#i might draw something for Aziraphale later

[kidovna]

ineffable smooches for the soul <3

[queerfables]

Why all the crowd scenes look the same, aka: Something is WRONG in Soho

I'm not even gonna tease and draw this out because it's so cool it doesn't need the fanfare. Ready?

Season 2 takes place over the course of 5 days. During that time, most of the passersby in Soho - maybe even all of them - stay exactly the same. It's the same people every day, wearing the exact same clothes, and they wander through the neighbourhood in paths that don't make any sense. You won't be able to unsee it. I can't believe it's taken us this long to realise.

Don't believe me? Rewatch the scene from 2x03, I Know Where I'm Going where Shax confronts Crowley outside the bookshop, appearing in a series of different guises. Pay attention to the people going past.

I've marked out five people you see on screen when Crowley first exits the bookshop at 39:37:

Numbers 1, 2 and 3 are following the path right. Number 4 follows the path left. Number 5 crosses the road.

Here the five people are again, at 40:19, when Crowley goes to return to the bookshop:

Number 5 is still visible in the distance, in the direction she walked in. This makes sense! But numbers 1, 2, 3 and 4 are rounding the same corner they just passed. It's as though 1, 2 and 3 all decided to turn and head back the way they came just 40 seconds ago, and number 4 has circled the block to join them.

This on its own would be super weird, but they're not the only people to do that in this scene. The man in the purple sweater from the first picture crosses the road, then appears back next to the bookshop, then starts walking back the way he came again.

Here's the part that made me absolutely certain, though. At 40:05, a man wearing an orange hoodie with blue sleeves walks past Crowley, who is heading towards the bookshop entrance.

The camera cuts to a view from behind Crowley, and a moment later, at 40:08...

He reappears in front of Crowley and walks past him again.

It's such a distinctive outfit, there's no mistaking it. They are absolutely fucking with the background characters and they are absolutely doing it on purpose.

Your turn. There are at least three other characters in this scene who pass by multiple times. Watch it again and try to spot them.

This scene is really chaotic and obvious, but the phenomena I'm talking about is much bigger than just one scene. Let's go back to the first thing I said: the background characters don't change. All our leads do. Maggie and Nina wear distinctive outfits, clearly demarcating each new day. Even Crowley and Aziraphale, who in season 1 were like cartoon characters with wardrobes full of identical clothing, vary their looks. Crowley changes his (very subtly) each day; Aziraphale is less rigid on timing, but he has a few different coats that he switches between. The background characters, on the other hand, wear the same outfits every single day. They walk by on the street but they never actually seem to have a destination. They sit in the coffee shop or pub and don't eat or drink anything, and nearly everyone leaves together exactly on closing time. It's eerie.

For reference's sake, here's a rough timeline of season 2, with pictures of Maggie and Nina's outfits to show the passing of time. I had to outsource this section because my post was too image heavy, lol. The main point I wanted to make is that five days go by.

Five days, and all the same faces keep showing up in the background, and almost none of them change their clothes. I'm not entirely sure what it means, but there's no way it's an accident. It might, in fact, be a game changer. To me this is proof positive that something is not as it seems. I've been a massive Clue skeptic, adamant that I'd only be convinced by the most unambiguous evidence, and honestly? This is enough to move the dials. It's too big for me to ignore. Whatever grand explanation of Good Omens we come up with has to account for this. I don't have it yet, but my current working theories are that Crowley and Aziraphale are under some seriously heavy surveillance, that time warping is involved, or that reality itself is not what it seems.

It would take a really long time for me to go through all of the background characters who turn up over and over but I do want to show you what I'm talking about. To wrap up, then, I'm going to pick out some memorable characters and walk you through a few of their appearances through the week. I highly recommend looking out for this yourself on your next rewatch and seeing how many other characters you can recognise.

Yellow Skirt

The first person I kept coming back to as being not quite right. You probably remember her from the first episode - she's the one who waves and walks past Maggie and Nina the night they're locked in together. Incidentally, she's also Person Number 3 in the scene with Shax.

Day 1 (2x01 - 36:20):

Day 2 (2x02 - 42:03)

Day 3 (2x03 - 06:36)

Day 5 (2x06 - 30:00)

Coolest Leather Jacket In The World

It's not so easy to recognise people wearing lots of nondescript dark colours, but I love his hair and his jacket, so he stood out to me. I think there might be a lot more people who are wearing fairly nondescript clothes who I just can't recognise from episode to episode.

Day 2 (2x02 - 16:44)

Day 4 (2x04 - 41:20)

Day 5 (2x06 - 29:20)

Dressed In Mustard

Ms Mustard shows up everywhere. If you want to see what I mean about their paths not making sense, pay attention when she comes on screen, because she'll often show up a few times in succession and walk very purposefully to nowhere in particular. The thing that she is doing, essentially, is behaving like an extra in a tv show. Which of course she is, but you're supposed to make that invisible by not having the same person go back and forth in the same scene, or changing up their outfit each in-universe day to give the sense time is passing. Not doing that is a really deliberate choice.

Day 1 (2x01 - 22:37)

Day 2 (2x02 - 42:03)

Day 3 (2x03 - 01:49)

Day 3 (2x03 - 37:07)

Day 5 (2x06 - 29:59)

Swishy Dress

This character shows up a lot in the first episode. I've struggled to find her in later episodes, though. None of the characters seem to follow the same patterns or show up to equal extents each day, which makes me think this isn't a straightforward time loop. I haven't actually cross referenced character appearances to in world times, though. Possibly this is a project for someone who's more across the time-related shenanigans than me.

Day 1 (2x01 - 22:43)

Day 3 (2x03 - 07:01)

Yellow Vest

I've only seen this guy a handful of times, always around the French restaurant. I wonder if there's significance to that.

Day 2 (2x02 - 41:06)

Day 4 (2x05 - 12:49)

Fuzzy Blue Coat

Another background character who shows up frequently. The blue doesn't stand out quite as much as the yellows and reds some characters wear, but it's very distinctive.

While we're getting a lot of shots of the street, it's worth noting that I'm pretty sure the vehicles we see are also just the same few cars repeating each day. A lot of them are in neutral silvers and monochrome, but there's a couple of blue cars, one red, and one black and white that I'm fairly sure I've seen over and over through the season.

Day 1 (2x01 - 22:45)

Day 2 (2x02 - 42:04)

Day 3 (2x03 - 02:00)

Day 5 (2x06 - 40:10)

Day 5 (2x06 - 48:56)

Day 5 (2x06 - 50:06)

One final note: Whatever this is, Nina's employee who you see in the background at the coffeeshop sometimes isn't affected by it. He's wearing different outfits each day. On the other hand, some of the other shopkeepers do seem affected. I'm fairly sure Mr Brown and Mrs Sandwich wear the same outfits a few different days, only changing because of Aziraphale at the ball.

And that's it! Thanks for reading and I hope your mind is blown as much as mine is.

EDIT:

Hey I don't mind anyone pointing out production reasons that this might be the case or disagreeing with my analysis (over-analysis, some might say 😉). Please be kind about it, though. I'm not ignorant of the practical limitations involved in film making, but some of these costumes were really distinctive in a way I thought might be intended to draw attention.

For those of you who do find this theory convincing, I feel I should mention that I was working under the assumption that this stuff would have taken a few days to film, even filming it all together. That would strongly suggest that the actors were deliberately costumed the exact same way over multiple days of shooting, which made me think it had to be purposeful. @coranax was kind enough to point out, though, that behind the scenes videos said the extras were filmed separately to the main actors because of Covid protocols. In that case, they could have done it in just one day and that weakens my confidence in its intentionality.

Finally, all of my points about the scene with Shax in 2x03 stand. That was not a case of accidental continuity errors, it was really elegantly choreographed to enhance the tension in the scene. I say that with confidence because the extras are doing exactly what Shax is doing: circling Crowley, appearing where he doesn't expect them, creating a whirlwind sense of being off balance and out of control. I think it's really cool and effective, whether there's a deeper meaning to it or not.

[sassasafreeaction]

It’s time to talk about the Laudanum Lesbians, Elspeth and Wee Morag. Right away, it’s pretty obvious that you’re supposed to draw parallels between them and Aziraphale and Crowley. When the viewer first meets Elspeth, we get this gruff girl who threatens the two of them and is established to be doing something “morally wrong”. Life hasn’t been kind to her, and she clearly doesn’t trust people. To really drive it home, she and Crowley are on the exact same page while they’re talking to Aziraphale and wheeling the body to the alley. 

Then we meet Wee Morag, and it becomes apparent that every decision that Elspeth makes is to better their life together. She offers Wee Morag food (which is something our favorite demon is wont to do for his partner) and specifically oversells it as something fancier than it actually is. Wee Morag calls her an angel. It’s meant to be a little tongue and cheek since it’s in the presence of a literal angel, but it also serves as a way to show that while Elspeth may not be a Good person, that she at least cares about the person close to her.

Now for Wee Morag at this moment, we don’t get much from her aside from her obviously being the moral compass out of the two of them. She tells Elspeth that she's going to Hell literally two seconds after referring to her as an angel. The more important part of this interaction I would argue is Aziraphale’s response to Wee Morag. Some part of him recognizes a kindred spirit in her. He takes off his hat in a show of sincerity and says that it was lovely to meet her. This is important for later in the episode.

After they fail to sell the body, all three of them end up back in the alley with Wee Morag. Elspeth is again choosing to not trust Aziraphale despite his change of heart to do what he now knows is actually a good thing. Wee Morag starts off on the fence, worried about those souls that won’t get into Heaven. Elspeth tells her that she promised to help, and through everyone’s various methods of convincing (tempting may even be the better word as there is a demon sitting next to her when she agrees), Wee Morag says that she’ll do it because that’s what friends do. Regardless, she’s now had her change of heart. Although I would say hers is more driven by the same thing that drives Aziraphale to help with the Antichrist. It is fundamentally for her and Elspeth’s benefit, not the Greater Good per say, but she needs that reframing of doing the moral thing of upholding her promises and potentially helping people.

In the graveyard, Elspeth does all of the hardwork and Wee Morag holds the light both to assist how Elspeth sees, but also likely to help her keep watch. She’s filling a guardian role for Elspeth. Later when Elspeth sells her body, she even says “She only wanted to look after me.” Upon seeing the actual body (a priest’s body no less), Wee Morag realizes with horror what they’re doing - the potential moral ramifications stare her in the face. She ends up caught in the crossfire of a gun, and she dies for it.

Originally, I thought that Wee Morag’s death sets Crowley up to worry about what might potentially happen to Aziraphale in the future. In a way, I still think it does. She was the Good character helping the Bad character, and she pays dearly for it. His line “It’s a bit different when it’s someone you know, isn’t it?” while pointed at Aziraphale can be felt by everyone in the room. Elspeth has been dealing with death this whole episode, but her whole life is turned on its head when her ‘pal’ dies. Crowley recognizes that it’s the knowing part that actually causes something to hurt. (It’s one of the reasons why he doesn’t have many human friends. He does have a friend though, and it would absolutely gut him to lose him.)

