cutscene: Tommy says, "Good evening, Vincenzo.  Tonight I'm doin' a little
burglary, so I need something for a quiet little job."  Vincenzo says, "Tommy, a
good ol' bat would do the trick.  When you hit someone over the head from be-
hind, they should be out cold for a while."  He puts a baseball bat on the
counter.  He adds, "To be on the safe side, take this here Colt 1911 too."  He
puts a Colt 1911 pistol on the counter and says, "I'll keep my fingers crossed,
Tommy."  Tommy says, "Thank you, Vincenzo."

  Have Tommy take the weapons, get into a car, and drive toward the street.

                     11-02 Visiting Rich People-City

  Have Tommy pick up Salvatore, who's by the west side of the western part of
the road indicated by a thin line in northern Hoboken on the Map (Tab).  The
Field House Public School stadium is west of that road.

  (If you look at the sports field in the daylight, you can see there are two
big wooden FRE-type jump ramps in the middle of it.  You can use the noclip
feature of "MafiaCon1.2" or "Mafia Hack V1.03" to get a closer look--see the
"Mods" section.)

  Tommy asks, "So, you can open any safe in the country, right?"  Salvatore
says, "Almost every one, chief."  Tommy asks, "And how did you learn that
trick?"  Salvatore says, "My grandpa was in the business--it's inherited.  The
safes keep getting better, so a fella has to keep up with the times.  Some of
the safes around these days are pretty tricky."

  Have Tommy take Salvatore to the back gate of the red wall around the yard of
the villa.  The gate is just above the "A" of "OAK HILL" on the Map (Tab).  (The
gate only appears during this mission.)

  Have Tommy talk to Salvatore to have him unlock the gate, then have Tommy open

                     11-03 Visiting Rich People-The Villa

  Tommy says, "Be quiet and do exactly what I tell you."

  You can have Tommy talk to Salvatore to give him orders to wait or follow.
Every time you have Tommy talk to him thereafter, he'll use the choice different
than his last one.

  Longer stealth melee dining room door entrance

  (0rland0walkthrough's method--see his videos at the end of this section)

  Have Tommy collect weapons throughout the following.

  Tommy and Salvatore are at an intersection of paths.

  Have Tommy go forward to just before the next intersection of paths, tell Sal-
vatore to wait here, run left and fully power his Baseball bat to hit the guard
in the back of the head, go back to Salvatore, and tell him to follow.

  Have Tommy go ahead (toward the mansion) through the intersection to the next
one a few feet ahead, go right to just before the next intersection, tell Salva-
tore to wait, then go left (toward the mansion).

  Have Tommy crouch near the end of that path by the last section of shrubbery
on his left, and use the mouse to look at the guard who patrols back and forth
on a porch ahead and to the left.  The guard comes off the porch toward Tommy
then stops and looks around.  As soon as the guard turns to walk away, have Tom-
my go to him with a fully powered Baseball bat and hit him in the back of the

  Have Tommy go up most of the porch steps and wait to take cover.  Use the
mouse to watch what goes on in the dining room through the window.  The light
goes on inside and a maid walks counter-clockwise through the room.  When she
goes out to the left, have Tommy go to the top of the stairs.  When the light
goes out, have Tommy walk in a crouch to the door, open it and go through it,
and go right through the dining room to wait by the wall to the left of the

  Beyond the doorway, the maid is humming while she works in the kitchen.  She
turns off the nearby light switch, and as soon as she turns to go into the hall
beyond, have Tommy follow her in a crouch but stop with a fully loaded Baseball
bat just to the right of the doorway.  The maid turns on the hall light switch
to the far right.  As soon as she goes left past the doorway, have Tommy follow
her and hit her in the back of the head with the Baseball bat.

  Have Tommy go back through the short hall to turn off the light switch, go
back through the kitchen and dining room, down the porch steps, go left, pass
the first row of hedges and go right on the path, go past the end of the path,
crouch to go ahead across two paths and to the left to enter the gazebo.  The
guard is by a railing looking a bit to the right, so have Tommy approach the
guard from a bit to the left with a fully powered Baseball bat and knock him in
the back of the head with it.

  Have Tommy leave the gazebo and go right across two paths to Salvatore, tell
him to follow, lead him back to the mansion, up the porch steps, into the dining
room, ahead and right to go through the doorway with an open door on the far
side of the dining room, and have Tommy crouch by the nearest pillar in the

  Use the mouse to look through the window on the far side of the room, watch a
guard go by left to right and listen to his footsteps go by and stop, listen to
his footsteps begin again and have Tommy, still crouching, go to the bottom of
the stairs ahead and to the left as the guard goes by right to left.

