#eccles makes

[most-normal-eccles-cake-ignorer]

^this one is large, definitely open it in new tab to view full size if you're on desktop!

^ The woodcut-style illustration from chapter 10 and the banner I did for @gorgeousundertow's gorgeous fic, Half Agony, Half Hope, as part of the Ineffable Idiots Big Bang!

@queenofthecute also did some lovelyyy art for chapter 2 that everyone should see!

closeups and info about inspirations under the cut:

faces and southwark cathedral in bg // snek do a hiss // lol i really like to make these guys aaalmost touch hands

As you can see I got very excited about the regency AU and decided to do art inspired by illustrations in Jane Austen novels.

The banner is me trying to be like Charles and Henry Brock with a dash of snek and nightingale.

The ''woodcut'' is inspired by Joan Hassall's work with a Brock-esque ribbon frame bc I liked doing the one in the banner so much.

--

I also wrote a separate post where I share some of the resources I found while researching and show some of the amazing artwork by Hassall and the Brocks that inspired these pieces! You can read it here.

[hiddenbarinapocketdimension]

This morning sucked. Woke up at 7 on less than 5 hours of sleep to bake over 50 Eccles cakes. Didn’t have like half my ingredients. Bought more only to realise I still didn’t have them all. Burnt myself on the syrupy filling. Printer died on me as I was trying to get a printing job done. Forgot to have lunch I was so excited. Locked my car key in the boot. Waited an hour in the sun in all black to make sure I didn’t get a parking ticket whilst trying to get said key out. Got stuck in traffic for half an hour only to find I’d just moved under 100 metres. Accidentally had the thermostat cranked up to 40C the whole journey. All of this, just to get to a screening.

Then when I got there….

Shrimp emotions. The atmosphere was incredible. Got there 3 hours early. Immediately bonded with people, and it just felt so warm and exciting. I passed round the Eccles cakes in its little (very large) Antichrist basket. We all counted down with the timer waiting for the episodes to start. The episodes were amazing, and I have to thank @neil-gaiman for making this season come true - it was everything I hoped for and more, and I think that’ll be the case for pretty much everyone. I wouldn’t trade this experience for the world, even if I had to live through this morning 20x over.

Trust me when I say you’re not prepared for season 2. No one is.

Anyways here’s a picture of the cakes in their basket:

[thanksgiving-isnt-ur-fav-holiday]

imagining nina and maggie being crowley’s emotional support lesbians. he goes to give me coffee or give me death everyday and orders one more shot of espresso in his big cup until nina legally cannot add that much caffeine to his coffee. maggie shows him all the different editions of the queen vinyls she has. crowley is miserable for all of it but is slowly getting better.

[kitmarlowe]

managed to avoid the december sads the last couple of years so i thought they were gone but Nope

[andromeda4004]

I cannot wait to find out what perfectly innocent words and objects are going to be irrevocably changed for me when GO S2 comes out. What will be the new "together?" "Fraternising?" "You go too fast for me?" A bandstand, a pair of satin shoes, a stack of books? Any past meaning these things had pre-GO show has been destroyed. What everyday things will suddenly become so loaded with new meaning that I will never be able to say or think about them the same way again?

[ask-regretevator-whiteout]

whats ur opinion on hecctor

(you'll NEVER guess who it is trust 👽👽)

WALLTER: Hecctor.. I do believe I've heard that name around before. One of those mannequins mentioned him once or twice in passing conversation. He sounds nice. I.. don't think he survived the blinding, though. Maybe he did, who knows?

[themostcuriousgirlintown]

I want to blow something up. Who wishes to join me?

[thegirlwholied]

text from my mom just now

[fuckyeahgoodomens]

The Season 2 Poster Details

From top to bottom :)

This is a Buddy Holly song Everyday which was originally supposed to be the Good Omens theme :)

Neil talks about it in the Introduction to the Script Book: “In the scripts, Buddy Holly’s song ‘Every Day’ runs through the whole like a thread. It was something that Terry had suggested in 1991, and it was there in the edit. Our composer, David Arnold, created several different versions of ‘Every Day’ to run over the end credits. And then he sent us his Good Omens theme, and it was the Good Omens theme. Then Peter Anderson made the most remarkable animated opening credits to the Good Omens theme, and we realised that ‘Every Day’ didn’t really make any sense any longer, and, reluctantly, let it go. It’s here, though. You can hum it.”

And there is also the Buddy Holly Everyday record! :)

Book The Crow Road by Iain Banks. The novel describes Prentice McHoan's preoccupation with death, sex, his relationship with his father, unrequited love, sibling rivalry, a missing uncle, cars, alcohol and other intoxicants, and God, against the background of the Scottish landscape

Book Lord Jim by Joseph Conrad. An early and primary event in the story is the abandonment of a passenger ship in distress by its crew, including a young British seaman named Jim. He is publicly censured for this action and the novel follows his later attempts at coming to terms with himself and his past and seeking redemption and acceptance.

Important themes in Lord Jim include the consequences of a single, poor decision, the indifference of the universe, and the inability to know oneself or others.

There is book The Body Snatcher by Robert Louis Stevenson. Its characters were based on criminals in the employ of real-life surgeon Robert Knox (1791–1862) around the time of the notorious Burke and Hare murders (1828). Neil said: Oddly enough, episode 3 will take us to a little stint of body snatching in the era.

There is Catch-22 book by Joseph Heller that coined the term Catch-22: situation from which an individual cannot escape because of contradictory rules or limitations.

Is there only one hand or are there two? :) EIther 6 ;), or 6:30 :).

Through the window we can see the coffeeshop Give Me Coffe or Give Me Death where Nina works! :)

Azi is wearing his nifty glasses :).

Crowley is wearing his new glasses, they are RIGARDS X UMA WANG - THE STONE ECLIPSE (VINTAGE BLACK/BLACK STONES) - $435

There is the Holy Bible Aziraphale used in Season 1 :)

There seems to be a broken phone :).

The cakes behind Aziraphale are Eccles cakes :).

Azi is reading A Tale of Two Cities by Charles Dickens published in 1859, set in London and Paris before and during the French Revolution. The novel tells the story of the French Doctor Manette, his 18-year-long imprisonment in the Bastille in Paris, and his release to live in London with his daughter Lucie whom he had never met. The story is set against the conditions that led up to the French Revolution and the Reign of Terror. 

Another book there is Pride and Prejudice by Jane Austen - Neil said said that we will learn a lot about Jane Austin we didn’t know before.

And finally the Treasure Island book by - again :) - Robert Louis Stevenson, an adventure novel with pirates.

There are three geckos cuties. Who are they? Pets? Is Ligur haunting the bookshop? Who knows :).

A mysterious pamphlet, 'The Resurrectionists’ leaflet. (unofficial spoiler :)).

Also there is an old camera... mmm 🤔 Did Azi made some photos (of what? Him and Crowley, ducks? :)) Will we see them? :)

Their positions is an homage to the book covers! :)(x)

Will update this as fandom discovers new things! :)❤

[laurashapiro-noreally]

Good Omens S2 fic recs

Need something good to read?

it's written all over by @et-in-arkadia, who never fails to grab me by the throat. Aziraphale comes back that very night and gives Crowley exactly what he wants...sort of. (E)

A Million Times by @chamyl. A breathless, tender reconciliation with excellent Muriel in. (E)

Not for All My Little Words by @mia-ugly and soft_october. For everyone who wants to see Aziraphale apologize. A lot. (E)

I'll Wait by @copperplatebeech. Could've chosen any of a dozen of Copper's sharp, shrewd pieces. Whether you like them funny, aching, hot, or tender, she's got your number -- often all at once. This one's (T)

A Bit of a Gray Area by @princip1914. Look, I for one was waiting for bad angry standing-up sex in a bathroom. The fact that it's one of my favorite authors providing it is the icing on my eccles cakes. (E)

(Do eccles cakes have icing? Is the E in eccles capitalized? I am not doing research for this Tumblr post.)

Five First Kisses And One [5+1 Things] by @werpiper. If you need to believe that there were many kisses before That One, this is a great story to enjoy, and if you need to believe they were banging through history, @werpiper is a great writer to get acquainted with. (E)

in the french fashion by @giddygeek. Were you wanting that 1941 "something I can do for you" hot, romantic, in-character, and intellectually intriguing? Step right up. (E)

the soft animal of your body by @focusfixated. A short but powerful take on the ox rib situation. (E)

An Invitation to Dance by @lavraiemonchichi. Another short take. What if the apology dance, but kinky? (E)

Covenant of Salt by @twwings. Make it long, make it deep, do it in the dark. Hard, complicated like fine wine. Yeah, that's the way I like it. Get acquainted with twings, she's dynamite in this or any other fandom (ask me about her MCU novel!).(E)

the two shepherds of uruk by @inkatesbush. WHAT a story, OMG. A slow burn in the context of the Tower of Babel. These two hardly know one another, but they'll learn, oh, they'll learn. Agile prose, storytelling like a blow to the solar plexus. (E)

White on White by @twilightcitysky. What could be a more appropriate erotic awakening for Aziraphale than a sad wank in Heaven? Well, I could tell you, but you'd have more fun if you read this story and its sequels. (E)

The Butterfly Effect by @plaidadder. A master storyteller at the top of their game, this Doctor Who crossover works even if you don't know Doctor Who and aren't excited about crossovers. Why? Because what could be more satisfying than putting Aziraphale and Crowley in a time loop until they work out their nonsense? I'll tell you what: humor, stunningly romantic prose, Revelations-inspired eldritch horrors, and happy endings for everyone. (T)

Have fun and don't forget to leave comments!

[most-normal-eccles-cake-ignorer]

Darkness Lane by Joan Hassall [ x ] - the piece that most inspired my recent woodcut-style piece.

When I found out I was drawing for @gorgeousundertow's regency AU fic, Half Agony, Half Hope, as part of the @ineffableidiotsbigbang, I started looking up Jane Austen novel illustrations for inspiration and ended up finding some really cool art and websites! I'm posting about some of the images and resources I found because I think it may be interesting to others too (and even if it isn't, I'll have gotten the infodump out of my system haha).