The episode isn’t over though. We still have to watch someone else pay for stepping over the imaginary boundary of Good and Evil, except rather than it being Aziraphale, it’s Crowley. Like Wee Morag, he steps out of his usual role and helps Elspeth, and for that, he pays dearly. He gets dragged off to Hell to have whatever Demons do instead of a rude note done to him. After everything that’s happened, it’s no wonder why you get that panicked shout of “Crowley” from Aziraphale. They just watched the worst case scenario happen for people like them. 

Also as another quick fun aside, both sets of characters are bound by something that allows them to not be able to carry out their actual dreams and goals. Elspeth and Wee Morag were bound by poverty while Aziraphale and Crowley are bound by their respective Head Offices.

[somebebop]

Drinks offered, accepted and turned down

The Metatron’s coffee (oat milk latte with unknown amount of almond syrup), as well as the whole business about it, is symbolic, I think most fans have agreed on that. It seems to me not only the drink itself is important, but the ceremony of offering and accepting/turning down a drink means a lot as well. When I think of it something archaic comes to mind: accepting a drink creates a connection and builds trust between people, and such exchanges have been symbolic in many cultures for thousands of years.

I’m not very good at drawing conclusions, but I would like to sum up all the cases when drinks are offered in season 2. So that someone more analytical than myself might have clever ideas. And I love making lists, they give an illusion of some control over this complicated narrative.

Aziraphale offers Jim some gross matter hot chocolate. Everyone remembers similar moments in  s1, right? Only this time Gabriel/Jim accepts, and it changes him, becomes an important element of his new personality.

Nina offers Maggie some wine and she turns it down in the weirdest way possible. ‘No judgement’ is already a judgement!

In the Job minisode Crowley offers Aziraphale wine and he turns it down. 

Aziraphale offers Muriel a ‘cuppertea’, and they do the most remarkable thing: they neither accept, not turn it down. They find a third way to go about it, and I absolutely love it. This is yet another small detail about Muriel which makes them so special and sets them apart from everyone - humans, angels, demons.

The barman in the Resurrectionist asks what Aziraphale will be drinking, and he doesn’t order anything. Baffles me every time, it's so not in his character and completely illogical in this situation. Everything is wrong and upside down in this episode. 

I mean, even Gabriel had enough wits to BUY drinks in the pub. Obviously later he tells Beelzebub  ‘You don’t actually have to consume it’, so it makes the drinks accepted but not taken - almost like Muriel's.

Crowley makes hot chocolate for Jim

The ’smitten’ conversation at Justine’s. Aziraphale turns Crowley’s wine down, AGAIN

Metatron’s coffee

May have missed something, but even like this it seems a lot. 

Not sure about the scene with Crowley and laudanum, it it definitely meaningful, but there was no offer. Another special case is Jim making his own hot chocolate. Precious 15 seconds of screen time are wasted devoted to an extremely informative scene where Jim makes the drink, drinks it and says ‘Ah!’. Whatever for?

More questions than answers as usual.

[azfellandco]

Hi friend this ask is a request for you to wax lyrical about Crowley slowly dying of a poisonous dose of laudanum, because it seems That Scene is still on all our minds. <3

Godbless (they said agnostically). This is going to be a mess of a response because I have been working a lot of overtime and am pretty sleep deprived, and also because there are a lot of angles to this.

First off: you're so correct to point out that laudanum is an analgesic and not literally a poison, because I think this slots in so nicely with the pattern of stuff we see Aziraphale consume and why (food and wine, for sensual pleasure) and stuff we see Crowley consume and why (alcohol for numbing and six shots of espresso to brace himself, and now laudanum, a medical grade numbing agent, at a dosage that would have killed Elspeth had he not intervened).

To really get into this I'm going to have to talk a little about something I have a lot of approximate knowledge about: Victorian era medicine. Why I find poison sexy (maybe compelling is a better word here) is partially tied up in the Victorian era and this exact subset of knowledge, which I am going to disclaim right now as not very precise. I research stuff primarily to regurgitate it in fiction, and not for complete factual accuracy.

First off, let's take a moment to admire Crowley's prognosticative abilities once again.

Antiseptic is 25 years off, germ theory is held in disdain by the western world, but here's Anthony "that went down like a lead balloon" Crowley just trying to be helpful to this guy covered in blood.

Antiseptic was not in common medical and surgical use until the 1850s. It was pioneered by Joseph Lister, who actually worked at the University of Edinburgh, which was kind of the place to be in terms of medical breakthroughs of this time period. Before the advent of washing your hands and sterilizing surgical equipment, something like 2/3rds of surgical patients died either on the operating table or of infection afterwards. Medicine during this time period was difficult, dangerous work with a high risk of complications, and surgery was haunted by death and disease. Dr. Darymple would have administered laudanum to a patient and then strapped their limbs down and put something in their mouth so they didn't bite through their tongue before cutting into them, and even if he was a good surgeon they might have died a week later from gangrene or sepsis anyway.

It's in this world that laudanum and opium more generally got romanticized by literature and poetry. The Victorians loved opium, but the symbolism of the poppy, from which opium is derived, has been sleep and death since the classical world. My go-to example of the blending of these themes (poppies as sleep and death symbolism and this time period's interest in the classical world) is The Garden of Proserpine by Algernon Charles Swinburne, of which I will include an excerpt below:

No growth of moor or coppice,          No heather-flower or vine, But bloomless buds of poppies,          Green grapes of Proserpine, Pale beds of blowing rushes Where no leaf blooms or blushes Save this whereout she crushes          For dead men deadly wine.

The symbolic connection between opium (and thus laudanum) and sleep and death is my strongest association with either drug. The poppies = death association is used all the time even in the modern day. See this song, Flowers, from the musical Hadestown:

Lily white and poppy red I trembled when he laid me out "You won't feel a thing," he said, "When you go down" Nothing gonna wake you up now

Poppy symbolism is doing a lot of work in this song, actually, drawing a line between virginity and death, and the flower imagery standing in for both Euridyce's sexual relationship with Hades as well as her death but I disgress.

This is my personal context for laudanum and opium. I think it's encouraged to read the sleep and death connection into both of these medicines, both by the artistic tradition that arose contemporaneously with their use and by continued references back to it in the modern day. I am thinking of the scene in Inception where the opium den they visit is full of people who go to be drugged in order to dream their lives away as just one of many other modern day examples. Opium is sleep and sleep is death.

So while the laudanum is not literally poison, I think there is cultural context in which it is possible to read it as symbolically poison, regardless of whether Crowley's not-actually-human body should be able to withstand it. I think that it is compelling to read it as such, given the above-mentioned pattern of Crowley's habits of consumption.

I've seen a lot of posts about how the next time Aziraphale and Crowley see each other after this flashback is the time Crowley asks Aziraphale to bring him holy water and Aziraphale refuses on the grounds that he won't provide Crowley with a suicide pill. While I think this says more about Aziraphale than it does about Crowley (Crowley has never struck me, by behavior or attitude, to be the kind of person who would kill themself, whereas for Aziraphale one of the worst things that could happen would be losing Crowley) there is something there, something in that tartan thermos, something in the idea that Crowley would drink his death.

There is one more angle to this, and this is going to be a bit of a reach. I once read an analysis post in another fandom about the symbolism of poison as a choice of weapon. This line will haunt me until my grave: "a man stabs, a woman poisons". Just as a sword is a phallic symbol, poison (to me) is a feminine coded way to kill another person. For more context, please read The Laboratory by Robert Browning, a poem about a woman procuring a poison to kill her husband's lover, written by another Victorian poet. Crowley dying being discorporated by self-administered poison compels me for all the reasons mentioned above but also for gender reasons. Nonbinary icon.

Crowley dying being discorporated by self-administered poison feels like it is in conversation with two events that happen chronologically later but narratively earlier: the "suicide pill" conversation and Crowley trying to wait out the apocalypse in the bar after the bookshop burned. For all intents and purposes he seems to have given up at that point and only pulls himself together because Aziraphale appears to him and proves he isn't gone gone. It makes sense as an exploration of Aziraphale's anxieties (the suicide pill convo), and the extent to which they might be justified (Crowley drinking as the world ends). It's interesting it's compelling it's symbolically rich it's consistent with characterization choices in the show.

I think realistically Crowley would keep from Aziraphale that he was in pain until he physically couldn't do so, because it would threaten the wall they've had to erect to keep each other safe to do otherwise, but in a scenario where Crowley was hurt, properly hurt, Aziraphale would find a way to excuse them because he would not stand for Crowley suffering.

Just...

The idea of Aziraphale gathering Crowley close in the dark graveyard, feeling him stumble, Crowley who is so bright and brave and beautiful reduced to clutching to Aziraphale and the pair of them trying to will him back to health the way they can choose to sober up, and failing... Crowley because by this point he's too weak, he waited too long putting up a front for Aziraphale, Aziraphale because of conflicting magic or because he's too anxious, his own personal moment of the gun shaking in Crowley's hands during the bullet catch, where he knows what he has to do but he can't do it, can't trust himself not to make it worse.

And then Crowley's body going cold, Aziraphale holding it and crying because despite knowing it's just a body and that Crowley can get another one, he failed to protect him. Crowley died for someone and Aziraphale couldn't prevent it. And the things they don't say to each other, all rushing in to fill the silence left by Crowley's stopped breath. Aziraphale whispering to him, kissing his temple, part of him wondering if he'd ever be able to do this if he wasn't already gone.

It would just be really good, okay. It would be really good.

[aziraphales-library]

ello ello ello!

i am looking for fics where, human or not, crowley and azi grow up being together being friends and turns to lovers ! thank you for your blessed job <3

Hi! We have #childhood friends and #friends to lovers tags, so check those out. Here are some to add to the collections...

Stronger Than Hurt by TawnyOwl95 (E)

Everything changed the summer that Crowley fell off the Eastgate's garage roof and broke his arm. Fourteen years later he stood outside a tattoo shop with a picture of the drawing Aziraphale Eastgate had done on his cast, and hoped for a second chance.

Christmas light by Tigerphoenix (T)

After years of neither hearing form his father nor sibling Crowley is convinced to return to his childhood home. He knew from the start it wasn’t a good idea, but he did it anyway. Maybe something good comes out of it. Aziraphale returns home to his family home every year for Christmas. But Christmas with nine people is exhausting. Nothing wrong with some time alone, right?

I scorn to change my state with kings by bearwonder (T)

They’d seem an unlikely pair, if anyone saw them from the outside — Crowley in black skinny jeans and Aziraphale in beige corduroys — but no one does, and that’s just how they want it. Crowley and Aziraphale meet in kindergarten. This is the story of their lives.

