#spent my sunday writing this while rewatching season 3 | Explore Tumblr Posts and Blogs

erwinsvow · 7 months

Text

𝐜𝐨𝐟𝐟𝐞𝐞, 𝐛𝐥𝐚𝐜𝐤, 𝐭𝐰𝐨 𝐬𝐮𝐠𝐚𝐫𝐬

summary: aaron hotchner is a lot of things. in love with you is one that you never saw coming.

word count: 7.1k

author's note: bau!reader + hotch is my favorite combo ever. i haven't written and posted in, like, two years so please be nice :) i've written so many other versions of hotch but this one just wrote itself. inspired by the amazing @luveline and so many breathtaking hotch stories and isabel (alisdas on ao3, not on here anymore i think :( ) who wrote of terrible coffee and late-night rides which i think started all of this and my immense aaron brain rot when i read that fic, like, three years ago. enjoy!

This was wrong, Aaron thought to himself. He seldom committed acts that others might say were wrong, or argue they could potentially be wrong, but this was different. Aaron felt wrong, a feeling he was not used to.

“I’m worried about you, that’s all,” you had said quietly on the jet early one morning. You two were sitting across from each other on the flight back from the team’s latest solved case, an excruciating long ride home from the coast of Oregon.

Your book laid open on your lap, unread and a bookmark tucked between the earlier pages. The spine was cracked, like you’d read it a hundred times before. He knew that wasn’t true though, it was just a used novel probably from the thrift store around the corner of your apartment.

You had told him once, back when you first started—back when he was still married and you were less affected by this job—that you liked finding used (pre-loved, you call it) books and picking the most worn out ones to take home. You said it means that someone used to love this book.

It felt wrong because you were too young for him, and too innocent to be mixed up in his life. What could you know about his thoughts? About the love of his life that divorced him and his son he only sees once in a while.

The rest of the team makes jokes with you, in particular JJ and Penelope. He’s even heard Emily pitch in, about your not-so-secret fondness for your boss. For him.

Back when you had first started, it was nothing. Passing glances, working extra hard to please him and earn his praise—which was never given out generously. He hadn’t even taken the time to notice, never paid more attention than any other member of the team. What he did notice was your work ethic.

Being among the youngest of the team had instilled a drive in you to prove your worth. You always stayed an hour extra, came early, and spent nights working the case even when you were yawning every few minutes. The most attention he’d given you back then was commenting that you’d had a good insight into the unsub, commending you on well-written reports and briefs, and offering you a cup of coffee when it was just you and him left in the sheriff’s office. He’d be rereading seemingly endless pages of the case reports and you’d be diving headfirst into the victim’s lives.

Your specialty was always understanding why the victims did what they did, figuring out their routines and ascertaining important details from their personal belongings. He was used to you flicking through diaries and boxes of mementos that were once treasured by another young girl, not so much older than yourself.

He’d be lying if he hadn’t thought it was impacting you—reading through the journals of dead women who had been very similar to yourself, with similar hopes and dreams. It was depressing, he knew, and yet if you were bothered by it, you didn’t show it in the slightest. At least not to him.

And back then, he’d never notice the sweet smile that always graced your face when he was asking you if you’d like coffee. You’d shake your head no, and take sips of water between your yawns. You didn’t even tell him that you don’t drink coffee until a few months later, after he asked if you’d ever like a cup when he offered. He can remember it clearly even now.

“Actually, Hotch, I don’t drink coffee.” Your cheeks were tinged with color like you were embarrassed to even be admitting this to him.

“Why didn’t you say anything sooner? I would have stopped asking three months ago.” If he sounded stern, he didn't mean to. The burning on your face deepened.

“I didn’t want to be rude. I drink tea though, but I didn’t think to mention it. It’s not as easy to make.”

“Well, let me know if you need a cup of hot water then.”

You had smiled at that, and he had turned around to take another picture on the bulletin board. He smiled a little too.

“You don’t need to worry about me,” he said, maybe a little too gruffly. He didn’t mean it, again, but it just came out that way. He thinks some part of him is trying to warn you to stay away before you get too close.

“We’re all worried. You went through something really big and didn’t tell any of us and even if you don’t care about us like that, I care about you. I just want to make sure you’re okay.”

Aaron’s gaze casts around the rest of the jet. Derek has his headphones in, staring out the window and trying to resist sleep. JJ and Emily are playing cards—they should be sleeping, but they had a little too much espresso a few hours before. They’re too far away to hear you and Aaron speaking, but he notices JJ’s eyes darting over every once in a while. Spence is asleep, and he realizes that’s why it’s so quiet. Dave is reading a book, too, but he’ll stop and interject into JJ and Emily’s conversation.