Illustrations from Mansfield Park by Joan Hassall [ x ]

The link above points to a gallery on pemberley.com which has deliciously old-school DIY website HTML and a wealth of Jane Austen illustrations, as well as references for regency clothing. This was where I discovered Joan Hassall's work and decided I wanted to do a woodcut style piece (and then subsequently regretted it many times during the process of making it because I had no idea what I was doing). The detail, visual texture and dramatic lighting in her work is so cool and I just got more obsessed the more I saw.

See more Joan Hassall on tumblr via @uwmspeccoll (a very cool account!) here, here, and here.

The gallery on pemberley.com also had a bunch of Charles Edmund Brock illustrations, which I could not get enough of and so returned to the searchpage and found Molland's Circulating-Library. SO COOL! Jane Austen fans have bought illustrated editions of her novels and uploaded scans of them and oh my gosh they are all so beautiful.

Northanger Abbey watercolour illustrations by C.E. Brock [ x ]

Side note about Henry Tilney (Catherines' love interest in NA), I also came across this old fan page for him from a mostly-broken-links-now site called THE CULT OF DA MAN and um it's great haha, check it out. (reviews of artists representations of him, more delicious HTML, and pixel art (!) of da aforementioned man)

There's also an article on Molland's about Charles and Henry Brock and their Jane Austen works that I found interesting. Charles is better known and did far more JA illustrations, but I do really enjoy Henry's tinted line pieces! (the article also dunks on some bad reproductions of them haha)

Pride & Prejudice tinted line illustrations by H.M. Brock [ x ]

C.E. Brock also did really cool title pages and when I found out that fic banners were a thing I knew what I wanted to do! (with the help of the symmetry tool and undo haha, so much respect for traditional art)

Title pages illustrated by C.E. Brock [ x ] and my banner - the banner design uses elements of both of the Brock images.

So, research in hand/bookmarks folder and banner completed, I decided on a scene from Chapter 10 where our beloveds are standing beside the Thames in the moonlight after walking around London for hours together and talking (CUTE). I wasn't sure what buildings to include in the background, so @gorgeousundertow gave me a few suggestions: Old Southwark Bridge, London Bridge, Southwark Cathedral, and Clink Prison. I realized after a bit of sketching that bridges would be hard to show with the straight-on view I wanted to do, so I decided on the Cathedral, partially because I had also considered drawing a scene that takes place in Salisbury Cathedral in Ch. 7.

OK BUT HOW? I struggled finding reference images for a while until I realized this was LONDON and would be very Google Earth-able. Big ups to Frank Cosgrove, whoever they are, for uploading this haha. This was also where I found out that all the suggestions were from a very small area!

View of Borough High Street, London, 1830, by George Scharf [ x ]

The building in front of the cathedral looked too new, so I went searching for an older image and found the second image. It's a completely different angle but it was enough to get me past the 'oh no idk what do'.

the much brighter concept vs the much darker finished product, featuring a barely-visible Southwark Cathedral

While looking for images of the Thames pre-Google Earth, I also found this website called Dictionary Of Victorian London which has a whole bunch of old images and excerpts from newspapers, etc on a variety of topics. One of the categories, Sex > 'unnatural offences', had this excerpt from The Times (1863), which reads:

Thomas Lane, a coffeehouse keeper, No.9, Love-lane, Eastcheap, city, and James Mortimer, a seaman, were charged with unlawfully meeting each other to commit an unnatural offence. ... The Magistrate committed both prisoners for trial.

Ugh. I hate that so much. Some sexy stuff happens right after the moment I'd chosen, and reading that reminded me that such things would be much more comfortable and safe in darkness (or if ppl just stopped being homophobic, but barring that). I wanted them to feel alone, like the whole world was asleep and it was just them, outside of time.

With that in mind, the iconic Thames Walk Lamp had to go bye bye, and when rendering the background I tried to minimize any light - it's just the suggestion of buildings. I also added tree cover! I tried to imitate how Joan Hassall does trees in some of her artwork, but when she rendered trees like this they were usually farther away/smaller, so my version looks more stylized with how prominent they are.

The ribbon border and book quote presentation is of course more Brock, but by making it black and having the interior image use it as a border instead of a fade-out inside it, I made it a bit of a reference to the very cool foliage edges you see in the very first Hassall image at the top.

I used the procreate brushes from this post on the Procreate Folio forums if anyone wants to try them!

Also fun fact! The font for the quote is called Chanson D'Amour <3 (I initially downloaded it when making the banner before changing the banner font to one called Dark & Black)

------

That's all I have to say about the process for the piece, but here's a comic from Dictionary Of Victorian London, Thames > Sanitary condition that I thought was cute (and gross ig? but also cute):

a Punch comic from 1850, I can't link the page due to how the website URL system works but it's from the Thames > Sanitary condition page

[twilightcitysky]

Hypothesis: Aziraphale HATES that Crowley is living in his car.

Supporting evidence:

The very first thing we see him do in the present is stop Maggie from moving out and making sure she feels welcome to stay as long as she likes.

He clearly knows Crowley’s unhappy before anything happens in the plot: “Does it calm you down?”. And also clearly feels helpless about it. Enter the conspicuous Eccles cakes: Aziraphale’s offer, which is rejected.

Crowley’s obviously, for all his hedging, spending a lot of time at the bookshop— so much that he has his own glasses perch and feels immediately comfortable removing them. See also: “Technically my bookshop but we both get plenty of use out of it”, “Why don’t you wait inside? You like waiting inside”.

It’s Crowley who immediately shoves the box of plants into Aziraphale’s arms after Aziraphale returns from Scotland.

Speaking of Scotland, why wouldn’t Aziraphale take the train? Why insist on driving the Bentley? Is it perhaps because he wants to get Crowley and his plants into the shop, and thinks if he creates a situation where Crowley has to stay there, maybe he won’t immediately leave again?

He’s got an empty bedroom and an apparently pathological need to make the person staying there very comfortable, creating cute little customized souvenirs like he’s an Air B&B host (displacement!).

He immediately jumps to having Gabriel stay with him— he didn’t have to. Arguably, both Gabriel and Aziraphale would be safer if Gabe stayed elsewhere.

That’s what I’ve got for now but I’m sure there’s more. Throughout the show, watch what Aziraphale gives to others and does for others, and it’ll tell you what he wants to do for Crowley. He’s living so deeply in displacement in makes him come across as manic and brittle.

(What probably happened is Aziraphale offered the spare bedroom and Crowley, who unconsciously didn’t want to be his roommate or sleep in a single bed with Aziraphale right downstairs because how could the poor lovesick boy cope with that, told him he wasn’t a “good deed” for Aziraphale to do and stormed off.)

Conclusion: Aziraphale asked Crowley to stay at his place, immediately and probably repeatedly. They had a row about it, and Crowley refused, and to this day Aziraphale doesn’t understand why.

And it hurts him.

[aziraphale-rights]

So, what is the deal with the world’s most conspicuously uneaten Eccles cakes? (A meta)

Well, I wouldn’t say it’s bad writing, not even the on-purpose-as-a-secret-message kind. I agree there is a visual ‘loose thread’ here that the creators wanted us to notice, but I don’t think the meaning has anything to do with Metatron or the eventual plan for S3. I think the eccles cakes are all about what’s going on in this episode with Crowley and Aziraphale, and they’re unsettling in exactly the way they’re meant to be, even if we might not register the full implications consciously on first watch.

On the most straightforward level, this shot is the punchline to a joke set up by Aziraphale and Nina in the coffee shop. Crowley orders six shots of espresso, bound to get him all worked up and stressy. Aziraphale, who desperately wants Crowley to be thinking clearly when he learns about the Gabriel situation, says to Nina: ‘What do you sell that calms people down?’ And she replies: ‘Eccles cakes.’ From this moment on the cakes are a visual symbol of what Aziraphale needs from Crowley right now.

That’s why they get so much screentime as we cross the road and go into the shop. Aziraphale won't leave those eccles cakes behind because he’s still hoping that Crowley will respond to the request they represent: Please stay calm, please be patient and listen to me with empathy.

But Crowley never does respond, and as he storms out we get that close-focus shot of the abandoned plate to make sure the subtext hits home. The cakes are framed sitting in front of the horse statue, brilliantly dressed up in Crowley's sunglasses, to remind us that they were brought there for him and he's dismissing them. (Crowley is the frantic horse who can't be managed!)

There’s another level to it, though, which doesn’t fully become clear until episode 6. The episode 1 meeting in Nina’s café is the first time that Aziraphale and Crowley share a scene in the present-day in S2, which means that the last time we saw them together was when they were dining at the Ritz. As viewers, we quickly recognise the visual language of their partnership: a table for two, a drink, a dessert. It feels familiar. But the food gets delivered and then nobody eats it. On that level, it is a set-up without a pay-off and it really niggles as you watch. S1 closed out their relationship with a happy toast after a resplendent dinner; S2 opens it with a snack that gets ignored. The dynamics of who offers food to whom are also off, atypical. It’s a sign of how things are going to go later on, hinting at the fact their dynamic is dysfunctional right now, even though it might seem OK on the surface.

Which brings me, finally, on to the other thing I’ve wanted to point out…

The punchline is that Crowley doesn’t eat the eccles cakes, but the really subconsciously disconcerting thing is that Aziraphale doesn’t. That he seemingly never planned to, and never orders anything for himself. In fact, we don’t see Aziraphale eat anything substantial in any of the present-day scenes in S2. The only things he consumes onscreen are sherry, tea, and a travel sweet. (Oh, and Manipulation Coffee, which is definitely a callback to Crowley’s disastrous sextuple-espresso.) We see him with food, yes, but primarily he wants to give it to other people.

For me this little detail of S2 – not something you even fully notice until you think about it – is a very telling understated cue in terms of Aziraphale’s post-Heaven state of mind. It's about what amuseoffyre puts so well in another meta: 'the whole series looks like he’s having so much fun doing silly human things, but there’s this brittleness to it.' At first glance, we see Aziraphale interacting with food and assume he is now living the happy Earthly life we wanted for him, but on closer inspection he's not engaging much in the pleasure of eating for his own sake. He gets a quick sweet pick-me-up on his way somewhere else in the Bentley - all alone - and that's it. He's too anxious, too busy, he doesn't have time. Crowley doesn't have time to invite him for lunch.