What About Hope? by AppleSeeds (M)

Crowley met Aziraphale in the spring of 1989 while he was on his lunchbreak from the factory, his attention immediately drawn to the posh boy sitting by the canal writing poetry. It was immediately obvious that they came from entirely different worlds, but the time they spent together was the happiest Crowley had ever known. With Aziraphale, Crowley experienced many firsts - his first kiss, his first love... his first heartbreak. Twenty years later, they are reunited when Crowley, now a successful writer and vlogger, comes to work as an Associate Lecturer in the university department where Aziraphale is an academic. Seeing Crowley brings back Aziraphale's intense regret for allowing himself to be persuaded to leave him behind all those years ago. Aziraphale desperately wishes to renew their acquaintance, but Crowley seems determined to keep his distance. Aziraphale can't blame him for not forgiving him, since he has never been able to forgive himself, but when Crowley begins to spend more time with him, Aziraphale is left with the hope that maybe they could at least be friends again - no matter how much it might hurt.

And a Silver Sixpence in His Shoe by smolalienbee (T)

If there is one thing to be said about Aziraphale Z. Fell is that he leads an ordinary, quiet life. He lives in Soho, London, above an old bookshop that he’s been fortunate enough to inherit in his late twenties. He likes sushi and good wine. He has a few friends - like Nina, who works at the coffee shop across the street; or Maggie, who runs the record store that he takes an absolute pleasure in frequently purchasing from. (He’s lonely. Terribly so. He’s been lonely for about ten years now, since - he does not want to think about that.) Today is his 35th birthday. At age 15, Aziraphale made a Promise. At age 25, he had an Earth-shattering fight with his childhood - and closest - friend. At age 35, that same friend shows up at his doorstep and suddenly, Aziraphale’s entire world is thrown upside down. A story of something unexpected, something old, something yellow, something stolen, something new and something promised. (It’s going to be a long week.)

Dancing in the Dark by Demonicputto (T)

In search of inspiration for his next album, rock musician Tony Jay is headed to London. It's not the atmosphere he's after, but a reunion with Ezra Fell, his dearest friend from childhood. A one sided, adolescent crush fueled Tony's first songs and, now that they're both older, he's hoping those feelings might finally be requited. But, Ezra may not be ready for that. In his eyes, their relationship is far more complicated. Unlike Tony, he remembers who they truly are: the demon Crowley and the angel Aziraphale.

- Mod D

[mimisempai]

In full light

Summary

Even though they've been together for some time now, Aziraphale still has his breath taken away when he realized he can look at and touch his demon in full light.

Notes

50 Types of Kisses - Writing Prompts

Kiss #44: Tentative kisses given in the dark.

On Ao3

Rating G -  668 words

"No bread for the ducks, you fools! No bread!"

Crowley's voice roused Aziraphale from his sleep, and he turned to face the demon, amused to find that he'd just been talking in his sleep.

The room was just lit by a ray of moonlight streaming through the shutters, and the angel could just make out the silhouette of his lover against the light.

But even without seeing much, he couldn't help but admire the demon once again.

Crowley lay on his stomach, his head resting on his arms. Aziraphale's eyes slid from his neck down the curve of his back, bare to the waist, the sheet having slipped away in the demon's restless sleep.

He'd spent so many years secretly admiring him, hiding his feelings, casting quick glances for fear of being caught. Admiration had turned to infatuation, then to that deep love that had become harder and harder to hide.

And now he was there.

Right in front of him.

He knew he could just reach out and touch him, caress him, kiss him.

He could look at him to his heart's content without hiding his feelings, even if the room suddenly had to light up.

He could look at him in full light.

He could touch him in full light.

He could love him in full light.

They might have acted on their feelings some time ago, but this realization still took the angel's breath away.

"I can't see your face, Angel, but I can feel you're thinking about something."

His gaze slid to Crowley's face, now turned to him, and the demon continued, "What are you thinking about?"

Aziraphale moved closer, resting his head on the pillow beside him, and replied softly, "You, of course. As always, I am thinking of you."

The demon wrapped his arms around Aziraphale's waist to pull him closer, and their faces were now so close that the angel could feel Crowley's breath on his face.

The demon insisted, "And what were you thinking, about me, Angel?"

Aziraphale fearlessly replied, "That I wanted to touch you, to kiss you, and that I could do it freely."

The demon chuckled softly and replied, "Don't hold back on my account, darling."

Aziraphale responded with a chuckle, then wrapped his arms around the demon's neck, fumbling a bit, then pressed his lips to the demon's. It was a little tentative because of the darkness, but it didn't take long for their lips to connect perfectly and begin their now-familiar dance. 

Then there was no more tentativeness, even though the moonlight was obscured by a passing cloud, plunging the room into total night.

A little later, as they caught their breath, Aziraphale was nestled against Crowley, his fingertips drawing random curves across his lover's bare chest.

Suddenly, he raised his hand and said softly, "Let there be light."

Immediately, the room was illuminated by the soft glow of the bedside lamp, and Aziraphale looked up at Crowley's puzzled expression before gently adding, "I want to see you."

He turned completely onto his side, and with his head resting on his hand, he raised his other hand and began to stroke the demon's face as he continued, "I want to see you when I do this..." 

He brushed his fingertips against the demon's chin, then followed the curve of his neck under his ear before resting his hand on his shoulder.

The angel added with a tight throat and a trembling voice, "I want to see you in the light, touch you in the light, because it makes everything so much more real." 

The demon nodded without answering and Aziraphale saw in his eyes that he was completely understood. The angel knew that he wasn't the only one who had spent all these years holding himself back, preventing himself from acting on his feelings.

But today that was over.

So he leaned forward and brought his face close to the demon's, then captured Crowley's lips to give him an amazingly soft kiss.

In full light.

_________

Still not beta'd

Still not my native language

Still hoping you'll enjoy this story  🥰

Still thanking you for bearing with me 😝

Ineffable kisses series : here

Ineffable Husbands masterlist : here

Ineffable Growing Love - Series post S2

Part 1 Story 1-99

Part 2 Story 100-?

[merrywaanderer]

a rainy night on whickber street

aziraphale + crowley

synopsis: a soft little drabble, inspired by neil's admission that aziraphale doesn't know that crowley now lives in his car

warnings: n/a

word count: 2k

a/n: i've written a happy little fic to heal your hearts (and mine...), so hopefully, this has its intended effect. set during s2, but entirely spoiler free, as far as i can tell :')

⭒

It was raining on Whickber Street. 

Aziraphale was a self-proclaimed enjoyer of rain, finding that some things were simply sweeter against the backdrop of a grey sky, with a soft musical pitter patter for soundtrack — lamps with their warm yellow glow, hot chocolate and reading, listening to Shostakovich records. That sort of thing.

Maybe kisses, too, if Crowley was to be believed. Aziraphale still believed most in dancing at balls. 

Night had fallen earlier as the summer days had dawdled away, and in the dim light of the bookshop, Aziraphale yawned, the gentle notes of ‘The Swan’ from Saint-Saën’s Carnival of the Animals drifting from the gramophone, lulling him to sleep at too early an hour. 

Only a moment later, he yawned again. 

Maybe not so early, then, Aziraphale mused silently, and glanced up at the clock which sat upon his desk. 

His eyes widened behind his spectacles. 

So that was the time! High time to be going to bed, one should think. 

With a soft sigh, he rose from his chair and folded up his glasses, closing the book he had been examining, and settling the spectacles neatly atop the cover, ready for the new day. 

Humming to himself, he tidied the few things he always did before going to bed, switching off a few lamps here and there, all but enough to light his way upstairs, and then went about drawing the blinds for the night. 

He was just closing the last of them, when a strange sight beyond the rain-speckled window caused him to look twice. 

It was Crowley’s Bentley — well now, who else’s would it be? — parked at the kerb, as it often was in the day. But clearly, it was not day, and Crowley’s Bentley should have been parked by his flat. So where was Crowley, if the Bentley was here? It was hardly like him to let his beloved Bentley out of his sight. 

Aziraphale frowned. He resolved to investigate. 

He strode across the bookshop floor, and carefully — hesitantly, in case this was some fiendish trap of Hell’s making — twisted the doorknob and pushed. 

It was raining less now, only sprinkling, but the door creaked as though it were as hesitant as the angel himself to leave the warmth and light of the bookshop. But Aziraphale stepped out onto the pavement, peering into the night toward the Bentley.

He was still holding onto the door when a dash of colour caught his gaze. Red, like a flame behind the light from the bookshop, glinting off the windows of the car.

He frowned again, and let go of the door. He walked slowly toward the Bentley, now surer of himself, though still puzzled by the sight before him. 

But when he reached the car, he was certain of what he saw, albeit not why it was that he was seeing it.

Because there was Crowley, slumped in the passenger’s seat of the Bentley, head tipped forward so that his chin nearly touched his chest, dark glasses nowhere to be seen. 

His mouth hung open just a little, lower lip sticking out in a fashion which might have been pouty, had Crowley not been asleep, all the usual tension gone from between his eyes.

Something clenched in Aziraphale’s chest.

With a little shiver, Azirphale pushed aside whatever had just come over him, and knocked on the window, first quietly, then more insistently, when the latter proved ineffective. 

“Crowley,” he said. “Crowley!”

At last, Crowley started, head hitting the ceiling of the car as Aziraphale winced, before those pretty yellow eyes flicked at last to his angel.

The rigidity which had abruptly pinched Crowley’s shoulders left just as quickly when the demon’s gaze settled on Aziraphale, and he began to roll down the window. 

Aziraphale, knees bent, leant his arms on the windowsill, so as to match Crowley’s present height. 

“Angel,” said Crowley softly, before Aziraphale could speak. “What… mmm. What are you doing here?”

Aziraphale frowned for the third time in a very short span of minutes. “I could ask you the same thing, my dear boy.”

“‘S no crime to sit in one’s car, ‘sit?” Crowley mumbled groggily. 

“But it’s nighttime,” Aziraphale intoned. “You should be at home. Asleep.”

“I am at home,” said Crowley.

Aziraphale felt a warm laugh bubble up to his lips. “No, you’re not, silly. You’re in your car.”

Crowley didn’t laugh. He sighed. “Car’s where I live, now.”

The angel blinked, bemused. “What do you mean? What about your flat?”

Crowley shrugged. “‘S not mine anymore. Shax’s. Part of Hell’s consequences after our little escaping act.”

A sudden hurt gripped Aziraphale again, and his expression softened further, if that was even possible. “Oh, Crowley. Why didn’t you just tell me?”

Crowley didn’t look at him, only uttering a quiet, unintelligible noise which was in no way a word. But his meaning was conveyed all the same — he did not know what to say at this moment, nor, possibly, did he ever. 

“You’re always here,” Aziraphale murmured. “Why not just stay?”

In the silence, Aziraphale heard only his own breath, and the short stutter of Crowley’s, coming in waves. Crowley still would not look at him. 

“I, uh — didn’tknowthatyou’dwantmetostay.”