He looks back at you, sleepy-eyed and wrapped in a warm, boxy pullover from your alma mater. He thinks a little bit too much about you these days, and he can’t get it to stop. He shouldn’t profile anyone on the team, they have a strict moratorium on that, but especially not you.

You, who never fails to try to make anyone feel better when they’re down. You, who doesn’t make it seem like you’re analyzing their behavior, but rather observing and offering comfort in hard times. You remember everything the team tells you about their likes and dislikes, never forgetting a birthday or special occasion. He can distinctly recall fresh chocolate chip cookies on Derek’s birthday, carrot cake from the Italian bakery Rossi loves to celebrate when his latest book became a bestseller, and a new knick knack for Penelope’s office after a particularly brutal case.

You say it’s all in passing, but he knows it’s not. You’re trying your hardest to keep the team together in the little ways, strengthening bonds that extend beyond coworkers. You want to fit in and be accepted, and you worry so much that you won’t. This is your way of trying to show that you’re a part of this team too, not just the new girl and one of the young ones.

Aaron blinks twice. You’re looking at him expectantly, and he wishes you wouldn’t. All he’ll do is disappoint you.

“You don’t need to worry,” he repeats. “I’ll be fine.”

“I wish you wouldn’t say that. Why is it so bad for us to worry about you?” You look like you’re starting to get upset—it hurts Aaron more than he realized it would. It’s not bad for the others to worry, it’s bad for you. If you get attached, if he lets this get unprofessional, he doesn’t think he’ll ever forgive himself. Hurting himself is one thing; hurting you is another entirely.

“Let it go, Agent. Try to get some rest.” He looks out the window. He can see the sun coming up, and realizes he hasn’t slept since the night before last. He still needs to drive home—not really home, he remembers sadly, his empty apartment— and work on reports before he can even see Jack. He doesn’t think resting now is a good idea, and yet his body is so tired.

When he looks back, you’re reading your book again but your eyes are really paying attention to the words on the page. You’re just skimming, and blinking rapidly, and he realizes then he’s made you tear up.

His phone goes off—Haley, and he feels guilt building up in his chest, almost overwhelming him. He steps away to answer and talks quietly. He doesn’t want you to overhear and worry even more. When he comes back to his seat, you’ve fallen asleep. He takes the book from your hands gently and puts the bookmark in, closing it and resting it on the seat beside you. He watches you sleep and wonders if he’s making a mistake trying to hide from you. He thinks, and not for the first time, that you see right through him.

The plane lands an hour and a half later, and everyone is beyond exhausted. Even Spencer, who normally doesn’t need much energy or caffeine to start talking fast about something interesting he noticed about this case and this unsub, is unusually quiet. They’re all running on fumes, staying up two nights in a row profiling and then catching the unsub with the latest victim at one in the morning, and then boarding the jet soon after.

Aaron makes a decision, everyone can work on their notes from home and the report is due no later than day after next. Derek pats him on the shoulder and says no one is to call him for the next twenty-four hours. JJ and Emily exchange a laugh. Y

ou, he notices, though he wishes he wouldn’t, go up to Spencer and talk with him quietly. When you’re done, he beams at you and you at him. He wonders what you two talked about when they’re all heading out, listening to Spencer ramble about how the unsub’s use of his childhood spots as disposal sites offers insight into the abuse of his youth. Prentiss tells him to save it for the report.

He and Rossi are walking back to their cars when Dave speaks up for the first time.

“You’re wondering what she said to him, aren’t you?”

Aaron stops for a moment.

“You should know better than to profile me.”

“Oh, I’m not profiling. This is just me being observant. You should stop fiddling with your ring finger when you talk to her. It’s a dead giveaway.”

“Dave, I don’t need to tell you that this conversation—“

“I know, I know. I won’t mention it again if you don’t want me to.”

“Thank you. I’ll see you tomorrow, then.”

“See you tomorrow, Aaron. And by the way, she offered to write his notes for him if he wanted. He said it’s hard for him to write about unsubs with schizophrenic tendencies and she said she can try to help, if he wants. That’s all. Let me know when you’re ready to talk about this.”

Aaron gets in his car and doesn’t stop thinking about you the entire ride home.