I find it fascinating that Gabriel gets a squillion cups of cocoa in this season, waxing all lyrical about them, and Aziraphale gets none. Aziraphale's mug becomes Jim's mug, even. And he mostly makes the tea to show Muriel how to blend in. In short, S2 Aziraphale is terribly preoccupied with looking after/managing others, and not taking the time to look after himself. Like the Maggie and Nina match-making, all that kindly treat-offering is displacement, displacement, displacement.

No wonder it all goes wrong.

[ineffable-suffering]

INEFFABLE META MASTERPOST

Because I'm slowly losing count and need to organize. So, here's all my self-written metas or ones that I reblogged with my own added theories and commentary! In rainbow colours, naturally.

1 – Aziraphale, I love you. But you lied. And here's why. My most lengthy and proudest meta about the Final Fifteen and why I think Aziraphale lied on purpose. (Also: The absolute darling @esthermitchell-author bravely fought their way through it and wrote up some more interesting points and different takes on what I came up with. If you want to go down a S2 rabbit hole with us, go read it here.)

2 – Why Aziraphale is an unreliable narrator (links below) A three-part meta in which I try to analyse and explain that all of the minisodes in Season 2 are not objective narrations but actually Aziraphale's memories.

Part 1: The Story of Job

Part 2: The Story of wee Morag

Part 3: The Story of the Magic Show in 1941

3 – The Jane Austen Ball and why it was never about Nina and Maggie A meta in which I go into unnecessarily great detail about how the Whickber Street Meeting Cotillion Ball was meant to be Aziraphale's confession to Crowley.

4 – Crowley & Aziraphale were never free (reblog) A reblog of @baggvinshield's post in which I explain why miscommunication is the single biggest ineffable enemy in Season 2.

5 – In Defense of Aziraphale (double reblog) A double try at explaining why I think Aziraphale's POV in the Final Fifteen is just as horrible as Crowley's and why I don't think him "choosing" to go back to Heaven was the only point of his character journey.

6 – The Art of Miscommunication: Ineffable Edition A meta in which i once again explain why miscommunication is the single biggest ineffable enemy in Season 2.

7– Season 2 Bookshop Shot Meta A meta where I briefly loose my mind because of a single bookshop frame in Season 2.

8 – What if it wasn't Aziraphale and Crowley who performed the 25 Lazarii miracle? A mini-meta in which I propose the theory that Jimbriel helped with the miracle to hide himself away from Heaven & Hell.

9 – Things in Good Omens Season 2 I still find weird (reblog) A reblog of @ok-sims and many other great OPs' thoughts on the weird loose strings in Season 2 and what unanswered questions I still have myself.

10 – The Deleted Bookshop Scene (reblog) A reblog of @skirtdyke's video and @i-only-ever-asked-questions' smart thoughts on it, with my own overly-excited 'what that could have meant for the "It's too late" line'-theroy.

11 – The Bentley Handle Easter Egg A meta I can proudly say has been liked by none other than Mr. Neil Gaiman himself about Crowley's Bentley handle that might have existed before the Bentley ever did.

12 – The F*cking Eccles Cakes A meta where I briefly loose my mind because of a pastry. (Addendum: People said very smart things in the comments of the post!)

14 – Re: "You go too fast for me, Crowley" A meta in which I make myself sad by connecting that infamous line to Aziraphale assuming Crowley wanted the Holy Water as a suicide pill.

13 – Trauma-Dumping on your plants: The Anthony J. Crowley Chronicles A meta on why Crowley treats his plants the way that he does.

14 – Demonic Mental Health Awareness Post In which I talk about why I want to get Crowley a therapy voucher.

15 – The Curious Incident of The Flaming Sword in Good Omens A meta on why the Flaming Sword has no deeper meaning. Or does it? (Updated: here's a reblog from @queerfables who did a wonderfully exellent job at calmly explaining all the swordy questions I was yelling about! Consider this meta solved.)

16 – Ceci n'est pas une plume A meta in which I'm a bit of a nerd for language and also explain why learning French and magic the human way says so much about Aziraphale as a character.

17 – The meaning of "I forgive you" A meta in which I explain what both "I forgive you"s mean and why Aziraphale will always fight for what is right until he wins. Also, the lovely @sharksbeerr translated it to Chinese on Weibo!

18 – Memory, or the lack thereof, in Season 2 A little reblog on how memory is a big and unresolved, leaky-bucket theme in Season 2.

19 – „It‘s always too late.“ (ft. Crowley‘s watch)

A short meta about that lines from Season 2 that won‘t leave my brain (and also Crowley‘s mysterious watch).

Addendum:

The one non-spoiler-y ask I could come up with about S2 that was actually answered by Neil, yay!

Also, this wholesome little post I added to that Mr. Gaiman also reblogged. :‘)

*** This is a work in progress and will get updated every time I post a new meta! ***

[noneorother]

The grand unified theory of Good Omens S2, Hangs on a double meaning - Answering why .5 + .5 = 25 lazerii *The end?*

Part 1 l Part 2 l Part 3 l Part 4 l Part 5 l The end?

Welcome to the end of the Bonkers Meta Series featuring your favourite Art Director/Clue detective. This is it! I'm going to wrap up this series as well as I can with what I think really happened, the final 15 and why Crowley says the things he says. Meta, Spoilers, Beware! All that. “Armageddon only happens once, you know. They don't let you go around again until you get it right.” 

If you've read my Metatron post you'll know that I thought there were *at least* two time loops with tweaks to achieve different outcomes, seeing as we seemed to be presented with two versions of events a lot of the time, two similar lines of dialogue, double meanings for lines etc etc. If you want a really good recap of a lot of the Clues that have already been compiled already you can go through them here. Yesterday I added my own : The columns in front of the bookshop get stained by a demon, and the stain stays and goes. But why do we care?

Here's my final thesis using the context I'll put together below :

The Metatron is changing the past and the present on earth using the book of life. He's forced a time loop of the last few days at least 50 times over a period of (realtime) months to get the outcome he wants : the separation of Aziraphale and Crowley to allow him to complete the second coming. It only worked once. Let me explain.

1) Not time skips, but stitched loops

My theory about the columns goes like this : a demon touches the right column in the attack on the bookshop, and dirties it. The problem is, in every episode we get multiple versions of the column that are dirtier or cleaner. Why? Because a demon has been touching that column in *more or less* the same place and getting it dirty over time, but the effects on the bookshop only layer every loop and reset, instead of being erased. The layering aspect is super important and I'll get back to it. For now, if we take it that the column gets dirtier over many loops, we now know what we are seeing : a bunch of different time loops stitched together to create a sense of time moving forward in a way that we can understand the story, but that skip forward and backward through the loops. Cleaner column = earlier loop. Here's discussion about clock hands if you want evidence, some even saying the hour hand seems to be going backwards in the first episode or the last, or even that the minute and hour hands must be backwards to make sense. If we think of time skipping ever forward and actions getting deleted (as some have said), then clocks going backwards makes no sense. But if we think about it as a time loop where things and actions are ever being tweaked and changed, then OF COURSE the times won't make sense anymore. People don't show up at the same time if they don't do the same thing they did before. The biggest time discrepancies I've seen in a single scene are A) Crowley's phone and watch being an hour apart in S2E1 and B) Inside the bookshop between Gabriel's fly flashback in S2E6 and him and Beez holding hands, there's an hour difference on the clock. I think that by the time we get to very late loops, some things are happening up to an hour later in the day. A simple example we are shown up top is the Eccles cakes. They are there in the first part of S2E1, but then they are no longer there somewhere along the way. In the first loop we see an ordering action/receiving Eccles cakes action, which takes *longer* than just not doing that and going straight to the shop, so that loop will be slightly later. It gets infinitely more complicated the more loops you are looking at, and we have at least 50 of them. How do I know that?

2) A 25 lazerii miracle

If we know that effects on the bookshop are cumulative and don't reset (because columns), then let's try this idea on for size : Aziraphale and Crowley have been performing the same half miracles on the same spot for 50+* loops, and each times they are layering and getting stronger. .5 demon + .5 angel = .5 angelic miracle x 50*ish loops = 25 lazerii miracle goes off in heaven on the latest loop. Shax then confronts Crowley in his car about a mighty miracle, so we're in a loop here where we've layered quite a lot, but not the last loop because he still has the original glasses/ *but also* Crowley's sideburns are long. Compare it to the scene directly after, and how sunny and bright it is. We're in a later loop and and earlier loop simultaneously.

3) Crowley's been testing So I've been searching for a *reason* that Crowley wears a turtleneck in S2E2 and thren new glasses and changes sideburns, and he seems to be up to some pretty crafty spy stuff, seeing as 1) he seems thrilled by it, and 2) he won't shut up about it (How will our hero cope? Jane Austen, nasty piece of work, master spy) There's also this Clue :

Crowley has a secret, as we know everyone with their hands deliberately in their pocket does in the series. I think Crowley knows before Aziraphale that something is wrong, because he's getting little snippets of memory and feeling, and so he's going off to try and change things about himself, the Bentley and the shop to remind himself in the next loop and leave himself clues or change outcomes if he fails to escape. In the early loops it seems like a fun spy mission, but by the end he's pretty tired and jaded that he doesn't seem to be making any headway on his own.

It *also* explains him throwing books and canapés on the floor in the bookshop to see if it changes in other versions. The problem being that Gabriel keeps cleaning everything up and reorganizing the titles to Crowley can't tell if it's his system or not. (lolsob)

It makes this line seem like he can't fit the loop pieces together anymore, and is trying to make headway without any information, rather than a pre-fall reference.

And this line probably much later in the loops (New sunglasses, long sideburns) :

Okay so! To recap : Everyone gets reset every time, and they make different choices because of past and present edits. But, most heavenly and hellish things don't obey earth laws, and therefore things like miracles start layering, and memories start seeping through the loops. (Point 4 is optional but absolutely hilarious, so I'd like to think it's worth speculating about)

4. The flaw in The Metatron's plan

There's a huge flaw in The Metatron's plan however, and it's that Heaven and Hell don't work like earth does. He's spent so many loops trying to get the result he wants, that he doesn't know that something crazy is *also* happening in hell. Every loop, Shax is emptying out the legions of demons until they barely have enough low level lackeys to go up at all. Hell is understaffed because no new people come into hell in the loop from earth, and they're sending all the demons that aren't subject to the reset into battle. This isn't a negotiation, it's a montage.