  Have Tommy go up the stairs--where there's a T-intersection of stairs, have
Tommy go up the stairs on the left.  Have him stop crouching and go through the
door ahead to the right into a short hall, go right to the end of the hall and
drop his Baseball bat, go to the other end of the hall, go through the door into
a room, and go to the safe on the left wall.

  Shorter side door entrance

  (uberwolf420's method--see the videos at the end of this section)

  Tommy and Salvatore are at an intersection of paths.

  Have Tommy go ahead to the next intersection of paths, look left, and wait to
see that the guard standing at the end of that path walks to the left across the
far end of the path by the wall.

  Have Tommy turn 180 degrees, go through his original intersection and continue
to the T-intersection of paths at the end of the path, turn right, go through
the 90 degree bend in the path then go straight along the wall (by now the guard
mentioned above should be walking away on the path to the right toward Tommy's
original intersection), take the path to the side of the house, and have Salva-
tore unlock the door for him.  (Salvatore kicks it open kind of loudly for some-
one trying to be discreet.)

  Have Tommy go up the stairs, through the door, up the stairs, through the
door, go right a couple steps then left through a hall, through a door, ahead
through a hall, through a door, left and through  hall, through a door into a
room, and to the safe on the left.

  shorter fuse box side door entrance

  (RedFireFox999's method--see the videos at the end of this section)

  Tommy and Salvatore are at an intersection of paths.

  Have Tommy go ahead to the next intersection of paths, look left, and wait to
see that the guard standing at the end of that path walks to the left across the
end of the path.  Have Tommy chase after him, follow behind him, and go to the
fuse box on a stand on the left and switch (RMB) the fuse off--the lights in the
yard go off.  Have Tommy go back on the path along the wall and continue ahead
to the door at the side of the house.  (On the way, you can overhear a talk be-
tween two guards who are at the nearby fountain.)  Have Tommy get Salvatore to
unlock the door for him.

  Have Tommy go up the stairs, through the door, up the stairs, through the
door, go right a couple steps then left through a hall, through a door, ahead
through a hall, through a door, left and through  hall, through a door into a
room, and to the safe on the left.

  (If you don't want to hazard having Tommy pause to listen to the two gangsters
talking by the fouintain, this is what they say:

  (Gangster #1: "Brother.  Yesterday some Paddy knocked into me in the bar, real
typical son of a bitch, and I say to him, 'Hey, pal, what're you tryin' to
pull?'  And the bastard spits in my mug."  Ganster #2: "What'd you do to him?"
Gangster #1: "Ah, knocked him down.  I'm tellin' ya, he won't forget that in a
hurry."  Gangster #2: "And what did he do?"  Gangster #1: "He came right back at
me, man.  He nearly had me, the bastard, but my boys were there and they knocked
his teeth out."  Gangster #2: "He got what he deserved.  You can't let those
punks get in your way."  Gangster "1: "Sure, but then his friends showed up and
busted up the whole joint."  Gangster #2: "Son of a bitch!")

  (You can also have Tommy use the Baseball bat to knock out the first guard and
take the key to the door from him.  Thanks to Bloviator.)

  (If you have Tommy shoot the chandelier, the light will go out.  Thanks to
"Mafia Observations" by AsaSK.)

  (In one of the second floor rooms that Tommy may pass explore on the way to
the prosecutor's office is the prosecutor's wife sitting at a dresser.  Since
she's wearing a facial mask (including what may be a slice of cucumber on each
eye), she can't see, and she assumes that Tommy is her husband returning home
for the night.  Thanks to Bloviator.)

  (She says, "Hello darling, did you have a good day today?" and there's a big
painting of a bunny on the wall nearby.  She's identical to the blonde whore
that's either in the second floor lounge or in the room with a Knife in the Cor-
leone Hotel in "The Whore."  So the prosecuter's wife is a whore.  Well, I think
it's shocking.)

                     11-04 Visiting Rich People-The Safe

  Cutscene: Tommy says, "So, show me what you can do, Salvatore."  Salvatore
says, "Okay, chief" and starts trying to open the locked safe.  Before long, the
prosecutor's Silver Fletcher pulls up and parks below at the garage door.  Tommy
exclaims, "Christ!  It looks like we better get out fast, Salvatore."  Salvatore
opens the safe and says, "Got it, chief.  Piece of cake."

  Shoot-out exit

  (0rland0walkthrough's method--see the videos at the end of this section)

  We overhear a guard say "Everything's fine, boss" because Tommy hadn't caused
the guards to shoot.

  Have Tommy get (RMB) the documents from the safe, tell Salvatore to wait,
equip the Colt 1911, go through the door into the short hall, go right through a
doorway with an open door, go right to the stairs, and go down a couple steps.
When the prosecutor in a light gray suit and a guard in black clothes appear
from outside at the doorway on the far side of the living room, have Tommy shoot
the guard--you fail the mission if Tommy kills the prosecutor.  (The shoot-out
music starts.)