The confusion resettled on Aziraphale’s brow. “Come again?”

Crowley coughed. “I…” Again. “I didn’t know that you’d, um. Want me to stay.”

The last of his words had once more come out a tangled mess, but Aziraphale caught them all the same.

“Crowley…” Aziraphale reached a hand through the car window, and in the dim lighting of the street, his palm met Crowley’s solid chest sooner than he had anticipated. 

Crowley breathed in sharply, and Aziraphale nearly drew back at his misstep, but whether it was the lateness of the night or his desire to convey to Crowley what he meant, something stayed his hand, and he did not move. But it was at that precise moment that Crowley finally met his gaze, and Aziraphale felt his own breath hitch at their closeness, though a car door separated them still. 

The warmth which had been in his laughter now spread through his chest, and all throughout him, though the warmest part of him was his hand, where it lay on Crowley’s chest. 

“I always want you to stay,” he said softly. 

Crowley’s mouth dropped open again, and unwittingly, Aziraphale’s eyes strayed there.

Crowley, however, did notice. 

“Well. I, um,” Crowley felt the need to clear his throat again, “I’d like to.”

With a small smile, Aziraphale nodded once, decisively. He rose from where he had crouched, and opened Crowley’s door. “Then it is done.”

He stepped back as Crowley left the car to join him on the pavement, then shut the car door once more. 

He began to walk back to the bookshop’s entrance, aware of Crowley following along behind him, when a telltale scuff of shoes indicated that Crowley had stopped. Aziraphale turned. 

“Come along, Crowley. It’s raining, after all.”

Crowley pointed over his shoulder, “It’s just, uh, I forgot my glasses.”

Aziraphale shook his head. “You don’t need them here, darling.”

Crowley’s lips pursed, then fell slack once more. He nodded. 

They made it to the door, and Aziraphale held it open for his oldest friend, slipping inside and locking the thing securely once the two were safely indoors. 

He padded over to the blind he had neglected to close, and swept it shut, faintly aware of Crowley standing awkwardly, unusually silent, in the middle of the room. 

Aziraphale returned to him. “There’s the sofa,” he said meaninglessly, because he had only just now thought of it. “But it always gets so cold down here at night. Why don’t you just come upstairs?”

Before Crowley could say that he didn’t really feel the cold, it occurred to him that here was a better option. 

“After all, why not,” he murmured, and Aziraphale offered him a nod of approval. 

He trailed after his angel switching off the last of the lamps, picking up a single candle, lit in its holder. Aziraphale took the first of the many steps up the spiral staircase, then turned and extended his hand to Crowley, that small, familiar smile lighting his face more than any candle could have dreamt to replicate. 

Crowley slipped his hand into Azriaphale’s, his long, cold fingers softening in the surrounding warmth of the angel’s hand. 

And thus they made their ascent of the stairs, Crowley fighting the appearance of his own tiny smile. But there was no reason to fight, and so he let it be, let it take him over. Who was he, after all, to deny himself so small a taste of paradise?

At the top of the stairs they soon came to the room in which Aziraphale sometimes slept. Crowley himself found his desire for sleep infrequent, preferring to roam about the silent Earth in the quiet night hours. But this night, for whatever reason, was set apart from the others, and had been from the start. 

Aziraphale’s hand fell from Crowley’s as he went to set the candle upon his bedside table. Crowley, suddenly drawn by an insatiable curiosity to the bookshelves that prevailed even in Aziraphale’s bedroom, strode toward the books, running his fingers along the spines. These books seemed unlike the ones Aziraphale kept downstairs at the heart of the shop. On the contrary, it seemed that these books were where Aziraphale kept his heart; the spines of these volumes were decorated in his neat, tightly-lettered script, proclaiming dates to those who cared to read them. Though, Crowley supposed (or maybe hoped), no one but him had been brought here to see them. 

He tipped one carefully down from the shelf, and it opened in his hands, the spine oddly worn as though the book had been opened — read, again and again — many times. 

He was surprised to find his name, amongst all the words, more often than anything else. 

“You keep diaries — ” he began, at the same moment as Aziraphale said, 

“Don’t —”

He turned, shutting the book abruptly, and found Aziraphale by the bed, now in a long, white cotton shirt which was more of a gown, looking more angelic than ever. He looked ever so much as he had done the day Crowley had met him, with all the stars of creation in those eyes of his.

“Oh,” was all Crowley managed. Aziraphale, for some reason, blushed. 

Yet he seemed to recover quickly enough. “Come to bed, Crowley.”

Crowley all but forgot the book he had been holding, and only just caught and replaced it on the shelf before it fell to the floor. 

He approached Aziraphale slowly, as one does a frightened animal, though there was nothing of that sort in Aziraphale’s soft face. The rain pattered softly against the windows.

Crowley took off his jacket, and hung it over the low bedpost. With a brief glance at Aziraphale across the bed, he sat, and removed his shoes, and the thin silver scarf which was always around his neck. He discarded his trousers in the same pile, and turned to find Aziraphale with his legs already tucked under the covers, cradling the candle with a patient expression. 

Crowley mirrored Aziraphale’s attitude, and Aziraphale, seeing this, blew out the candle, and set it aside. 

In the darkness, Crowley lay down, and by the rustling of the sheets, heard Aziraphale do the same. He turned in his direction. 

“So,” he said quietly, “what now?” 

He thought Aziraphale shuffled closer. 

“Same as always,” said the angel. “We stay together.”

Then, to Crowley’s surprise, Aziraphale nestled his cheek against Crowley’s chest, and wrapped his lovely arms around Crowley’s waist. 

Another soft Oh fell from Crowley’s mouth, and Aziraphale sighed against his chest. Crowley’s arms, of their own accord, as if they knew nothing more natural, came up to draw Aziraphale closer, and Aziraphale’s warmth bled into his skin, and became his own. He felt suddenly overwhelmed by a feeling of great honour, because Aziraphale had chosen him, of all creatures, to hold in his arms.

“Good night, Crowley,” mumbled, already half asleep. 

“Good night, angel,” sighed — smitten, blissful, besotted. 

The rain continued to fall over Whickber Street, though angel and demon, wrapped up in one another, heeded it not.

⭒

good omens taglist: @killerqueen-ofwillowgreen

send me an ask to be added to my taglist! and please let me know what fandoms you’d like to be tagged for <3

[thesherrinfordfacility]

I love Aziraphale but I DO kind of feel like he was objectively more wrong than Crowley was, bc Aziraphale's plot for most of S2 comes straight out of Terry Pratchett books: he shuts down Crowley and focuses on setting up this storybook romance for them, while ignoring everyone else's distress. Like we see from the start of the season that Crowley is depressed and clearly upset, and it gets worse as it progresses, but Aziraphale doesn't even clock that something is wrong, even when Crowley is outright telling him. Of course this is going to create and nurture a situation where Crowley doesn't communicate. Aziraphale's not listening to him anyway. One of Terry's books features a witch who uses her magic to force fairy tale plots onto the people around her. It's the pinnacle of toxic positivity.

hi anon!!!✨ oooooh i have a feeling that this is going to be a long one, my apologies in advance!!! also, please forgive my ignorance on pratchett's works, im not deliberately ignoring it, but definitely not familiar with it enough to draw on any narrative similarities unfortunately!!!

so on the point of aziraphale not recognising that crowley is depressed, i do think that there are some indicators that if aziraphale paid more attention, he would pick up on it. that being said, i do think that the depth of crowley's not-okayness is largely masked from aziraphale, and is mostly shown only to other characters and obviously to the audience; the scene on the park bench with shax, for example, or any scenes between crowley in/around the bentley. one example that aziraphale could have picked up on:

c: "what i need is for him to be nowhere near me, and the precious, peaceful, fragile existence ive carved out for myself here..."

a: "i thought we carved it out for ourselves?"

c: "so did i!"

so, obviously crowley started in on the fact that gabriel threatened aziraphale in ep6, and quite rightly uses this as a reason to leave well enough alone, get rid of gabriel, and go back to their life as it was before. and crowley's language and delivery is absolutely indicative of how desperate he is to keep the status quo, that he's hanging on practically by a thread. shax and hell are keeping tabs on him, he's living in his car (which i'll come onto later), and he doesn't have much of a Purpose anymore than just existing.

aziraphale should be reading into this, 110%. but, crowley ends up underplaying his own struggle by talking about 'i' and 'me'. that doesn't mean its less true or valid, but to aziraphale's mind, he appears to be thinking only about how gabriel's presence would affect him. it immediately undermines how crowley first went in to trying to convince aziraphale to turn out gabriel, because it reads like crowley is revealing his true issue with the situation. we know that it's because, to crowley, aziraphale is ignoring him and his warning (which he absolutely is).

but crowley hasn't told aziraphale the full story of what happened; what gabriel said. aziraphale doesn't have the context to understand the full scope of crowley's fear and anger. i don't think knowing it would have necessarily changed the ultimate outcome/decision - i do think aziraphale is still kind and forgiving ("it's one of my favourite things!") to a fault - but it might have stopped aziraphale completely closing off and shutting down the continuance of what could have been a communicative and honest discussion. that, despite all of it, crowley is stepping away from aziraphale and planting himself on His (crowley's) Side, not Their Side.

aziraphale attempts to pull the conversation back; he tells crowley he would love for him to help, and that aziraphale is actively asking for help (which, verbally and with full intent, i don't recall aziraphale having done anywhere before this point in canon; he's intimated it, made very strong suggestions that he wants crowley to help/do something for him). this is a big show of vulnerability on aziraphale's part ("i need you!"), to literally put those words into the space between them... and crowley is silent. crowley is absolutely justified in not helping gabriel, but i think aziraphale's reaction is just as understandable.

but then moving on through to ep2, i think the next bit where aziraphale probably should have seen that crowley is Not Okay is the bentley/bookshop discussion, and crowley's reluctance to share it. from crowley's point of view, this car is literally the only tie he has left (will still get to the Sleeping In His Car debacle later) to anything permanent. this car that is literally an extension of him, comforts and shelters him, his complete Ride or Die - even to the end of the world. it is completely understandable that crowley would be jealous of it, want to keep a portion of his world for himself.

from aziraphale's point of view, as suggestive as it can be interpreted, he's opened his doors literally to crowley since at least 1941 - even earlier, if we count the 1800 scene that was cut (where, if gabriel and sandalphon hadn't turned up, i have no doubts that crowley would have been welcomed in straight away). it's definitely believable that crowley, between at least 1800 - 1827, might have been welcome in the shop... possibly even between 1827 - 1862 depending whether or not crowley spent "quite some time" in the pits of hell after edinburgh.