You wish you could make it stop. The way you feel about your boss. It started so long ago, it’s almost a part of you now. Aaron is stern and his disposition is frightening, to the say the least. But only at first, you’ve realized, after so many late evenings spent discussing the case with him, breaking down the tiniest details, and him paying attention to your every word when you discuss the victim’s demeanor and behavior to try to figure out what had really happened.

It wasn’t supposed to be like this, you thought. You had gone to the overpopulated state school with the hopes of entering the medical field. You were a true empath, and there was no one’s suffering you couldn’t relate to, no one that you wouldn’t try to make feel better. All your life, people cried on your shoulder while you offered up words of comfort. And because of this, everyone thought you were a shoo-in for nursing or medical school, where you could help people through the worst days of their life.

All it took was a few days at the hospital where you had been working, a string of murder victims being wheeled in one after another, for you to reconsider your life’s work. None had survived the incident, but the killer let them live just long enough to be seen by the doctor, who then had to declare them legally dead.

Something about the victims seemed familiar to you, how they’d all come from wealthy families and were sliced up in their expensive clothing, expensive jewelry and watches smashed to bits instead of being stolen. You mentioned it to one of the officiers, who told someone else, and somewhere in that chain of events, your insight helped them catch the killer.

It was then, you thought, that maybe you should be working on the other side of these situations. Stopping the killer before it ever got to this.

Then you’d done a one-hundred and eighty degree spin on your career, electing to pursue becoming an agent. You had been young, and motivated, and you chose to overlook when everyone told you this job might become your whole life, leaving no time for a husband and kids and a family.

You had ignored it all, working your way up from the local field office to child crimes in just a year and a half. The transition out of sex crimes to homicide was disturbingly hard, because at least before you’d had a victim to interview. You were no expert, not yet, but a unique asset altogether, combining a true mission to uncover the best in each victim, and figuring out their behavior patterns from bedrooms and diaries.

It was a unique skill-set, acquired mostly because a lot of traumatized children didn’t offer much to go off of. You had to turn to their childhood homes, toys, and scribbles to figure out what had been going on in the first place.

You reflect often on why you decided to leave child homicide when news spread that the BAU had an opening for one more agent. Truthfully, you hadn’t considered it at all, since you were more than happy with your current position and coworkers. You were solving cases, delivering justice, and bringing whatever comfort you could bring to grieving families.

In fact, you had been requested specifically. You, out of a hundred or more well-established, intelligent agents that could be a huge asset to the team. You were never special, and you didn’t like to think of yourself in that way either, but you couldn’t deny how good it felt to hear that the team wanted you.

And when you transferred over, everyone was so nice. The team was inviting, they respected your opinion, and especially in cases with younger victims, they revered your knowledge. You felt included, and invaluable, and as hard as you worked, you wanted to work even harder.

Your boss was a brilliant agent and profiler, and so hardworking that you wanted to do anything you could to make his workload a little easier. You wrote the most detailed reports, so he would have to edit them as much.. You offered to pick up extra briefs, so he took home a couple less papers. And no matter what you did, acknowledged or not, you knew you were making the kind of difference you’d always dreamed you would.

Aaron—he was only ever Aaron in your head, and Hotch the rest of the time—liked you as an agent, and it made you happy. A little happier than you should be, considering he was happily married with a toddler and a perfect life outside of work. It was almost wrong, but it didn’t stop you from trying to impress him with your work ethic.

You always put aside your other feelings and focused on the team, and somehow in all of that, you felt like you were finally making your difference. You were close with the team and close enough with Aaron, that you hadn’t been worried to start that conversation on the jet now that all these circumstances were changing. Haley had asked for a divorce and he hadn’t muttered a word of it to anyone.

He’s so tired, you can see. You wonder if everyone else notices it too, or if it’s just you observing so closely. He has dark circles now, because he never sleeps, always working, and the furrows on his forehead are seemingly etched in and permanent. He misses his wife and his son, and you know it, and maybe it’s wrong to care about your boss so much that your heart hurts when you see him glancing at the framed photos of his family on his desk, or the tiny polaroids in his wallet, but you do. You think you’re in love with Aaron Hotchner, and you don’t know how to make it stop.

You’re gonna get hurt, you remind yourself every now and then.

Aaron and Spence have just come back from the prison, where they had an encounter with Chester Hardwick that they won’t really talk about. You’d been with the rest of the team in Indiana, and then two days later in Oregon.

Aaron and Haley were divorcing, and it hurt him so much, you knew, because it wasn't for a lack of love. It was a lack of time, a shortness of hours in the day. He couldn’t be the husband Haley wanted and the father he thought Jack needed while being an agent for eighteen hours a day. It hurt you too, seeing him like this. You wish he felt better.