  (You can create and compare screenshots to see that the prosecutor and Pep-
pone, whom we see in a photograph in "Intermezzo 4," and the guy trying to get a
loan to build a fun park in "Moonlighting" look identical.)

  Have Tommy switch to a shotgun, crouch, go down to the T-intersection of the
stairs, and shoot the guard that goes right to left past the doorway to the out-
side when he appears at the window left of the doorway.

  Have Tommy get up, go through that doorway, and go ahead and left to shoot the
guard that comes from behind the nearby corner of the house and runs ahead into
the yard.  Have Tommy turn and walk sideways while shooting two more guards that
appear at the same corner of the house.

  Have Tommy, facing the side of the house of the doorway he'd come through, go
left to go around the corner of the house and shoot a guard.  (When he dies, the
shoot-out music stops.)

  Have Tommy go back through the door he'd come through, up the stairs and the
left branch of the stairs, through the doorway ahead and to the right, go right
in the hall to get his Baseball bat, turn and go to the other end of the hall
and through the doorway into a room, tell Salvatore to follow, go back out
through the door, go right and through the doorway, go down the stairs and
through the doorway to the outside, and go ahead to the Silver Fletcher.

  Stealth exit

  (uberwolf420's method--see the videos at the end of this section)

   We overhear a guard say "Everything's fine, boss" because Tommy hadn't caused
the guards to shoot.

  Have Tommy get (RMB) the documents from the safe, go through the door, go
ahead to the end of the hall, go downstairs, open the door, go through the hall
making sure the maid isn't in the kitchen that's on the left, though the bend to
the left of the hall, go to the doorway of the room with stairs that branch in a
T-intersection, wait for the guard outside to go by right to left, go though the
room, go through the door, use a fully powered Baseball bat to knock out the
guard, and run to the Silver Fletcher.

  (RedFireFox999's method--see the videos at the end of this section)

  Have Tommy get (RMB) the documents from the safe, go through the door into the
hall, go right to a door and close it, wait till the sound of the footsteps of
the prosecutor entering the house and going through it is over then the sound of
the guard walking outside stops, open the door, run down the stairs, crouch for
a bit to let the guard outside go by right to left, go though the door, and use
a fully powered Baseball bat to knock out the guard.  Have Tommy run to the Sil-
ver Fletcher.

  (If you have Tommy run down the stairs and fire a few shots into the air right
after Salvatore unlocks the safe, it may cause the prosecutor to get back into
his car and drive away.  Thanks to "Mafia Observations" by AsaSK.)

  Have Tommy tell Salvatore to open the Silver Fletcher for him.  Salvatore
picks the lock and says, "There you go, chief."  (Tommy can now jack or pick the
lock of a Silver Fletcher.)  Have Tommy drive Salvatore down the curved drive-

                     11-05 Visiting Rich People-Escape

  Salvatore says, "Drop me off at home.  I live across the street at the stadium
a little ways from where you picked me up."  (His home is by the "MONUMENTS"
store on the south side of the street a bit to the east of the T-intersection at
the southwest corner of the most northern block of Hoboken.)

  The Silver Fletcher is a good car to save, so have Tommy drive carefully to
take Salvatore home then park in the back lot of Salieri's Bar.  You can have
Tommy see Ralph to eliminate any of the cars behind Salieri's Bar if you want,
then have Tommy try to open (RMB) the front or back door to save the game.

  The Silver Fletcher Silver is added to the garage/back lot at Salieri's Bar.

  The Silver Fletcher Silver is available for "Freeride."

  Video walkthroughs

  longer stealth melee dining room door entrance/stealth melee exit
  by willzyyy

  longer stealth melee dining room door entrance/shoot-out exit version
  by 0rland0walkthrough

  At the next link is a variation on that method by Odysseus218 who manages to
have Tommy startle the maid yet knock her out before she finishes yelling
"Guard, there's a burglar here--he wanna kill me, he wanna kill me" on the
porch.  Odysseus218 has Tommy close the porch door, close the kitchen door, and
turn out the kitchen light, and the guards aren't triggered to shoot at him.

  Likewise, XmafiaguyX manages to have Tommy startle the maid, who finishes her
yell on the porch, on his way up the stairs to the safe yet get to it a couple
seconds after she's through yelling and the guards aren't on the attack after
the cutscene.

  shorter side door entrance/stealth exit version
  by uberwolf420

  shorter fuse box side door entrance/stealth exit version
  (This also demonstrates how much brighter video game night scenes should be
made for YouTube walkthroughs)
  by RedFireFox999