and this is likely to have been an exponential occurrence between 2008 - 2023, possibly even between 1967 - 2008 (depending on whether they had or had not been in continued contact follow the holy water incident). either way, again from aziraphale's perspective, the tie he has to earth and his life on it has been steadily then repeatedly shared with crowley. that's where he feels safe, and is himself, and is an extension of him. it's where they both feel like that in 2023. aziraphale has, presumably, shared that without quibble, has even been - judging by the s2 scene - something he has actively encouraged. it's definitely presumptuous, and possibly even entitled, but i think aziraphale has seen this as crowley being willing to share his life with aziraphale; why wouldn't he share the bentley? he's driven aziraphale everywhere he's wanted to go in it - doesn't crowley trust him enough to let aziraphale drive himself, for once?

ep3 sees a continuation of the above; that aziraphale changes the car, and does so without permission. whilst cute and adorable, and with the best of intentions, there is a major degree of this that is absolutely a violation on crowley, even if he logically would know that it's reversible. potentially, this is even foreshadowing of how he feels in the Final Fifteen with the angel restoration offer (im sure someone else has drawn this parallel somewhere...?).

but i do think it is absolutely a declaration from aziraphale of how wonderful he sees crowley just as he is now (his mf eyes), and how actually he doesn't want to change crowley to something better, but instead to paint the whole world in crowley's image. and its all the more powerful because a) crowley isn't there to see it, and b) he doesn't know that crowley can so viscerally detect changes made to the car.

the fact that crowley doesn't make this connection is surely a reflection of how he sees himself (see: he doesn't), and aziraphale should pick up on that... but if to aziraphale's mind crowley already knows how aziraphale feels about him through other gestures, in aziraphale's mind maybe crowley's just being coy or a bit possessive of his beloved bentley - that's fair, it's practically married behaviour! aziraphale wouldn't necessarily think to infer crowley's objections as anything different.

then we move on to ep4 (and finally talking about crowley living like a nomad), with the last scene of aziraphale helping him take out the plants to the bentley. you know - im still not 100% sure what to make of the whole situation of aziraphale not knowing that crowley is living out of his car. my main two schools of thought are that:

crowley has been spending enough time in the shop that him going out at random intervals is just normal to aziraphale - he's off doing Demon Things! he's just out on a jolly, having some time to himself! but it's okay, he always comes back! that would be possible, but we don't have any narrative to actively support this, and is practically a hc at this point. but there must be something that keeps aziraphale from digging any deeper - he is by all accounts a smart guy, and clocking that crowley has his plants in his car must get him thinking even if only for a moment... (unless he literally just chalks it up to Crowley Being Crowley, which is also feasible lbr)

the alternative thought (and not saying this is right - as i said, i literally do not have a scooby as to why aziraphale doesn't seem, on some level, to realise it) is that aziraphale does realise it, but doesn't want to face the implications of why crowley might have kept it from him, and so he buries it. i parsed this thought out more in a LWA response, full post here, but snippet screenshotted below:

i'll probably leave that bit there, but absolutely; aziraphale should be realising that something is wrong... but equally - as the king of cognitive dissonance, frankly - i don't think he wants to look deeper into something that, to him, would suggest any reason for there to be distrust between them, or a lack of openness. of course, we can see as the audience that this is a very small drop in the ocean where that's concerned, but to aziraphale - there's surely no possibility that crowley would keep something from him, not something this important.

when it comes to the Loving Gaze in ep6 (i'll come back to ep5 in a sec) that he gives when crowley admits that he's been living in his car, again - not entirely sure what to make of it. obviously it is just pure 'i utterly love/adore him', 'yes, it's you i want to be with, yes', but also maybe a measure of 'oh, you silly demon, why didn't you tell me? not that it's a problem now though, because in time we'll be together properly and you'll never have to be without a home again because your home can be with me'. he does gloss over the fact that crowley didn't tell him, and was obviously not in an okay place - but possibly in a, 'we'll talk about it later sometime, but for now - im just happy about what future we could start having from here on out. everything else is immaterial'. it's dismissive, but i also think potentially an indication that aziraphale does see, but they'll have the rest of their existence now to talk about it and heal.

anyway, back to ep5. the ball. oh lord - i honestly don't know if i have the mental acuity to even go into depth on the ball, rn. it's a Problem, and 100% on aziraphale's part. he's overcome with love, god bless him, isn't he? just so hellbent on showing crowley - it's not even about the girls, anymore, not if aziraphale really admitted it to himself - that he loves him. i think the magic spell that aziraphale creates bewitches even him, slightly - maybe not so literally, but this is a moment that has at least been decades in the making. and crowley is running around telling him there's an issue? well, they're safe in the shop (which, in a way, is absolutely true)! don't spoil this, please just hear me, hear what im trying to tell you unequivocally!

i think in aziraphale's mind, crowley tends to have a habit of overreacting (gabriel as a case in point), which is not true - but understandable when you potentially consider that aziraphale never really has all the facts. he's definitely overprotective, a point that is shown in s1 (imo, aziraphale never actively encourages the damsel-in-distress thing, but crowley just happens to show up at the slightest hint of trouble, and instead aziraphale takes this to mean that saving him, when he doesn't need saving, truly does make crowley happy). this is something crowley through his actions has encouraged - i think to assume that crowley is overreacting in this context is understandable, but yet; no, aziraphale should be listening to him. he should. and it once again feeds into the thought process that aziraphale cannot save himself - on and on it goes.

i don't think there is much to discuss in ep6 (im not going to get into the Final Fifteen - it's been analysed so much better by other people and by me too), this answer is already long enough, and i think for the most part it's fairly obvious. i do however have a dedicated FF tag in my masterpost if you do wish to peruse the various ponderings on the subject.

the only thing i guess that's really left for me to parse out is s1; aziraphale does lie to crowley. a lot. most egregious is lying about finding the antichrist but, i will say, in his defence - crowley has repeatedly asserted that they should straight-up murder a child. aziraphale drew his boundary, and crowley kept pushing, even going so far as to try tempting (and then practically demanding) that aziraphale be the one to do it. i don't think it's unjustified in that respect that aziraphale would keep that knowledge, therefore, from him - and instead turn to heaven. obviously that doesn't work out, in that respect crowley is proven right, and aziraphale immediately takes action to remedy it (calls crowley after the 9-1-metatron call).

but, it's an interesting mirror to what goes on in s2 in the theme of mutual trust and openness between them. crowley doesn't trust aziraphale not to dismiss him and run back to heaven when the going gets tough, nor does he trust him to have any sense of self-preservation (despite, yk, being a literal miracle worker and being the one to actual save their bacon in the 40s s2 minisode). but aziraphale similarly doesn't trust crowley not to try making him do something he has expressly said he will not do, and would betray a core tenet of who he is - temptation, which they both know works on aziraphale, and crowley could arguably exploit as he sees fit if aziraphale were to let him be completely vulnerable to crowley. in this respect, the foundations of their relationship, such as it is, is quite demonstrably built on sand of the quick variety.

so in essence, anon (honestly - gold star for you if you've made it to here), i don't disagree with you at all. but i think it's slightly reductive to not see that they are just as bad as each other. each have their trauma and unreconciled issues that directly inform on the action or inaction they take, and both are completely justified in that. i think it's more than possible to be empathetic to both of their perspectives, because ultimately, imo, their relationship as it was where we left it at the end of s2 was practically doomed right from where we first - in 2008 - properly join their story. im all for a huge, screaming row, and the promise of quieter, more delicate conversations thereafter, in s3; boy, do they need it!✨

[canarybell]

About the Ball, the safety of the angelic embassy and the importance of discussing plans

You know, I think there was actually one more reason for Aziraphale to have a ball in his bookshop. Not just for the sake of having a dance with Crowley or make Nina and Maggie fall in love – though, of course, the idea of it happening was present and pleasant for the angel.

I first thought about it few days ago while rewatching episode 5. Do you remember how insistent Aziraphale was on making everybody going to the meeting, stooping to direct temptation to achieve 100% attendance? Yes, yes, I know, it was for the ball where Aziraphale planned to dance with Crowley and (maybe) make a step further in their relationship. But if you think about it  - yeah, Doctor Who fan provided music, but why would Aziraphale need a magician and his partner for this meeting to present? Even if both magician and DW fan had declined, there still would have been Nina, Maggie, Mrs. Cheng and her husband, French restaurant owner, Mrs. Sandwich, Mr. Brown, some other people…it actually seems the whole street except for first two men agreed to come without any problem. It’s not like two random people would make any difference – neither for Crowley (he doesn’t even know or care about them!) nor for Nina and Maggie.

There also was that subtle face change, when Nina and Crowley couldn’t see Aziraphale – he’s suddenly a lot more serious than during his talk with Crowley, and even a bit concerned about something?

Now, we know (and  Crowley doesn’t) that Aziraphale is aware that Shax knows about Gabriel. It seems Aziraphale totally forgot about that danger focusing on the ball….or not?

You see, while the bookshop was a center of demons’ unwanted attention, it was also (paradoxically) the safest place for mortal to be in the Whickber Street at night in case demons attack (and it looks like they only attack at night). In theory, at least. We saw how demons followed unassuming Maggie while she was heading to the bookshop – hardly with good intentions. We also know the bookshop is technically an embassy and thus safe from demons – unless you go out the doorstep on your own like Mr. Brown or invite them like Maggie. Otherwise all demons could do was breaking the windows and shouting some nonsense from the street.

Actually, even Crowley agrees the bookshop is the safest place for Nina to be at that night:

So that’s can be why (I assume) Aziraphale was trying to invite everyone on the street – he knew there was a chance of Shax arriving, and had in mind people of Whickber Street would be safer inside. That’s why he  didn't bat an eye when Crowley told him about demons outside – he knew it might happen and actually took measures! He even explained it!

There is actually nothing to worry about! Humans will be too busy the whole night, dancing, talking Jane Austen style and trying to figure out which guest is the seamstress and which one is the seamstress – and wouldn’t even notice something unusual happening outside. In fact, Aziraphale and Crowley might even dance (while Shax helplessly looks at them from the window) and even kiss – what can Shax do, with them being inside an embassy? The whole London might be destroyed, but an embassy will remain safe – like at that concept picture:

….At least he thought so. You all know how it ended. Demons broke the window, Mr. Brown went outside and was taken by demons (so, ‘keeping humans safe’ idea failed), and only then Crowley bullshited their way out by convincing Shax ‘civilians’ should be evacuated.

You see, it wasn’t a bad idea, per se – using available props, like demon-proof building, or summoning/discorporating circle later. But it was a terrible plan, as it didn't take into account the various subtleties – would demons be able to draw attention to themselves even if they can’t enter? How humans might react if they notice something and how to keep them safe at this case? What to do in case demons stay – they definitely can wait for a long time – longer than humans will agree to stay for sure?

And you know what could have made this plan better? Discussing it!!!!! With Crowley!!! With Crowley actually discussing it, not just disregarding it, cause the idea is good, it just needs some revisions. That’s why there is such thing as peer-review, for God’s sake, to see errors caused by cognitive distortions!