So the attack on the bookshop isn't one attack, but waves, and the waves get less powerful each loop. Stitched loops would also explain why Shax now hands Crowley his mail again in the last attack after *just* handing it to him on the park bench, like, 4 days ago in an earlier loop.

I don't have evidence for this directly, but if The Metatron put Maggie together with Nina successfully only in the last few loops, then she's fighting in the bookshop only a few times, and doesn't invite the demons in any other times, which might be why the only evidence is the column, and not books being ruined. But, it might also explain why the demon Eric gets discorporated a bunch of times in a row, he's doing it later and later in each loop. (These are kind of contradictory thoughts, I know.)

5. Aziraphale realizes too late. When I wrote part 4 of this series I was pretty awed by the fact that Aziraphale managed to figure out the Metatron was rewriting things after only hearing him say ONE LINE of dialogue. However after more thought, I think that he's been getting close to the truth a bunch of times by communicating with Crowley in previous loops. In each successive loop he tells Crowley later and later, and it's been getting them reset as punishment each time they figure it out together. By the end they barely communicate at all, because they can feel the danger. Watch his reaction here, in what we can assume is a *very late or last loop (because of the time on the clock)*

He stops himself from interrupting and telling Crowley something important he's just realized : that he's seen Gabriel and Beez get together before. "I know what this means..." 6. Saraqael is helping both sides without them knowing We see Saraquael helping Crowley immediately with the trial when she finds him in heaven. Why would she help Crowley without having ever met him before as a demon? The exchange of "Crowley I remember you, we worked on the Hosehead nebula together" and "I meet a lot of people, (*he doesn't say* I don't remember you)" is a code. They are both trying to communicate what they remember like spies on a bench in St.James park. Who recognizes who, who's trying to stop this madness. Maybe once Crowley gets to heaven this time he's seen multiple trials with multiple endings, and Saraquael has seen them too, I don't really know. BUT she's also communicating with Aziraphale at one point. Look at Saraqael in this scene again about the 25 lazerii miracle. She *remembers the book slap* and then the *looks* at Aziraphale in regards to Gabriel.

Yeah Gabriel, IT NEVER F*&?%ING WORKS IN ANY LOOP SO STOP DOING IT. - Saraquel, probably. Are Saraqael and Aziraphale testing later/earlier in the loops as well? Is this when the miracle was weaker? Who knows! 7. The Metatron job offer was many, many offers

It's really hard to tell with all the pieces of the puzzle moving around, but I think I can count 7 job refusal loops by Aziraphale in the last fifteen minutes. Here's a summary 1) Chinwag with Crowley in the room 2) We should go for a walk instead, here's a coffee 3) You don't have to answer immediately 4) Go tell you friend the good news (This is the important one), it's the last one where he tries to convince Crowley to come with him 5) I need to take care of my bookshop 6) The Metatron puts Muriel in charge of the bookshop, but Aziraphale wants to take something with him 7) Aziraphale straight up runs out to Crowley with "I think I-" 4, again) The Metatron takes him out of the bookshop. "Ready to start"?

Trying to screenshot all that would be insane, so just go rewatch it with all this in mind, and look at how the lighting changes inside of the bookshop and the jump cuts to different angles, and how his face resets every time. It's HEARTBREAKING. 8. The argument

I'm so blown away by the acting and writing (as well as the art direction) in this show, and it all comes to a head in the final argument. Many important lines have double meanings in series 2, because everyone is trying to speak in secret code to not get caught. Especially in the final loops.

In the last loops, we have an Aziraphale who is moving ever closer towards accepting the Metatron's offer, with the straw that broke the camel's back being he could restore Crowley as an angel**/save him; and Crowley who is moving ever farther away, by having to hide all of his Clue gathering, and confiding less and less to Aziraphale in each loop.

Check out the double meanings going on in this whole exchange if you consider that they are trying to save each other using secret codes neither one of them can hear. It's so shattering. Especially when you consider they've probably made it to this argument at least twice, and Crowley convinced him the first time. Why do I say that, you ask? 9. No Nightingales

Because I think Crowley remembers a loop where A Nightingale Sang was playing when they kissed, and Aziraphael didn't leave, but he knows they aren't in that version anymore. 10) I'm a demon, I lied. I'll probably post more abut the secondary characters because Shax, Furfur, Michael, Uriel and Nina etc all have roles to play, but for now, this is it.

----------------------------------------- Thanks so much for reading the gigantic post. If you disagree with my thoughts, or think this is terribly wrong, that's totally fine! I won't be offended. Without a real season 3, everything is just ether. Fingers crossed. I'd also like to thank The Ineffable Detective Agency, @embracing-the-ineffable, @cobragardens, @indigovigilance, @yowlthinks and more for inspiring me and feeding my brain with posts. *Loop numbers could actually be 25+ if you think that .5 demon mircales + .5 angelic miracles pour register as 1 whole miracle in heaven, I just didn't want to go into that in the main review. **The Metatron's meddling in the past seems to me trying very much to highlight to Aziraphale how *good* and righteous Crowley is, despite being a demon, in order to convince Aziraphale that joining him in heaven is a real possibility, and he should push for it.

[morallyinept]

Adrift With You - A Frankie Morales Series - Chapter 15

Summary: Heading away on a work re-location, Frankie embarks on a flight, but unbeknownst to him, his life is about to change forever. For starters, he will need to fight for it; harder than he's ever fought for anything else before.

Marooned on an isolated island in the middle of the ocean, still recovering from an addiction, his chances of survival are bleak; but he’s not alone on the island, and soon he’s running towards a different kind of life - a life with fellow survivor, Jude, fighting right beside him every step of the way.

And if they can both survive the island together, they can survive anything, right?

Pairing: Frankie Morales x OFC Jude

Chapter word count: 9.3k

SERIES MASTERLIST | MAIN MASTERLIST

☝🏻See Series Masterlist for full smut warnings & triggers in this story. Chapters that contain smut or triggers will be highlighted in the chapter notes below. 👇🏻

Chapter notes: Was being rescued real or just a dream? Smut in this chapter. Mentions of death/addiction.

Enjoy! 🖤

Chapter 14

Captain Sandy Eccles and First Officer Mark Kowalczyk sit in the cockpit of their Airbus A380, preparing their journey from New York to Madagascar. 

Sandy settles into his seat at the controls, papery fingers dancing across the instrument panel as he initiates the pre-flight checks. Mark, meanwhile, takes up a position beside him, double-checking each step of the process to ensure nothing is overlooked.

"Flight control surfaces checked," Sandy announces, his brisk voice calm and authoritative. "Elevator, ailerons, and rudder are all responding within normal parameters."

Mark nods in acknowledgment, his eyes scanning the various gauges and displays before him. "Hydraulic systems pressure within limits," he confirms, his tone focused and precise. "No anomalies detected in the engine indicators."

As they make their final preparations in the cockpit, a cheerful voice greets them from the doorway.

"Good morning, Captain, First Officer," says Emma, one of the senior cabin crew members, with a warm smile. "I thought you might like a pick-me-up before we start boarding."

In her hands, Emma holds a tray with steaming cups of coffee and a small basket of pastries.

Sandy’s face lights up with appreciation. "Emma, you're a lifesaver, doll," he exclaims, reaching for a cup of coffee. "Thank you so much."

He observes the coy looks exchanged between Mark and Emma who both seem to blush simultaneously and smile before she heads out and closes the cockpit door behind her. 

“When are you going to quit making moon eyes and ask her out?” Sandy muses as he sips at his coffee.

Mark's cheeks flush even more pink as he shakes his head smiling. “Is it that obvious?”

“Yeah.” Sandy quips. "It's that obvious."

Mark chuckles as ground crew members bustle about below them, preparing the aircraft for boarding. Sandy and Mark take a moment to soak in the tranquil atmosphere and enjoy their breakfast.

The crew complete their final preparations for boarding, and Sandy and Mark continue their meticulous checks, verifying the functionality of crucial systems such as communications, navigation, and emergency equipment.

"Emergency exits are armed and cross-checked," Sandy announces, his gaze sweeping over the overhead panel. "Cabin pressure and oxygen systems confirmed operational."

Mark nods again in approval, his attention shifting to the weather radar display. "Weather radar functioning normally," he reports, his voice carrying a note of vigilance. "Keeping an eye on storm activity along our route. There’s a small swell over north-east Africa. Nothing to get too excited about."

With the pre-flight checks completed and the aircraft ready for departure, they find a brief lull in the hectic pre-departure activities to indulge in a conversation about their upcoming destination.

"Madagascar, huh?" Mark remarks, glancing at Sandy with a relieved smile. "Ever been there before?"

Sandy nods. “Several times. It never gets boring. You?”

“First time. Got a layover.”

“Has Emma got a layover too?”

Mark turns away trying to stifle a brewing grin.

“Mmm-hmm.” Sandy says, flicking controls with a smirk. “Enjoy it together. It’s paradise at this time of year. Stifling... with the heat.”

Several hours in and the flight has been smooth sailing as they cruise high above the Atlantic, but ahead looms a growing storm system, visible on the radar as a swirling mass of red and yellow.

And Sandy can see the darker clouds miles out in the distance.

He glances at Mark, his trusty co-pilot, and adjusts his headset over silver streaked hair. "Looks like we've got some weather ahead. Let's start planning a deviation. Those clouds are looking pretty gnarly."

Mark nods, his expression focused. "Agreed. We'll need to navigate around the storm to avoid the worst of it. The width is reported at one hundred and forty miles.”

“Hurricane?” Sandy queries.

“Possibly. I'll contact air traffic control for updated route instructions."

As Mark radioes air traffic control, Sandy studies the storm on the navigation display. He recognizes the signs of a significant cell but remains calm and focused, his confidence bolstered by his past experiences navigating similar weather systems.

"We'll need to deviate round to the south of the continent to skirt the edge of the storm. Once we're clear, we can resume our original course." Sandy says. 

"Roger that," Mark replies, jotting down the revised route on his flight plan. "I'll inform the passengers about the deviation and reassure them that it's just a precaution."

Sandy nods as Mark speaks into the intercom. 