The days and weeks seemed to blend into months. Somewhere in between Hotch’s divorce and JJ’s pregnancy, you had become complacent with your relationship with Aaron. Walking in together from the parking lot, leaving together at the end of a long day—usually alone and sometimes joined by Emily or David. Sometimes you’d have a frothy drink from a nearby coffee shop in your hand—to which you always hear, “My coffee’s not better than that stuff?”

“It’s not coffee, remember-”

“I know, you don’t drink coffee. That stuff is full of sugar. I don’t need you bouncing off the walls like Reid and Garcia too.”

You laugh, and then you wonder if it’s because he really cares or if it was just a passing comment. You share a lot of little moments like that.

When his eardrum was nearly blown out after New York, you almost offered to drive back with him from Ohio to Virginia. It was instinct, because you just didn’t want him to be alone. You had exchanged a glance when he handed you the plate of brownies from the victim’s mother, and you knew he had read your mind. But he didn’t say anything, and you left it at that. You’re not nearly stupid enough to think that your boss reciprocates your feelings for him. Hell, most days you don’t even know what feelings you have for him.

Your seats on the jet are almost permanently fixed; near the coffee machine towards the cockpit. You sit across from each other, and sometimes you don’t even speak. He’ll bring you a cup of hot water, and he doesn’t ask if you need a tea bag from the make-shift coffee station, because knows they’re in your go-bag.

When it’s his weekend with Jack after two weeks of back-to-back cases, Aaron is always working on the reports on the jet. It’s because he’s trying to reduce how much work he has to do at home, and even when everyone’s fallen asleep and your eyes are close to shutting, you get up and make him a cup of coffee. He’s never once told you how he takes it, and he doesn’t know if you’ve seen him make it either, but somehow you know, and it’s always right. When you offer him the steaming paper cup, he looks up at you with an entirely new look—something you’ve never seen before. You two don’t exchange so many words.

He says it all with his eyes, sometimes, even when you’re not looking. It’s gratitude. (When you get off the jet a few hours later, you tease Morgan about his snoring. Derek asks you where his cup of coffee is, and you shove his arm so hard he almost drops his bag.

In the end, it was you who had figured out there was something wrong with the Reaper’s last few victims.

“Why would a nineteen year old girl date her teaching assistant?” You had questioned, looking through a file that everyone’s eyes had already seen. “An honors student, a freshman, I mean, none of this points to an illicit affair with faculty. She knew it was against the rules and her roommates said she’s never so much as skipped class.”

“That could have been because she wants to see him,” Derek interjects. “If they were truly in love like Foyet said, she’d take every opportunity to be with him.”

“But in an environment where no one can know you two are together? I mean, if she was in love and close to getting engaged, wouldn’t she tell her best friends? Her parents? How many teenage girls keep something like that just to themselves?”

The pieces of the puzzle that had once fit together so nicely were coming undone. It felt like the blink of an eye, from catching Foyet to him escaping. Everyone was on edge, no one more than Aaron, and your empathy still knew no bounds. Where you had once been able to focus on work and dedicate all your thoughts to the cases, you now were distracted and distant. Every other thought was about Aaron, as wrong as that might be.

Canada had been something else entirely. It was difficult for the entire team to fathom, but nearly impossible for you. You had lost your temper twice—something you’d never done before— and thrown up when the team discovered all the shoes. JJ had run after you but in the end, Aaron was the one who found you outside.

“I’m sorry, JJ, I’ll be fine—I-I just need a minute,” you breath out, chest heaving and tears brimming.

“It’s okay,” Aaron says, “take your time.”

You turn around so fast, your breath catching, and you hate this situation. You could never hate Aaron but you hate this, you hate that he followed you and that he’s seeing you like this. You look weak, after two and a half years of trying to prove to him that you’re strong—strong enough to handle this job, do what needs to be done, and not cry at a crime scene.

“I-I’m sorry, I-”

“Why are you apologizing?” He doesn’t sound mad, or like he’s belittling you, and you don’t know why that’s what you expected. This is Aaron, your Aaron, and even though he’s not really yours it doesn't seem to matter much right now.

“I’m making a scene. I-I shouldn’t be throwing up on the job or screaming at those unsubs or anything else-”

“It’s okay. It happens.” Aaron says it so concisely, you almost feel better for a second. Isn’t this what it’s always come down to? You need Aaron like air, and somehow he always knows what you need to hear. He doesn’t treat you any differently compared to the others but it feels different today. You can’t describe it in words. If JJ or Morgan had followed you out here, you would have said the same things, but you wouldn’t have felt this way. Like if you crumble here today, Aaron will be there to pick you up.