(And then Crowley in his turn ignored Azirapjale’s attemption to suggest and discuss some plan – maybe about activating the circle? That actually wasn’t a bad idea too, but shouldn’t have been the whole plan)

But if they discussed the demon-proof embassy plan, Aziraphale would also have to mention that he had met with Shax, and he didn't want to talk about it - for whatever reason. Probably the same reason why Crowley kept silent about his meeting with Beelzebub, Shax’ threats, and Jim's "prophecy" of the tempest.

A severe case of miscommunication disease, the main villain of these series; The Metatron is no match for it.

[may--hawk]

nightfall (ineffable remix)

XIX. Nightfall - Robert Francis

Honey, I know I’m moving too fast

Walking over water, walking over stained glass

Crowley couldn’t say how many times he’s walked away from Aziraphale over the years. 1 The bandstand, Gabriel. Jerusalem, Spain, France. Times where his temper had surged in him, hot and white, licking like lightning though his corporation, making his fingers tremble, and he’d known he’d had to walk away abruptly or risk saying something cruel. So as he starts to walk away from Aziraphale in the bookshop, every other time runs through his mind, although this time this is it, there’s no coming back from this one. Aziraphale’s not coming back. There’s no driving up to the bookshop too fast, pulling up on the curb in front of an astonished Aziraphale, saying, look, there’s a table free at seven at the Ritz. Coming? There’s no walking2 into a doomed church. There’s no handing Aziraphale one of the few manuscripts that had been saved from the Library of Alexandria3 and watching Aziraphale’s eyes get all damp and misty,4 and Crowley knowing he’d been forgiven. There's none of that, not this time.

Which is why when Crowley starts to walk away from Aziraphale in the bookshop, towards the door, towards the street, towards the lonely rest of his miserable fucking existence, he can’t do it. Not this time. He turns. He goes back to Aziraphale - and Satan, is this how Aziraphale’s looked every time Crowley’s walked away from him? Crowley doesn’t know. He’s never been able to look back. It’s this thought, this revelation, this thunderclap, that makes him grab Aziraphale by the collar and kiss him. The kiss is I love you and I’m sorry and please don’t go and please come with me. And when he lets Aziraphale go and Aziraphale sinks, shaking, onto the balls of his feet and he watches Aziraphale’s face shift through expressions rapidly, that’s when Crowley knows he should walk away, walk out, because Aziraphale won’t. Aziraphale has only ever walked away from Crowley twice in over six thousand years. And Aziraphale stutters, and then his face changes, draws into grief, and this is it, Crowley thinks. He can see it coming, recognizes his own poisoned heart so well on Aziraphale’s face. Aziraphale is about to say something cruel. He might even regret it later. Crowley has, many of the times he’s spoken in anger. But that’s the thing about saying things. Just like time, they can’t ever be taken back. Crowley stands there, heart pounding, holding his breath for what comes next. There’s no stopping time, not really, no holding back what’s coming. He waits. He will not leave, not this time, not before Aziraphale does.

1. 47. back

2. Okay, hopping. back

3. No, Crowley hadn’t been the one to save them. He hadn’t even been there. What he had done was track down the caliph’s nephew, who’d bought the manuscript off of a rich merchant, who’d bought it off a member of the Senate, who’d bullied and threatened it out of the poor scribe who’d run into the burning building in the first place to save as much as he could. That was a demonic deed alright, promoting misery and greed. He’d gotten a demerit (a good thing in Hell, slightly less lauded than a commendation) for it. back

4. Crowley had had to turn away, conveniently, to watch a man kicking his goat. As Crowley watched, the goat kicked back. By the time Crowley’d turned back around, Aziraphale had miraculously composed himself. back

Also at:

https://archiveofourown.org/works/52878844/chapters/138186547

[ineffableigh]

Timeline of Suspicious Events Brain Dump - PART 2

Ran out of characters. See previous post here! [linky]

We resume during Muriel's initial visit to the bookstore. They're having a nice look at a cupperty.

Crowley arrives in a bluster with all his plants - we've only seen him angrily say No about the Bentley and yet he seems to be going along with it anyway. He asks the important question: why not take the train? Why go by car? It's an eight hour drive each way! Train or even plane is WAY FASTER!

Crowley's the one that does the 'humans are weird/a few days' line for some bloody reason. Crowley what are you doin' man lol pick a better lie!

It feels Important that we see so many one on one moments with Nina, but not Maggie. Like we're building Nina as a character, but not really Maggie, y'know?

The show also really wants us to see how uncomfortable Nina is with discussing her love life at all, but everyone in the story just kind of blows past it.

"Dance Macabre" in the Bentley eh? A tone poem about Death calling the dead from their graves to dance for him? Like, I dunno, Gabriel says later in his Tempest line? A piece that quotes Dies Irae?

I love the musical conflict going on in the background once Crowley takes control of the Bentley's Vibes back lol.

Interesting that we have an entire moment to see that Beez is unhappy with the status quo in Hell, and the lack of recognition for all the work they seem to constantly have to do down there. Especially since we hear later they're very 'short staffed'.

Crowley moving seemingly random books from upstairs to downstairs, cosplaying a bookseller (ostensibly). Seems very chill about chatting gravity with Jimbriel, and we get our first Direct Fly Callout. Might be the second, not sure re: 'flyswats' when the archangels visited.

Pub imagery: Jesus raising Lazarus on one side, and the 'butcher' Dalrymple on the other side. Hmmm two sides of Heaven anyone?

It has to involve Aziraphale somehow because the Production Designer had that painting of Jesus done with the tomb opening being exactly like the 'eastern gate' of Eden in s01. Seems like a big effort to go to if not to draw parallels!

I find it interesting that Aziraphale a) seems super excited to hear about the 'Masons' b) there's a lodge next door to the pub, but c) we don't investigate that OR the person Gabriel was with. Y'know, the little shaggy haired demon with a bowler hat covered in flies? Normally would be quite conspicuous, yes? We know that Azi knows what Beez looks like from the end of S01.

Post-minisode we cut DIRECTLY to Aziraphale at the graveyard. What did he do between the pub and then? Did he walk there, drive there? Another huge gap to account for that's just swept under the rug.

Convenient that No Regerts and Friend are there, both being comically intense tough guys openly talking about Grindr lol. Just hanging out in the fog with no phone minutes left like ya do. Very convenient they were there, though I'm not sure what the advantage of that phone call even was. It's so strange a scene across the board that it feels like something is missing.

Back in town, Maggie is chasing Nina to talk about getting stuck in the cafe. I don't know what it is about their talks but to me they feel strange, or at least Maggie's side does. Might just be a by-product of us not seeing Nina 'acting like it's Maggie's fault' but it all feels very out of the blue, y'know? Always when Nina's busy working and can't really escape.

"I'm not your type." "You have no idea." Maggie SHE HAS A PARTNER AND SHE JUST SAID THE PARTNER SUSPECTS CHEATING, NOW IS NOT THE TIME LOL. See what I mean about Weird Vibes though?

Sudden Tempest Prediction from Gabriel. Very weird that he has these moments, either by forcing himself or these triggers. Do you have to be Empty to channel God?

Multitude of Shax Visions - this sequence seems odd to me. We've seen Shax impersonate a human once, yes, but this back to back thing seems unusually competent for her. I do wonder if we're getting a Crowley's Very Stressed Perspective thing going on here. Poor lad sure is stressed.

I was wondering how Shax figured out where Aziraphale was, but I bet she probably just tried to teleport to the Bentley like most demons seem to when Crowley was in it, but probably got punted outside by the Invitation Only magic. Or something.

The interaction with Shax here is really weird, though. It seems purely designed to freak Aziraphale out rather than actually get information. She says now she knows Gabriel is in the bookshop, but nothing about the discussion actually pointed to it any more than she would have known beforehand.

Shax then goes on to tell Beez that Gabriel is in the bookshop. Why she's so confident, I still don't really know, like I said above. All she knows is both the Husbands are being obfuscating dorks, but maybe that's enough.

Also like, Beez, you maybe should have just. Gone to the bookshop? Instead of attacking it? When you know Hell is short staffed? This is a Weird Plot Point too, if Beez just wants Gabriel. Why go straight to war?

As they're bringing Crowley's plants back to the car I hear glass shattering??? What's up with that??

Azi you dingle why are you hiding the Shax visit from Crowley. They really DON'T talk and for no good reason.

Next Instalment: [Linky]

[finethingswellworn]

The thing that struck me most on my first watch of S2 of Good Omens was how very exhausted Crowley seemed right from the beginning.

We first see him in the park where he asks, "Do you ever wonder what's the point of it all?" He sounds so jaded and beaten down.

When Aziraphale calls, he already knows something's wrong. And while he's absolutely surprised and terrified at Gabríel's being in the bookshop, I think he's kind of been waiting for this precious, peaceful, fragile existence he and Aziraphale have carved out for themselves to come crashing down around them. He always suspected it would. "If you ask me, it'll be all of us against all of them." It was only a matter of time.

After Shax's visit to the bookshop, when he's confronting Gabriel, he says, "If any harm comes to Aziraphale because of this I'll... oh, never mind. It's too late, isn't it? It's always too late." As if he's already resigned himself to the idea that there's no way for them to get out of this situation unscathed.

Crowley's exhaustion is really the motivating factor in him asking Aziraphale to go off with him. We know he doesn't want to leave Earth. He knows he doesn't want to leave Earth. However, although he's an optimist at heart, he's been constantly worn down by heaven and hell's antics for thousands and thousands of years. So much so that he's almost given up. It's too big, too impossible to fix.

So he shifts the goalpost to something more attainable.

"Alright, heaven and hell are at it again. Alright, it doesn't matter what we do, the bastards are going to draw us into it. Alright, they're probably going to succeed in destroying the world sooner or later. I've accepted that. But if I could just get Aziraphale out of here..."

And that's all too relatable, especially in the context of dealing with/attempting to get away from toxic institutions like heaven and hell are in the show.

Because, no matter how much you care, no matter how much you wish things were different, you can't keep running yourself into the ground forever. After a while, it becomes less of: "how can I improve the system," and more of: "How can I get myself and my loved ones through this and hopefully, someday, out of here for good?"

Crowley has been in survival mode for so long. Of course he wants to run away.. He won't, because that's not who he is, and anyway, he's still waiting on that angel of his. But he'll always fixate on the ease and freedom that running away might have provided. It's more comforting than having to acknowledge to himself that, in this universe, at least for him, there is no real escape.

[dranna]

Blossoming Love through the Ages

2500BC - Chapter 1

AO3 / Commissions / Links / Prologue

Summary: How does their friendship and eventually their feelings blossomed through the ages? I'm attempting to rethink the scenes we saw from the seasons, adding Crowle's thoughts and additional segments.

Warnings: none

a/n: I've finally gathered enough courage because I've never wrote nor shared anything of this poetic, sonnet like?? fanfiction before. I'm a little nervous tbh, but comments and feedbacks are warmly welcomed! Let me know, if you would like to see more:))

Later on, I might add my drawings too.