"Ladies and gentlemen, this is your First Officer speaking. We've encountered some rough weather ahead, so we'll be deviating from our planned route to avoid the storm. This’ll tack on about an extra hour of flight time and we apologise in advance for the delay. Please remain seated with your seatbelts fastened, and we'll do our best to keep the ride as smooth as possible."

Back in the economy cabin, both Frankie and Jude, unknown strangers at this point, don't hear the announcement, both have their headphones in; Jude being blasted with rock anthems and Frankie absorbed into a film he isn’t all that interested in. 

With the new route set, Sandy and Mark begin the process of adjusting the aircraft's heading to avoid the storm. As they descend to a lower altitude, the turbulence increases after a little while, causing the plane to jostle and sway.

Sandy grips the control yoke firmly, his eyes fixed on the horizon. "Storm’s got a damn wide berth. Hang on, Mark. It's going to be a bit bumpy."

"We've got this. Just a little further to go round." Mark reassures. "Nice and easy."

Despite their best efforts, the storm's intensity grows, and the turbulence becomes overwhelming. A powerful downdraft slams into the aircraft, causing it to lose altitude rapidly.

Alarms sound on the controls and Mark gasps realising a turbine has malfunctioned.

“Fuck.” Mark's heart races as he quickly scans the engine indicators. "Turbine two is showing abnormal readings," he reports, his voice tense. "Looks like it's malfunctioning due to the sudden change in airflow."

Sandy weighs their options. "We need to shut it down before it causes more damage. Initiate the emergency shutdown procedure for turbine two."

With a sense of urgency, Mark follows the established protocols, shutting down the malfunctioning turbine to prevent further complications. The aircraft shudders again as the remaining engines strain to compensate for the loss of power.

"Emergency checklist initiated," Mark confirms, his voice steady despite the chaos unfolding around them on the control panels. "Shit. It’s not working!”

"We're losing altitude!" Sandy shouts, struggling to regain control of the plane.

"Mayday. Mayday. Mayday-" Mark begins radioing into air traffic control.

A loud explosion is heard on the left side of the plane.

Sandy frantically adjusts the controls, trying to stabilise the aircraft with Mark. Despite their best efforts, the aircraft continues to falter, its descent becoming increasingly erratic.

"I can't hold her! We’re going down! Brace for impact!" Sandy bellows over the screech of the failing engines. 

“Brace! Brace!” Mark yells into the radio, his shrill instruction echoing around the aircraft. The faint sounds of screaming can be heard from the cabin.

With a deafening roar, the plane strikes the surface of the ocean, its wings shattering upon impact and fuselage torn apart. Water floods into the cockpit as the aircraft begins to sink beneath the choppy waves.

Sandy is killed instantly upon the impact of nose diving, and Mark fights against the rising water, desperately trying to free himself from his seat. But it’s no use. 

He drowns, unable to escape his fate, moments later. 

After just over a year on the island; one year, one month and ten days to be precise, (or if you want to get real into the numbers to work it out, I’ll save you the trouble - it’s four hundred and five agonising days) with it just being the two of them, the hustle and bustle of people suddenly swarming around them can be too much to bear. 

It’s a natural reaction, after spending copious amounts of time in a peaceful place with no noise except the soft conversation of the person beside you, that any loud noises or crowds will alarm you. 

Jude watches Frankie for a brief moment, like all the hysteria around her has fizzed away and she’s studying him under a microscope. Watching how he becomes bewildered and a slight panic rises up inside of his wide brown eyes, taking them over, and then disappears as quickly as it comes. 

And then he's alert once more, like he’s just woken up and knows where he is all over again, a sudden spark of remembrance breaking through the dark dementia-like cloud swirling inside his mind.

Frankie will be ghostly still until a small movement, a sudden jolt in his back like he’s hiccupped, will convince her he isn’t a robot sitting rigid on the chair next to her in the ship’s main control room as they wait to dock on the mainland.

They’re dry and dressed in ill-fitting Navy gear; grey sweatpants and sweaters that are a little too long in the arms and swamp their malnourished frames. It feels strange to have shoes back on her feet as Jude looks down at the plimsolls with laces tied in a neat, floppy bow at her ankles.

Frankie holds a warm cup of coffee inside of his right hand that he sips slowly; the other is firmly interlocked with her fingers inside her lap. The bitter aroma of it filters into his nose and it’s a scent he savours for a few moments, even if it tastes like watered down shit, waiting for the familiarity to register, before he sips it and licks the sharp residue off of his lips. 

Jude reaches forward and wipes away a drip of coffee caught inside his bushy beard fibres, shining at her like a brown diamond, and smiles. She tugs on his beard gently. 

“I’m going to miss this.”

“I’m fuckin’ not.” Frankie chuckles. “It’s coming off the first chance I get.”

She purses her lips and makes a sad face as he rolls his eyes, smirking as he drinks his coffee some more, bewildered that he’s drinking coffee again at all after drinking tasteless rain water for so long. 

A swill of officers are on deck, chattering and the sounds of radio exchanges with tinny voices is heard somewhere in the distance, ebbing around them. 

Frankie looks back and forth at Jude with an expression that is mostly unchanging during the journey back to land.

It begins to creep her out a little bit the more she sees it; making prickles rise on the back of her neck. He suddenly has a way of making her nervous for absolutely no reason at all each time she glances up at him hunched over the coffee cup unmoving and looking like he has no idea where he is again. 

Through the rhythmic hum of the engines filling the air, she finds herself struggling to comprehend the reality of their situation herself. It all feels like a dream - a hazy, surreal blur of events that she can't quite wrap her mind around.

They've been rescued, she reminds herself, her heart pounding in her chest as she gazes out at the vast expanse of ocean stretching endlessly before them. After days - or was it weeks? - in the aftermath of the tsunami, they've finally been found, plucked from the brink of oblivion by the steady hand of fate.

But despite the overwhelming evidence of their salvation - the towering masts of the ship, the crisp uniforms of the crew bustling about their duties - Jude can't shake the lingering sense of disbelief that clings to her like a stubborn shadow.

It all seems too good to be true, too improbable to be real. She pinches her arm again and feels nothing but a terrifying numbness to it.

Wake up...

Frankie notices and glances down at her squeezing her skin between her nails. 

“Hey,” he says, releasing her grip. “Jude. It’s really happening.”

His eyes draw her in, ground her feet to the soft vibrations of the ship cutting through the waves, drawing ever closer to the distant horizon where the promise of land awaits, she finds herself clinging to his hand tighter, her fingers white-knuckled with tension.

Each passing moment feels like a lifetime, each mile bringing them closer to a destination that still feels impossibly far away.

But then Frankie flinches again, like music blasting through earphones loudly into his ear canal unexpectedly as the captain approaches them.

“We’re almost there, not much longer now. We’ll escort you guys to the American embassy. I’ve had a chat with them about you. They’re going to help you get home.” He announces clearly. 

“Thank you,” Jude replies, timidly, the sound of her own voice seeming too loud to her as her thoughts try to arrange themselves into some sort of comprehension.

“Where’s ‘there’?” Frankie questions the captain.

“South Africa, Cape Town, Sir.”

“I’ll be back. Drink some of this shitty coffee.” Frankie smiles at her, as he pushes the cup into her trembling fingers.

"I hate coffee..." She smiles, weakly.

"I know." Frankie squeezes Jude’s hand and then follows the captain.

Frankie hovers beside him looking out at the large windows in the vast control room.

“Captain. You said we were found amongst a group of islands?” Frankie asks him carefully.

“Yes Sir, the Prince Edward Islands.” He points to the satellite at two large, land-shaped clusters. “Those are the mainland islands, but we picked you up on a smaller rock scattered further out. There are lots of them. The islands have been previously used for penguin conservation. No-one inhabits them anymore though.”

“I think someone did at some point.” Frankie concludes.

“What do you mean?” The captain asks. 

“There was evidence of someone being on that island long before us. There was a man-made structure built, like a shelter? We found a switchblade and rusted tin cans. And remains…”

The captain nods thoughtfully. “It could have been someone from the conservation team, or maybe someone like yourselves who got stranded for a while? Fishermen get stuck out here on a regular basis if the tide turns. But there haven’t been any reported people missing to my knowledge for years. We’re out here a lot, supporting the territories. We have our base at Port Elizabeth.”

Frankie thinks for a moment. “Your officer in the boat, he said he looked for us. I’m wondering how far off course the plane was when it crashed,” Frankie says, folding his arms around himself as he looks out the window at the empty sea presented before him.

The captain turns to him. “Most searches are conducted in and around the immediate area where the plane drops off of radar-”

“Yeah, I know. I-I used to fly. Army. Retired.” Frankie explains tentatively.

“Ranking?”

“Captain.”

The captain salutes at Frankie out of respect for an equal. “Your training kept you alive. Might’ve been a different story if you were just a regular civvie.” 

As Frankie stands on the deck of the naval ship, his gaze fixed on the distant horizon, he can't help but reflect on the harrowing journey that brought them both to this moment.

Despite the overwhelming odds stacked against them, they had survived - against all logic, against all reason. And as he looks back on their time adrift at sea, trapped on the island, enduring the forceful brunt of the tsunami, he realises that the captain is right; it probably was his training in the army that had kept them both alive for so long.

In the face of danger, his instincts had kicked in, guiding Jude through the treacherous waters with a steely determination born from years of discipline and resilience.

Whether it was rationing their meagre supplies, building shelter, or weathering the brutal storms that swept across the ocean, he had drawn upon the skills honed during his time in the military to keep them safe, to keep them alive.

But it wasn't just his training that had seen them through - it was also the unwavering bond forged between them in the crucible of adversity. Together, they had faced the raging tempests and the relentless swells, standing side by side against the onslaught of the island’s fury.

And in those moments of darkness, it was their shared strength, their shared determination, that had sustained them when all hope seemed lost.

“Crews were out here, including us supporting them, scouting for wreckage for weeks. We found some, but of course you have to remember the ocean is vast; debris can travel in all sorts of directions on the current, and can travel at different speeds. It’s impossible to search the entire ocean for survivors, especially when we didn’t find any at all in the immediate vicinity where the plane went down.” The captain swallows and Frankie watches distantly as his Adam's apple bobs in his throat like a forlorn knot. 

“I’m sorry that you guys weren’t found sooner, I really am. We were convinced everyone on that plane had perished, all the evidence we found suggested it. You guys drifted so far from the crash site, that it’s a pure miracle you survived.”