English is not my first language, so I apologise for mistakes.

Crowley’s POV:  

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

In the year 2500 BC, 

Stood someone, on top of a dry hill, 

where this story line began growing.

There he was in all confidence, 

Because he knew, he was protected by the law of all Light and Dark of the Great Universe.

He was, as he always been a soul of a misunderstood kind, 

Caught up in between the two sides of eternal corrival.   

His name was Crowley, not long ago changed from Crawly, 

A Demon, fallen from the cold, white sky, 

Which he once filled with hope and light. 

His stature was camouflaged with all black, decorated with a little carmine, 

Just like ever since, after the Beginning of Time. 

As he was standing in the frying rays, 

The flaming flocks and bushy beard of his, absorbed every heat it seemed.

His golden, snake-like eyes, remained hidden, 

Under the darkened glasses of man made brand.

“You should know why, you are about to die. 

I was sent here to tell and corrupt, there is no need to deny, 

God has abandoned you, yet claims to love you. 

Demands your praise, and has given you up to be ruined.” 

How ironic is it not? To send a once all devoted angel to the destruction of a devoted man? 

What was his sin, if I might ask, or it’s just for thy amusement? 

He gave all of his mind and heart to you, 

Is it thy reward to kill, then give everything back but new?

– Reflected the serpent, while placing the huge fire of decay, 

In front of the burning planet’s radiate. 

-------------------------------

The destruction of Job, was about to begin, 

When came in a warm golden light, 

The warning of another eternal life. 

In appearance he was the opposite of the fiend,

White and gold were what he wore, 

Hair white, cheeks puffy and in general being silly. 

Aziraphale, as he was called, appeared out of a colourless mess,  

Demanding the demon to stop his evil progress.

Before he could cast something holy upon him however, he halted amused:

“Oh! It’s you isn't it? 

We haven't met since the drowning of the creatures of this Planet.”

“Ah, yeah. That's quite correct.”

“....Well, if you don't mind, I have a duty here, I can't neglect–”

With that exchange, he opened the blanket of his holy light, 

And started his speech a second time. 

How charmful he is standing there, 

Casting blessed words to my care.

He is rather lovely on his own, 

Wouldn't need all this devine glow.

What a funny effect it will have, 

When I tell him, I’m allowed to do that!

– Crowley was chuckling inside, 

Then suddenly, calmly exhaled,

“No”

“No?” 

Azriaphale was so surprised, 

He thought, he didn't hear it right. 

After all, what he had known all this time, 

That Job is the favourite of the Creator. 

And, God is just and right, 

He wouldn't punish an innocent that tight.

“What do you mean no? 

I would like to remind you, that Job

Is favoured by God, 

Therefore you see, I can't let you do your evil deed.”

“Noooo.. Thank you? I have a permit you see,

By God. Yes!

So I’m more than allowed to do that.“

“But this can't be right!

You know well, I don't mind jokes of the harmless kind,  

However this–”

Crowley reeled the parchment of the godly permits, 

The sooner before Aziraphale could finish his speech. 

The paper just rolled and rolled and rolled, 

Over hills and valleys, 

Because it was so long. 

To the utter fright of the Angel, 

The licence seemed legit. 

His look of puzzlement has such an endearing effect, 

As he is focusing on the subject, 

How is it possible that we are on friendly terms,

Since he still has so much fate,

In the doings of Heavenly concerns?

Why do I wish to be closer to him, to him!

Among all beings?

— The Snake’s reflections wandered yet again, 

As his good companion took the permit, 

And took a visit to the Ones Up there. 

How come, he didn't know, 

While everyone got a note?

I’m pretty sure the High Ranks were the firsts,

Who was imparted in confidence, 

How he, who was sent to Earth, 

Didn't learned about this providence?   

-----------------------

Alright now I should destroy everything this poor man, Job has,

Farms, buildings, animals and children, 

What did they ever do to You?

Nevertheless I have no choice,

But to obey the orders of my Boss.…….

Yet, I'm a Demon after all, 

So they mustn't be mad if I do fuckery. 

After all, what Beings of the Down supposed to do,

But do mischievous tricks on their own? 

– Sighed the Demon with the flaming hair, 

Then launched the fires from the air, 

He seemed to be in deep, deep thought, 

While all the goats, to whom he first spoke, 

Appeared to be evaporate under the heat,

Still he carried on, in rather a cheery emotional state. 

Yes, the idea might work, 

His home will be perfect for this toil, 

All I have to do is be careful and focus, 

So the Downstareians don’t except a thing!

With that, he turned towards the home of Job, 

Among the falling fiery petal jewels.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Thank you for reading dears! <33

Tags my beloveds: @giosnape

[themortuatorium]

A Compilation of Flashbacks in Chronological Order

As God’s favorite jester I’ve been doing my part getting friends of mine into Good Omens by ceaselessly joking about it. I wrote this moreso for one who wanted to see a timeline of the flashbacks between season 1 and 2, and how they now correlate with newly given context. I thought that was a neat idea, which someone else out there might find neat to see as well.

I tried to keep them all as summaries to encourage drawing personal conclusions, rather than insisting upon my own, but got a little poetically analytical at Soho 1967 anyway. That scene continues to mean so much to me as a hopeless romantic, just like it had the first time. Included also are some snippets from the novel, where I felt the context they provide can still be considered canon to the live action adaptation.

Spoilers to follow for season 2 of Good Omens if you haven’t seen it. Though I don’t know how much sense it will make if you read it anyway. I’m relying on you to have seen all of it in order to fill in the blanks.

BEFORE TIME (S2)

Aziraphale and Crowley meet for the very first time. Crowley, still an angel, is busy setting into motion the Pillars of Creation when he asks for an extra hand. Marveling at the stars themselves, Aziraphale pities how it will all be gone in 6000 years time. Crowley is indignant to the idea the stars he worked so hard to help create will only be “wallpaper”, and decides to speak with someone of a higher authority – aspirationally, God; realistically, only the Metatron, due to the office space nature of Heaven’s bureaucracy – later on about it. As stars fall, Crowley shields Aziraphale with a wing. Deflecting off what appears to be Earth’s own solar system[*].

[*] “Because, underneath it all, Crowley was an optimist. If there was one rock-hard certainty that had sustained him through the bad times […] then it was utter surety that he would come out on top; that the universe would look after him.” (Good Omens novel, p304)

EDEN (S1) – 6000BC

Aziraphale and Crowley meet for the very first time, a second time. Now a demon, Crowley opens their soon-to-be 6000 year long discussion over the concept of morality – “I don’t see what’s so bad about knowing the difference between good and evil.” - and logical fallacy in an infallible being – “Not very subtle of the Almighty though, is it? Fruit tree in the middle of a garden, with a ‘Don’t Touch’ sign. Why not put it on top of a high mountain, or on the moon?” - Crowley

As the first rain begins to fall, Aziraphale shields Crowley with a wing[*].

[*] As Adam and Eve turn away from the Garden, perspective affords enough of Aziraphale’s wing to look as if he’s covering them too. A foreshadowing of sorts for the role he plays as a guardian angel to humanity.

THE ARK DAY (S1) – 3004BC

Aziraphale and Crowley, after presumably not seeing much of each other since Eden, get a chance to talk at the proverbial water cooler. Crowley is shocked to learn Heaven – on God’s order – are planning the Great Flood, which intends to drown everyone within the local region of Mesopotamia, including children. There is a visual gag when Crowley asks “Not the kids, you can’t kill kids?”, both children and young goats run past the two, which ends up relevant to his actions in Job.

“That’s more the kind of thing you’d expect my lot to do.” - Crowley

BOOK OF JOB (S2) – 2500BC

Crowley has a permit from God to do whatever he wants to Job; Aziraphale, having not got the memo, goes to intervene. Several notable themes become established in this flashback:

Initially Aziraphale is relieved to find that it’s Crowley, most likely recalling their conversation about the Great Flood. He insists on his belief that Crowley is, at heart, a good person. But as the angel Crowley once was, rather than as the person he currently is.

Aziraphale also finds himself standing in a similar position to Crowley during 3004BC, in disbelief that God would do something so cruel to Job for no reason. The Great Flood had reason, however weak. Job, on the other hand, is a reasonless wager.

It is the first time, maybe even the only time, Aziraphale and Crowley really listen to what the other is saying with empathy. Visually, they appear stranded together at sea.

“But what am I?” “You’re just an angel who goes along with Heaven as far as he can.” “That sounds, um.” “Lonely? Yeah.” “But you said it wasn’t.” “I’m a demon. I lied.” - Aziraphale & Crowley

GOLGOTHA (S1) – 33BC

The next time we see them together is at the crucifixion. Most likely they’ve run into one another between Job and now, but possibly haven’t been afforded conversational amounts of time. A significant moment for both characters in different ways, which will become their ongoing pattern. Crowley informs Aziraphale of his change in identity, no longer going by Crawly[*]. Aziraphale now comes across as numbed to the cruelty of Heaven, with the context of Job behind this scene. Unsurprised, albeit unaligned with the events taking place.

[*] A fact he’s more than willing to share with Aziraphale. One can assume Hell only learns this vicariously, if at all: “What’s he going by these days?” (Ligur, S1); referred to as Crawly in 1941 by Furfur throughout (S2, subtitles pending corrections per Gaiman); “Changed his name? YUCK!” (Hastur’s book on Angels who walk the Earth, wherein Crowley is mentioned in the entry on Aziraphale, S2)

(In season 1, they have encounters during 41AD, 537AD, and 1601 that aren’t especially necessary to summarize for any new context now provided by season 2)

EDINBURGH (S2) – 1827

The philosophical discussion on moral grey areas is opened.[*]

“But people get a choice. You know, they cannot be truly holy unless they also get the opportunity to be wicked.” “Yeah, but that only works if you start everyone off equal. You can’t start someone off [poor] and expect her to do as well as someone born in a castle?” - Aziraphale & Crowley

“Trouble is there’s never enough murderers. […] No one cares if you cut up murderers.” “If we can’t cut, we can’t learn. If we can’t learn more, a lot more, then how on earth are we going to win the battle against monstrosities like [tumors]? I’m just trying to save lives, and teach students. I either end up with a Knighthood, or condemned as a Resurrectionist and hanged from a rope.” - Dr. Dalrymple

Crowley behaves carelessly, drinking the entire glass of laudanum both as a good deed to prevent Elspeth from committing suicide, and as an excuse not to be held responsible for doing good (being a demon). He has a microsecond of confidence that Hell did not notice, before being dragged down.

[*] Just a fun fact, in the novel this conversation is had in 1020, and again in 1023 when Crowley manages a suitable comback. I always thought that was really funny.

ST JAMES PARK (S1) – 1862

Crowley and Aziraphale have a clandestine meeting at the park, wherein Crowley asks him for holy water as “insurance”. One can assume that whatever happened in the “quite some time” between 1827 and the 1860s to Crowley has him acting in a more calculated manner. The couple had never been especially discreet in their meeting one another before now, Crowley appears to be the one creating the distance. He refuses to actually tell Aziraphale what he needs it for, other than “insurance”. The lack of communication causes an argument that splits them apart, all on the grounds of a misunderstanding.

THE BLITZ (S1) – 1941

After not having spoken for a little over 90 years following their fight in 1862, Crowley arrives unannounced and unexpected to crash Aziraphale’s nazi spy church party. It is, ostensibly, a grand gesture on his part. Unlike any other time they’ve met, he’s there solely of his own choice with no strings attached or Arrangements to be honored.

Crowley places his trust in Aziraphale to protect them when the bomb drops. Aziraphale’s faith in Crowley is rewarded by his selfless act of saving his books. They are both rewarded by God with falling the fuck in love.

THE BLITZ (S2) – 1941

We now understand Crowley’s actions at the church were a dangerously large sacrifice of his own well being: rescuing an angel (something already known to be frowned upon), entering hallowed grounds (something a demon cannot do unless invited, implying he has to of been, at some point, by some angel, or at the very least an angel has to want him there – the angel is Aziraphale, sorry I don’t prescribe to the former arch angel Crowley theories), harming humans Very Directly even if in an indirect manner, the list kind of goes on.

But the couple are absolutely honeymooning, interacting again after so long. Despite Crowley trying to keep a distance between them, by disengaging at the mention of being friends, he falls back easily into their routine of goofy shenanigans. Arguably, as careless as he had been in 1827.

They’re confronted later by Furfur with evidence of their fraternization, Aziraphale’s sleight of hand causes it to be only a near miss. It’s the first time the audience gets to see Aziraphale do something that protects Crowley, from a kind of harm that would go beyond being discorporated.

SOHO (S1) – 1967

More of an analysis than a summary:

It stands to reason that Aziraphale is a smart enough being, the events that happened in 1941 were enough for him to put two and two together about the kind of danger Crowley is actually in being his friend. The constant surveillance he’s under, and Hell’s penchant to find out. Giving him the holy water implies more about the significance of their relationship to Aziraphale, that it is above all else worth protecting. I can only imagine, the reason it happens over 20 years later, as opposed to “immediately”, is simply because Aziraphale didn’t find it absolutely necessary to do. Only after he catches wind that Crowley intends to rob a church, aware of the risk he poses to himself if not scrupulously careful handling holy water, does Aziraphale find more than enough reason to give him holy water and trust him with it. It’s the least he can do in that moment.

At each other’s grand gesture, they ask the same question of what they can do to say thank you. Interestingly, they give the other the same answer, in a different way to mean mostly the same thing:

“Forget about it, would you?” - Crowley

“You go too fast for me, Crowley.” - Aziraphale

They’re both always going to be in danger of being together or helping each other, so long as Heaven and Hell exist and they exist within it. Until something can be done about the system they’re stuck in, it will always be this way. Distance between them, then, must be inherent. Aziraphale can’t afford giving Crowley reasons to act carelessly, he’s proven himself far too capable of doing so. Crowley can’t afford Aziraphale getting close, because he knows he will get careless. Of course, it’s not what either of them actually wants. What they want is to spend an infinite amount of time together, doing an infinite amount of things, within an infinite universe full of infinite possibility.

[mimisempai]

Little notes of happiness

Summary

When Crowley wakes up that morning, it's not an angel beside him, but a small note written in his handwriting.

It's just the first in a little game Aziraphale has orchestrated to make sure his demon doesn't get bored without him.

Notes

I wasn't at all prepared for the story to go this way, and I hope you'll enjoy it.

Day 18 : Love notes

On Ao3

Rating G -  1564 words

As Crowley finally awoke, turning and blinking, he became aware of three things. The first was the absence of a warm body beside him, the second was the morning light streaming in through the open window, and the third was a small note on Aziraphale's pillow.

His mind still a little foggy from sleep, he grabbed the note and read what was written on it.

Crowley,

In case you forgot, I'll be away with the Bentley all day.

I'll be back this afternoon.

Keep an eye on the bookshop.

Love.

Aziraphale.

Now that he was awake, the demon remembered why Aziraphale had left. The angel had said that he had to visit several booksellers in the countryside. Since he'd complained several times about having to take the train, Crowley had suggested he take the Bentley. He would have gone with him, but he had a session at the planetarium himself. And while it was still a little hard to let him have the car, Crowley had to admit that the angel was taking good care of it. 

Even though his session at the planetarium was much later in the morning, Crowley decided to get up. After dressing, he made his way downstairs and, passing the shelf of photos taken by Muriel, stopped to look at them and noticed two new ones.

He didn't know when, but the curious little bee had managed to take his picture during a session at the planetarium. 

He couldn't help but smile at how enthusiastic he looked as he pointed up at the artificial sky.

But the second photo made him smile even more.

Muriel had managed to capture them both, Aziraphale drawing Crowley asleep on the sofa. He ran his finger gently over the photo, a little touched by the sense of domesticity it conveyed.

The little bee really had an eye for capturing moments like that.

Perhaps they could help them explore that talent. 

When he reached the horse statuette on which his glasses were perched, he saw another note and chuckled softly as he read it.

When you go to Nina's for coffee, bring me some pastries.

But suddenly he stopped snickering, because this time the angel had signed with a heart! With a heart! 

Who did he think Crowley was? 

Though he was grumbling, the demon's cheeks were slightly pink as he tucked the little note into his pocket with the first one he'd found on the pillow.

Aziraphale often left him a note when he rose before him, and Crowley knew exactly why. The angel was well aware of his slight concern about the time Aziraphale was about to leave with Metatron, and even though that fear had faded from Crowley's heart, he still appreciated the little tradition that had taken root.

Although the angel seemed to have been zealous today in leaving him more than one. Which, if the demon was honest with himself, he didn't mind.

Crowley put on his glasses and left the bookshop to go to Nina's, returning a few moments later with a coffee and a plate of pastries.

He placed the plate on Aziraphale's desk and when he sat down on the sofa, he saw the newspaper there. He sat down, took a sip of coffee and opened the paper, from which fell another small note.

He picked it up and read it.

It's today's paper.

So you have something to do if you get bored without me, my dear. 

Crowley shook his head and smiled. He didn't know what had gone through his angel's mind this morning, but now Crowley couldn't help but wonder if Aziraphale had left such little notes elsewhere. 

Looking at the time on the old clock, he thought it might be something to discover after his session at the planetarium.

The little note joined the first two in his pocket, and he flipped through the paper while sipping his coffee until it was time to leave for the planetarium.

For the first time since he'd decided to take this little job at the planetarium, Crowley had found it hard to concentrate. He kept thinking about the little notes and had reached into his pocket several times to touch them. 

When the session was over, he left the planetarium in a hurry and walked through the door of the bookshop a few moments later. He placed his glasses carelessly in the usual place and began to search.

It didn't take him long to find another little note lying on one of his plants, and he eagerly grabbed it.

I'm so proud of you. Despite the little stain on one of its leaves, you've been good to this plant.

PS: Don't roll your eyes, I know you're kind.

Crowley grumbled, "Angel...that's a low blow."

Which didn't stop the fourth note from joining the first ones in his pocket. 

The demon continued to browse the shelves of the bookshop when his gaze suddenly fell on a book whose modern cover stood out among the ancient volumes. He pulled it out and saw that it was a book about the most beautiful beaches in the world. He opened it and was not surprised to find a small note between the cover and the first page.

How about a vacation next year?

Next year. 

They'd already spent so much time together, but reading those words on paper made Crowley realize that they could actually talk about the future, and a future together. Closing his eyes, he could almost see himself on the beach, Aziraphale reading under an umbrella and him lazing in the sun next to him. 

He put the note in his pocket, closed the book, and took it with him to the sofa to leaf through it while he waited for the angel.

But before he reached the sofa, his gaze was drawn to the gramophone, on which, of course, was a little note.

You know my talent for French, so to save you from hearing me butcher that language of love again, listen to this song and imagine it's me talking about you.

Crowley turned on the gramophone and sat down on the sofa to listen to the music. He laid his head back and closed his eyes as the first notes began to sound.

Des yeux qui font baisser les miens

Un rire qui se perd sur sa bouche

Voilà le portrait sans retouches

De l'homme auquel j'appartiens

Quand il me prend dans ses bras

Qu'il me parle tout bas

Je vois la vie en rose

Il me dit des mots d'amour

Des mots de tous les jours

Mais moi, ça me fait quelque chose

Il est entré dans mon cœur

Une grande part de bonheur

Dont je connais la cause

C'est lui pour moi, moi pour lui dans la vie

Il me l'a dit, l'a juré pour la vie

Et dès que je l'aperçois

Alors je sens en moi

Mon cœur qui bat*

Crowley swallowed and looked again at the note in Aziraphale's handwriting.

Imagine it's me talking about you.

He muttered, "Angel, you can't write things like that."

"Why not? If it's the truth."

Crowley, startled, gasped and turned to see Aziraphale standing not far from the sofa. He had probably been so caught up in the song that he hadn't heard the angel come in.

Aziraphale moved to sit beside him and took his hand, "Of course I can say things like that, because it's true. That's how I feel."

He chuckled slightly and added, "Although Edith says it much better than I do in French. But it's true, life is so much better when you're with me."

Crowley replied quietly, "It's mutual, Angel."

Then he pressed his lips to Angel's and they kissed tenderly before curling up together on the sofa.

After a few moments, Aziraphale asked softly, "Did you have a nice day, my dear?"

Crowley kissed his hair and replied in an amused tone, "You made sure I had a good day, Angel, with your little notes. And while I found it very entertaining, I am curious as to what made you do it?"

Aziraphale shrugged, "Just a touch of silliness on my part."

"Don't look so embarrassed when you say that, I told you I enjoyed it. Although I did find you a bit cheeky in some of it."

The angel chuckled slightly and asked, "Did you find them all?"

Crowley listed them and Aziraphale replied, "There's only one you didn't find. Which is normal, because I have it with me."

He pulled out a small piece of paper and, blushing slightly, handed it to the demon.

Crowley unfolded it and, after reading it, pulled the Angel to him and whispered into his hair, "I love you too, Angel."

*Song translation : 

Eyes that make mine droop

A laugh that's lost on his mouth

This is the unadulterated portrait

Of the man I belong to

When he takes me in his arms

When he speaks softly to me

I see life in pink

He tells me words of love

Ordinary words

But it does something to me

He's entered my heart

A great happiness

The cause of which I know

It's him for me, me for him in life

He told me, he swore it for life

And as soon as I see him

Then I feel inside

My heart beating

Edith Piaf - La vie en rose

_________

Still not beta'd

Still not my native language

Still hoping you'll enjoy this story  🥰

Still thanking you for bearing with me 😝

Ineffable Growing Love series : here (After season 2)

Ineffable Husbands masterlist : here (Before season 2)