“A miracle.” Frankie snorts.

“What else could it be?” The captain queries. 

Frankie doesn’t answer. Instead pondering it quietly to himself as he stares back out at the ocean as an officer approaches the captain diverting his attention. 

Emotionally sterile and just gazing out at nothing; seeing nothing even though a dark land shaped mass is visible on the horizon now.

There's a surge of hope - a flicker of excitement igniting deep within his chest at the prospect of finally reaching solid ground after so long being lost.

But alongside the hope, there's also a twinge of apprehension - a nagging doubt curling into something fretful that whispers in the back of his mind, reminding him of all they've endured and the uncertain future that lies ahead.

Frankie looks down at his hands to find them shaking again. Fingers trembling with a mind of their own.

He squeezes them into tight fists, nails cutting into his palms, and willing himself to calm down.

When the ship docks, Frankie and Jude are escorted to a Navy vehicle and driven inwards from the coast towards central Cape Town. 

Jude looks out the window, observing the colourful, loud world that has left them behind for so long. The dusty streets, the aromas from food stalls as they pass bustling markets making her stomach growl with the infusion of spices tickling her nose as they waft in through the windows of the car.

The yells and sounds of people crowded in the streets make her ears ache. The rumble of passing cars reverberates heavily through the air, their engines growling as they prowl the bustling streets. The screech of brakes and the blaring of horns add a discordant note to the air and she practically jumps out of her skin every time it happens.

She feels a gentle squeeze around her hand and looks across the seat at Frankie as he holds his arm out and she shifts closer to him, into the safe embrace of him, ever wearing that cautious gaze in his furtive eyes.

“Who are you going to call?” Jude asks him dreamily, as they both stare emptily at the scenery whizzing by them in a blur.

“Ghostbusters,” he remarks with a sardonic grin and then shrugs. “Fuck, I don’t even know…”

Despite being rescued, a pang of anxiety claws at his starving gut as he comes to a sobering realisation - he doesn't know any numbers off by heart to call anyone and let them know he's safe.

In the chaotic aftermath of their rescue, amidst the flurry of activity and the rush of emotions, he hasn't given much thought to the practicalities of reaching out to loved ones. Now, faced with the stark reality of his predicament, he feels a surge of panic rising within him. How will they know he's alive? How will they know he's safe?

Will anyone even care to know?

“You gonna call your mom?” He asks, swallowing down the bile. 

“I bet she won’t believe it’s me really calling her.” Jude says with a weak smile birthing out on her face.

It seems an incredibly daunting thought; the anticipation to call and hear her voice is overwhelming, surreal even. Like it will never bloom into fruition because the pain of saying the words out loud - explaining where she’s been for the past four hundred and five days - is unbearable to even begin unravelling apart to make sense of for herself, let alone another hysterical person on the end of a phone line.

As the Naval car rumbles along the busy streets, inching its way towards the embassy, Frankie and Jude find themselves momentarily halted by traffic jamming up. The sounds of honking horns and distant chatter fill the air, mingling with the stifling heat of the evening.

In the midst of the commotion, a young African boy on a battered moped pulls up beside them, his eyes wide with curiosity as he peers in through the car window.

His dark skin is coated with a sheen of sweat, and his gaze, filled with a mixture of wonder and innocence, falls upon them both, taking in their appearances with a mixture of awe and confusion.

Frankie can feel the weight of the boy's curious stare, a silent observer to their dishevelled state - clothes too big, hair wind-tossed, faces etched with exhaustion and relief. Frankie meets the boy's face, struck by the depth of emotion reflected in those big, expressive eyes.

There's a silent exchange between them - a moment of connection that transcends language and culture, bridging the gap between their worlds with a simple glance.

For a brief moment, time seems to stand still as they lock eyes with each other, their worlds intersecting in this fleeting moment of shared humanity amidst the chaos of the city streets. There's something oddly poignant about the encounter, a silent acknowledgment of the fragility of life, the universality of human experience.

The boy doesn’t know about Frankie and Jude’s life-altering struggles, that they’ve been lost for so long, and yet he smiles at Frankie, offering a mouth full of chipped and wonky teeth. 

But as quickly as it begins, the moment passes, the boy gives Frankie a shy smile before revving his engine and disappearing into the throng of vehicles. 

His eyes, already weary from months of uncertainty and hardship, begin to sting with unshed tears, and a lump forms in Frankie’s throat as he struggles to contain the overwhelming swell of feeling.

In that brief exchange, something profound has shifted within him - a stirring of empathy and compassion that cuts through the layers of cynicism and weariness that has come to define his existence. It’s as if the innocence and wonder reflected in the boy's eyes has pierced straight through to his soul, awakening a dormant part of himself that he has long believed to be lost.

Blinking back the tears that threaten to spill over, Frankie turns away from the window, unable to shake the weight of the moment.

Jude reaches up and kisses his neck, feeling his beard tickling her cheek.

As the Naval car inches forward once more, carrying them ever closer to safety and sanctuary, Frankie finds himself grappling with a newfound sense of vulnerability, a rawness of emotion that he has long buried beneath layers of bravado and stoicism.

Frankie looks down at Jude nestled against his chest and kisses the top of her head.

The Navy officers escort them into the American Embassy in Cape Town; a large and formidable white building with heavy security and armoured vehicles. The American flag is flapping around in the breeze and Jude looks up at it, feeling a sense of familiarity and deep seated relief to view the stars and stripes waving back at her.

They’re escorted to the consulate main building where a representative for The States meets them and shakes their weary, calloused hands as he regards them over the rim of his thin spectacles carefully. 

“Wow, you guys have really been through the ringer, ain’t ya?” He says with a Southern twang, motioning for them to sit and regarding their dishevelled, malnourished appearance with some appal. “I’m Jake. I’ll be assisting ya’ll whilst ya here with us.”

“How long will that be?” Frankie enquires, anxiously. He scratches at the back of his head, his cap still firmly planted on top of his scraggly curls that reach down to his shoulders.

“Hopefully not long at all. Take a seat, make yourselves comfy there.” Jake motions to the chairs again; watching as they sit on the edges tentatively like the chair will swallow them whole. 

“What’s going to happen to us now?” Jude asks. “We just wanna go home.” She explains trying to stifle a swamping yawn.

The thought of finally returning home feels like an alien concept. It's a notion that seems both tantalisingly close and impossibly distant, like a dream she's afraid to fully grasp for fear of it slipping away.

“And we’re going to get ya back there for sure, ma’am. We need some details from ya so we can get ya some new passports and check a few things out. Now, I hear you’re ex-military, Sir?” Jake says, addressing Frankie directly.

Frankie nods and slumps back in the chair.

“Well, that works in your favour. We can get ‘em to help escort you guys home, through the back door as it were.”

Frankie smiles through tight lips as Jake clears his throat.

“Back door?” Jude queries, confused.

“Without much of a hubbub. You guys’ll make international news soon enough.”

The thought fills Frankie with a potent mix of anxiety and apprehension, as it does with Jude. The thought of their faces splashed across television screens, of their harrowing ordeal dissected and analysed by strangers, sends a shiver down Frankie's spine.

It's a stark reminder of the scrutiny and judgement that awaits them on the other side of this journey - a world that seems increasingly foreign and hostile with each passing moment.

“What happened to the plane?” Frankie braves. “Do you know why it came down?”

Jake pauses and clasps his hands together on his desk. “Yeah, I remember the story. Was mechanical failure from the storm. The engines failed I think, from what I remember. It was all over the news worldwide, social media and all that kind of stuff. I don’t really understand that Instagram thing myself, but they never found any survivors.” Jake explains.

He pulls out his iPhone, taps onto the screen then hands it to Frankie. It’s a Google search page of all the headlines and images from the crash.

Frankie scrolls through them with an unsteady finger. He stops when he sees a headline with his own face and name listed as one of Flight 816’s missing passengers. An old army photograph of him in his sandy combat gear, eyes squinting in the sun. 

Frankie turns the phone screen to Jude and looks back at her with worrisome, dull peepers. 

“Shit...” She mutters skimming the article. She hands the phone back to Jake and he puts it on the desk. 

“We’re going to put ya guys in a hotel not too far from here, give you some comfort and ya’ll can get some rest. Before that we’re going to get ya checked over with a couple of doctors, make sure you’re healthy, that kinda thing.”

“Can we make some calls?” Jude asks him eagerly.

“Of course ya can. I’ve no doubt ya families will be keen to hear from ya. I imagine it will feel like a miracle to them, huh? To have ya back after all this time?”

Jude gulps as her fingers knot in her lap.

“Listen guys, I can’t imagine what y'all have been through. But we’re going to getcha home, we’re going to help ya as much as we can, okay?”

“Thank you, Jake.” Jude says to him, offering him only a glimmer of a small, worn out smile. 

“Ya need anything, ya let me know.” Jake opens a file on his desk. 

“A razor would be a great start.” Frankie clarifies.

Jude smiles at him and nods in agreement.

“Y’all will have everything ya need, don’t worry. Alrighty here, let’s start with ya full names, shall we?” Jake picks up a pen. He looks at Frankie and waits for him to answer. 

“Catfish,” Jude replies rather deadpan. 

“Hmm?” Jake asks, eyebrows raising.

She giggles, almost like a snort that hiccups out of her, and Jake looks at her slightly bemused.

She can’t help but laugh out louder until she can’t stop. Real gut rolling belly laughs that erupt out of her mouth and Frankie joins in too, snickering until eventually he can’t contain it and lets out a loud hawhawhaw that continues to roll out from him, until he clutches his stomach like he’s doubled over in that crazed laughing pain.

Jake observes them both bewildered. “Y’all wanna let me in on the joke?”  

They both undergo a medical at the local hospital as soon as they wrap up the formalities with Jake, escorted by a representative from the consulate to translate for them where needed.

A lot of hustle and bustle through their exhausted state, when all they really want to do is to eat, sleep and call their loved ones. 

The delay is starting to get to them as they exchange tired and impatient looks between themselves, gripping each other’s hands and squeezing when it starts to get overwhelming.

They’re separated temporarily as they’re examined; a feeling that neither of them want to get used to.

A palpable sense of unease settles over Frankie like a heavy shroud. For the first time in what feels like an eternity, he finds himself separated from the familiar presence of Jude - the one constant in an ever-shifting sea of uncertainty.

Frankie clocks Jude’s furtive, panicked gaze back at him as she’s ushered behind a curtain and feels the pang of anxiety hit her gut too, making her stomach all swirly like the ocean current that has tried - and failed - numerous times to drown them both.

With each passing moment, Frankie finds himself growing increasingly restless, the minutes stretching out into an agonising eternity as he waits anxiously for her return.

The sterile surroundings only serve to amplify his sense of isolation, the stark fluorescent lights casting harsh shadows that dance mockingly across the walls.

Frankie sits on the examination table in another bay as the doctor asks him about his general health and prods gently at his stomach and over his ribs. He listens to his heartbeat and takes a swab from his mouth. 

In the other bay, a similar process ensues with a female doctor who takes blood, swabs and asks a barrage of personal questions to Jude. 

“What have you been eating on the island? Have you been ill at all whilst there? When was your last period?”

“Period?”

Jude’s mind cast back to the blood trickling down her legs in the sand and the gut wrenching pull in her stomach reminds her of the unexpected loss all over again, like a wave smashing into her.

“Urm... I can’t really remember, maybe seven months or so, maybe less? I’m sorry, it’s all so…” She searches back in her mind against the blank void of time, unsure exactly when it was that she’d had her last one on the island. 

It’s not really something you consider at first, bleeding monthly on a deserted island with no sanitation products to hand. But when it’d happened a few weeks or so into first being stranded there, the heavy belly cramps registering deep in her uterus, and discreetly keeping it from Frankie’s awareness, she’d used dark strips she’d torn off a t-shirt and rolled it up inside her panties. It felt like she was living in the dark ages before tampons even existed. 

But out in the middle of nowhere Jude had to adapt and she hid the evidence well from him. Or at least if he did know, he was good not to mention it and add to her embarrassment.

But then she realised, that slow unsettling feeling creeping over her shoulders, one day on the shoreline washing out her hair, that she hadn’t had a period for some time after they’d started sleeping together.

Dawning on her then that they’d been pretty reckless, but when you’re in the throes of passion and wrapped up in one another, practicality flies out the window. But the months had worn on and there was no real repercussion from their love making, no signs of a pregnancy. No period, no risk of a baby right? 

Evidently she was wrong. 

“You’ve lost a lot of weight, it will affect your cycle for a while, but as you gain weight again it should return to normal. If it doesn't, your doctor back home can advise you further.” The doctor says. 

“I urm... I-I think I had a miscarriage on the island.” Jude squeaks quietly, unable to look the doctor in the eye like she’s done something shameful.

She lowers her clipboard and touches her shoulder. “I’m so sorry,” she replies gently. ”If that’s the case, I’ll need to examine you, make sure there’s no lingering infection or anything, will that be okay?”

Jude nods and lays back on the gurney as the doctor pulls on some latex gloves.

In the other bay, the doctor places his cold stethoscope all over Frankie’s bony back, asking him to breathe in and out and hold his breath for as long as he can. He asks him about any injuries sustained, anything that worries him currently and how he’s feeling in his general state of mind. 

Frankie shrugs. “I’ve been stuck on an island for over a year thinking I would die every day. I’m sure there’s a fuckin' adjustment period for that, right?”

The doctor doesn’t appreciate his sarcasm and doesn’t respond, instead writing out a prescription for vitamins and supplements. 

“I had a fever... On the island, not too long ago, and a rash too.” Frankie mutters through a stifled yawn. 

“What kind of fever?”

“I’m not sure. I was out for a few days. Hot, vomiting... Delirious, that kind of thing.”

“And the rash, was it all over your body or just concentrated?”

“All over I think. Red and angry."

“Were you bitten by a mosquito at all?” The doctor probes, regarding him.

Frankie shrugs again. “Not that I specifically remember. I was bitten by a lot of things out there.”

“We’ll take some blood, check it for anything that could be lingering in your bloodstream. You could have possibly had Dengue Fever. It's quite common out here with mosquito bites. But easily treatable if you have access to meds, which I appreciate you didn’t, of course... Couple that with your malnutrition and weak state, you’re lucky you didn’t catch anything worse. I’ll prescribe you some meds, make sure it’s all gone. Have you got any allergies? Any medication that you’re sensitive to?”

As Frankie absorbs the doctor's questions, he finds himself torn between conflicting impulses.

On one hand, there's a voice in the back of his mind urging him to speak up - to lay bare the truth about his past addiction and the struggles he's faced in order to ensure he receives the proper care and support he needs.

But alongside that voice, there's another - an insidious whisper of doubt that sows seeds of fear and uncertainty in his heart. What if they judge him? What if they see him not as a survivor, but as a liability - a broken soul in need of fixing?

The thought of laying bare his vulnerabilities to strangers fills him with a profound sense of unease, a fear of being labelled and stigmatised further for the demons he's battled in the past.

In the end, as the doctor's gaze meets his own, Frankie makes a choice - a leap of faith into the unknown. With a deep breath and a steady resolve, he opens his mouth to speak, ready to face whatever consequences may come with the truth. 

"I... I have a history of addiction. Drugs. Cocaine."

The admission hangs heavy in the air, casting a palpable tension over the bay as the doctor's expression shifts, registering a mixture of surprise and concern.

Frankie can feel the weight of their scrutiny bearing down on him, but he refuses to look away, steeling himself against the fear that threatens to overwhelm him.

"I've been clean for... for a while now," he continues, the words coming more easily now that he's broken the silence. "But I thought you should know. In case... in case it's relevant to my treatment. I can’t have any meds that have any psychoactive effects.”

There's a beat of silence as the doctor absorbs his words, their gaze searching his face for any sign of deception or evasion. But Frankie meets his searching gaze head-on, his eyes clear and unwavering as he waits for his response.

Finally, the doctor nods, a gesture of acknowledgment tinged with understanding. "Thank you for being honest with me," he says, his voice gentle but firm.

Frankie watches as the doctor strikes through his previous writings on his pad. "Let's take some blood."  

Frankie holds out his arm as the doctor pricks it with a needle.

“What happened to your neck?” The doctor asks, turning Frankie’s head gently so he can examine the scars that run across it.

“I was burned when the plane crashed...” Frankie surmises, his thoughts turning dark as he remembers the smell of his skin sizzling in the water.

“Hmm, looks like they’ve healed pretty well. They look like they were partial-thickness or second degree when it happened. Might be best to apply some topical cream to help with the fading. I’ll add it to your prescription.”

The doctor places the blood vial in a testing bag and gives Frankie a cotton ball to hold against the needle poke hole in his arm.

“Overall, I’d say you’re in pretty good shape, considering. The malnourishment is reversible, you need to simply eat. Foods that are rich in vitamins and high in energy, fortified foods and vegetables, that kind of thing. In moderation of course. I can’t stress this enough, but if you gorge you’ll make yourself really sick. Your stomach has shrunk significantly, so although you may feel famished, you need to fill up really slowly, okay?”

Frankie nods. “Sure.”

“Refeeding syndrome can be fatal, alright?” The doctor warns and Frankie is nodding so much it feels like his head might fall off his shoulders. 

"Eat small and slow. Got it."

“I’d advise you to visit your dentist, your optometrist, and follow up with your own doctor too when back home. Check on your overall health with them regularly until things get back to normal with your body. Keep an eye on any changes to your skin too; you’ve been exposed to the sun for a long time without a barrier, so check on any moles or freckles you have regularly for any changes. They all look okay to me at the moment.”

“No problem.” Frankie replies; his foot tapping on the floor anxiously.

With a heavy sigh, Frankie clenches his fists in frustration, a surge of restless energy coursing through his veins. Every instinct screams at him to find a way back to Jude, to break free from the confines and monotony of the examination bay and seek out the one person who has become his lifeline in this tumultuous world.

In the other bay, Jude winces as the doctor takes an internal swab and bites down on her lip. 

“You can sit up now.” The doctor says with a sincere smile. “On first inspection you look completely fine down there, but I’ll send this to the lab and we’ll know for sure. I can write you a prescription for some contraceptives if you’d like, it might help with regulating your periods during the transition back to your normal cycle. In the meantime, rest. Take it easy. You’ve been through a lot.”

The moment she says it, Jude starts to well up. The natural reaction you have when anyone shows you any kindness or sympathy at your plight. 

The doctor hands her a box of tissues and she takes a few out, wiping her gritty eyes. 

“It might be a good idea to seek some therapy, talk to someone about your ordeal. You’ll find your emotions will be up and down for a long time and that’s perfectly normal.”

Jude nods at the doctor blowing her nose. Emotions being up and down is a fucking understatement. 

“Thank you,” she says to the doctor, and she’s all too eager to get out of the bay and be back with Frankie. 

“How did it go?” Jude asks him through red eyes, and he pulls her in for a long, tight hug.

“Horrible.” Frankie replies stoically.

“Really?”

“Yeah. Absolute agony being away from you.” He says softly. 

“It was.” Jude agrees. 

“You ever heard of refeeding syndrome?”

“No.”

“We gotta eat real slow, even though I wanna devour a fuckin’ whole cow right now.”

Jude snickers.

“Did they take your blood?” Frankie asks.

Jude nods. “Pesky vampires,” she remarks through a smirk up at him. 

"C'mon. Let's get out of here. I fuckin' hate hospitals." He says.

The hotel room isn’t that fancy.

Nothing over the top; conspicuous and modest, but more than anything it’s clean and smells fresh with a lemony scent lingering in the air around their nostrils.

The air conditioner is whirring out from under the window and the net curtains billow softly in the recycled air flow. 

They wander into the small room and look around like they’ve just hit the jackpot.

There’s a double bed with clean, crisp sheets. Actual pillows and a night stand with a gloaming lamp. There’s a small flat screen mounted to the wall on the opposite side; an armchair and a closet with empty hangers.

Large windows offer a glimpse of the city skyline twinkling in the dark, a reminder of the world beyond their temporary sanctuary.

It's a moment they've both been longing for, a brief respite from the chaos and uncertainty that has consumed their lives all day.

For Frankie, the sight of the hotel room is a balm to his weary soul - a tangible reminder that they have finally reached safety after so many harrowing experiences.

He takes a moment to savour the simple pleasures of a comfortable bed and a hot shower, luxuries that he’s sorely missed during their time stuck on the island.

They both simultaneously breathe in and out and turn to smile at one another in that ambient relief. 

Frankie puts down the carrier bag he’s holding, full of clean clothes that the embassy has provided, medicines and some personal items, such as coveted toiletries.

Jude is holding a similar bag for herself and has a key card for the room next door.

Frankie wanders over to the bathroom and there’s a large walk-in shower, sink and toilet with clean towels, mini soaps and a large mirror mounted on the wall above the sink and brightly illuminated. 

He steps inside gingerly and regards himself in the mirror, just looking at the worn face staring back at him that he no longer recognises.

Taking off his trusty cap that reeks of the sea and sweat, his hair is wild and untamed, shaggy below his ears and curling into his shoulders.

His once patchy beard is full and busy with wiry hairs that seem more silver in some places. It's been over a year since he last saw his own reflection, and the sight before him is both jarring and surreal.

His usually plump lips are cracked with dryness and a faded purple rather than the heart coloured cerise they usually are naturally. His dark eyes, that have seen and been through so much, are now dull and faded when they used to be full of vibrant zing.

It’s possible, he thinks, that he’s aged significantly beyond his years. He most definitely has, deep inside of him somewhere. 

Frankie regards his shrunken appearance, his collarbone so prominent as he removes his Naval sweater. His ribcage is explicitly noticeable and he winces at the state of his aching and tired body presented back to him.

“Shit...” Frankie sighs despondently.

Jude appears at the doorway, watching him regard himself as he runs his fingers through his beard and hair, examining every aspect of his gaunt appearance in the ghastly mirror.

She ventures into the bathroom next to him and dares herself to look at her own reflection, keeping her eyes to the floor like she’s avoiding a monster tailing her, until she feels Frankie put his hands on her shoulders behind her, anchoring her.

There’s nothing of her, the once supple curves of her body are now straight, flat lines with no definition or skin that glows with health and vitality.

Despite being tanned from months of relentless sun burn, her skin appears dull and lifeless. Hey eyes are sunken into the sockets of her skull and the bags under them just confirm wholly how tired she absolutely feels.

Her braid is hellishly tangled; her hair lifeless and no longer has the sleek bounce she remembers, filled with split ends.

“Oh my God,” she whimpers, utterly aghast at the state of herself. 

“You’re still beautiful to me,” Frankie whispers, resting his chin on her shoulder and wrapping his arms around her stomach. “Todavía tan jodidamente hermosa.” (Still so fucking beautiful.)

They look at one another in the mirror, trying to accept the alien looking strangers who are staring back at them with horrified reflections. 

“I’ll let you get washed up,” Jude begins, devastated as she heads towards the door, but he pulls her back by her wrist gently. 

“Don’t you fuckin’ dare, hermosa,” he says softly and pulls her in close to him.

Frankie kisses her, tilting her chin up and she stands on tip toes as he pulls her close. She giggles and wriggles away from his face as his beard tickles her lips.

“Yeah, we really need to cut this,” Jude says, fingering through his crispy beard. 

Frankie steps away out of the bathroom for a few moments and brings the bag back in with him. He empties the contents of the toiletries onto the sink and finds some scissors and a razor, and holds them out to her. 

“Will you make me the happiest man in the world and shave this fuckin’ thing off my face?” He asks her through a wry grin.

“I thought you’d never ask,” she chuckles.

Jude cuts large chunks of hair from his beard carefully, keeping as close to his skin as possible as he perches on the toilet with the seat down.

Opening his legs so she can stand in between, his hands sweep over her backside and squeeze occasionally.

"This is very distracting," she hums as he kneads and squeezes her flesh.

"I know," he surmises with a grin.

Once she’s cut enough off, she wets his face and covers his chin and neck in shaving foam and begins running the razor over his face gently. 

“There you are,” Jude marvels as his taught skin is finally revealed from under the hair.

The same face she remembers from when he first appeared on the island, staggering up the sand bank towards her with wide, panicked eyes. “You want it all gone?”

He nods. “It’ll grow back soon enough.”

Frankie pulls down her sweats as she steps out of them and sits on his knee.

“How you holding up?” He asks as he feels the scrap of the blade over his skin. 

Blinking, Jude nods. “I keep waiting for it to feel real.”

“Yeah.” He nods. 

“This has to be a dream.” She sounds like she’s far away. “But… I’m not waking up.”

Frankie takes her hand and presses it against her chest. She can feel the steady throb of his heart under her finger tips.

“It’s real.” He confirms. "We're here."

Jude smooths away the remaining foam with her fingers when she’s done, revealing a smooth and pallid jaw line against the dark tan of his face, and he lunges forward and kisses her deeply. 

Frankie stands up as she wraps her legs around his waist and he steps into the shower with her, peeling her out of her remaining clothes as they’re saturated under the warming stream. 

The hot water feels incredible and they both gasp out in satisfaction as the jet sprays them down, laughing in relief and wonderment at such a simple thing as hot water after all this time of bathing in the murky sea. 

“Oh my God!” Jude calls out, closing her eyes, feeling the heat on her skin, and Frankie throws his head back, letting the water drown him and soak his shaggy hair.

He shakes it about like a dog and she laughs as he chuckles, kissing her again. 

He reaches for some shower gel and sniffs it in his hands before offering his palms out to her to smell it in return. It smells of herbs and bergamot; woody scents like the forest and the notes dance inside her nostrils long after it’s absorbed into her skin. 

He runs his soapy hands all over her body, taking his time to clean and massage her, working the nodules at the back of her neck, swooping his hands under her arms to run them down her back and grab her ass with them, making her smile and groan out. 

Frankie reaches for the razor and crouches down, tapping his thigh as she puts her foot on it.

Jude watches as he shaves away the hair from her legs gently, looking up at her with a smile pinched between his teeth as the water sprays against his back. He’s tender, running his hand over her freshly smooth skin and admiring her when he's done. 

"So fuckin' beautiful," he says in wonder.

Jude reaches for his hair, scratching around the back of his neck fondly with the shampoo as he kisses just above her wet belly button. 

On his knees, he hooks her leg over his shoulder and instantly licks up the seam of her pussy.

“Frankie!” She cries out, steadying herself against the tiles as her legs buckle unexpectedly. 

“I got you,” he says, smirking up at her, his hands firmly holding her backside and thighs and keeping her upright. 

She watches as his tongue slides against her, slipping into her folds and seeking out her clit. She groans when he latches onto it, sucking it between his lips as his hands slide around the front of her thighs and he pries her open with adept, soapy fingers. 

Jude reaches down, gripping onto his shoulder, cradling his head closer as Frankie laps at her pussy like a man completely starved.

The water trickles down her stomach into his mouth from the stream above them. With each breath, Jude feels the tension building within her, coiling tightly like a spring ready to snap.

It's a sensation that courses through her veins, igniting a fire within her core that threatens to consume her. She can feel her heart racing, a steady drumbeat of anticipation that echoes in her ears as Frankie hums out in satisfaction, his skilled tongue rubbing around her clit deliciously.

“Yes, don’t stop…” Jude whines, tugging on his soaked hair, spirals of dark curls knotting around her knuckles.

He growls with the tension on his scalp, his fingers sliding up inside her as he laps at the succulent slit leaking sweetly onto his tongue as she builds. 

And then, suddenly, it happens - a release of pent-up energy that surges through her with breathtaking intensity.

It's as if a dam has burst, flooding her senses with a rush of raw, dizzy emotion that leaves her trembling in its wake.

“Fuck! Frankie!” She cries out, tears welling behind her eyes.

As she closes her eyes and leans back against the cool tiles, she can feel the tension melting away from her body, replaced by a deep and abiding sense of relaxation.

It's as though every muscle in her body has finally surrendered to the gentle rhythm of the moment, a moment where it's her and Frankie and they’re safe and warm and loving on one another, allowing her to sink deeper into the embrace of tranquillity.

He stands up and kisses her with an intensity that makes her unsteady on her feet. She can taste herself on his lips and sucks at them with a feverish want. 

“Jude,” he whines, closing his eyes as he feels her reach for his cock, hard and aching for her.

Frankie bites down on his lip as he watches her massaging it around the suds, squelching it through her fingers. 

He breathes out against her pores as she pumps him slowly. She feels his fingers grip tighter around her ass cheeks.

“I’ll never get enough of you,” Frankie husks. “Ever.”

She smiles and kisses him, working his swelling cock inside of her grip.

“I need you.” Jude moans, pulling him tighter to her.

He picks her up and pushes her against the tiles as she wraps her legs around him, crying out as he sinks his cock inside of her.

He gasps out loudly as he connects with her again, sliding in and out slowly as she kisses his shoulder, his neck over the rippled burn scars, lips searching for his again, finding her home within him. 

Home.

A word that has been tossed around so much today, carelessly that it loses all pronunciation on the tongue. A word that has felt so out of reach for so long.

Home, a place that used to exist in another world but now only exists right here, in this moment. 

Home isn’t a place anymore. They have no homes to go to, not really. It isn’t the safety of bricks and mortar, and sturdy foundations rooted in the ground. It’s not an apartment full of useless bric-or-brac. Four walls and a roof that occasionally leaks.

No, home is Frankie. Here in his arms. Home is Jude. Here in her arms. 

Their fingers intertwine and their gazes lock in a panting exchange. Frankie feels something shift within him.

It's as if a veil has been lifted, revealing a truth that has always been there, hidden in the depths of his heart. He looks at Jude, really looks at her, and sees not just the person that has been beside him, fighting with him all this time, but the very essence of home itself.

In her eyes, he finds a warmth that seeps into his bones, melting away the coldness that has plagued him for so long. In her smile, he finds a comfort that soothes his weary soul, reassuring him that everything will be okay.

“I love you, Frankie,” she gasps, tears in her eyes. “God, you feel amazing.” Jude whispers as he pants in her face, the hot mists from the shower steaming and swirling around them like gossamer ghosts bearing witness to their devout hunger. 

“I love you… fuck! Jude, oh fuck, Jude!” Frankie grunts, as he fucks harder and deeper against the tiles of the shower before exploding deep inside of her with a loud, breathy groan as he gives her everything he has.

Finally, they’re home. 

To be continued...

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