“Take your time, please,” he repeats. “I know you think you have something to prove to me, but you don’t. You’ve proven it already, to all of us. Admitting that all of this gets to you isn’t a bad thing. That’s what separates us from them.”

At that moment, a dam bursts. Tears flow down your face like they haven’t in so long, as long as you can remember. You think you should feel embarrassed, crying in front of your boss, but Aaron takes you into his arms and you can’t remember the last time you felt this safe. Cheesy, you think, but this is everything I thought it would be and more.

You’re not sure how long he holds you there, but eventually once the front of his shirt is covered in your tears and he offers you a tissue (Does he just carry this around waiting for one of us to cry?) and you head back together. This is the embarrassing part, you think, bracing yourself and biting your inner cheek. But if the team is judging you at this moment, they certainly don’t show it.

You join JJ and Emily inside the house, who ask you if you’re okay when you sniffle for the last time. Spencer asks you later, on the way home. Derek tells you to call him if you need anything. Dave tells you, “You’ll be okay, kid,” and somehow, you believe him. Penelope texts you once on your phone, checking in and promising a distracting, gossip filled girl’s night out soon.

Aaron walks you to your car, and says goodnight. You’re delusional, you think, once you're back at home. You’ve taken the longest, hottest shower imaginable and your record player is emitting the scratchy sound of your favorite Beatles album. You’re in a big shirt that’s getting wet while you brush your freshly cleaned hair and all you can think about is how it felt to be wrapped in Aaron’s arms a couple hours ago.

You are delusional, you remind yourself. You’re checking your phone every couple minutes like a love-sick teenager. You think Aaron’s going to call you to check in, you almost feel it in your bones. You leave the ringer on incase he calls later—maybe he showered and sat down to work on some reports before sleeping. You fall asleep thirty minutes later, exhausted down to your bones, and wake up startled by your phone going off. In your sleepy delirium, you answer without looking who it is—assuming it’s Aaron.

“Hotch?”

“Hey, sorry it’s JJ. We have another case, I’m sorry.”

“Oh, JJ, um, okay, I-I’ll be there in ten. Text the address, okay?” Your cheeks burn at the slip.

“I sent it just now. Listen, I’m sorry, but can you try Hotch’s cell? I called and texted and he’s not answering.” You feel your stomach turn, first because Aaron isn’t answering and he always answers, and second because JJ thinks he’ll answer if you call.

“I’ll try him now. I’ll call you back.”

You try him twice while changing and another time in the car. Your only explanation is that maybe he went to see Jack and put his phone away, but even that doesn’t check out.

When you get to the scene, you inform the others about Aaron not answering.

“Alright, let’s split up for now and I’ll keep trying Hotch,” Derek says. They don’t seem that worried, and maybe that lulls you into not worrying either. After all, they’ve known him a lot longer than you have.

You end up with Spencer and Emily at the doctor’s house, combing through patient files Garcia sent over. There’s tens of dozens, and even though you want to go with Emily to Aaron’s place to get him, you know your experience with kids and in the hospital is vital. You and Spencer start working, but something feels off. You just can’t place it.

In the end, you attribute it to your nerves from the last case. Your fear of embarrassing yourself carried into today, and even though you know no one judged you for losing it in Canada, the feeling lingers. Spencer answers the phone from Emily and says that Hotch was busy with something at the bureau that now requires Emily too. In the end, you and Spence figure it out just in time. Your body is so tired, it hurts, and then on top of that, Spencer gets hurt. You can barely process what’s happening, and you don’t feel better until the doctor says it’s through-and-through.

“God, Spencer, never do that again,” you say, your hands wet with the blood from his wound. You wipe it on your clothes, thinking you’ll change soon.

“Guys, guys listen to me, something’s happened to Hotch.” The blood drains from your face and your breath stops in your throat.

“What?”

“Emily told me not to say anything until we got the unsub, but he’s in the hospital.”

The next hour is a blur. You all show up to the hospital, and Emily is talking to a bunch of agents. Their faces are blurred because you can hardly think straight.

“Em? Is he okay?” your words must be coming out frantically because everyone’s looking at you like you’re about to crumble.

“I’m sorry, I couldn’t say anything because I knew we wouldn’t be able to think straight about the case, I know it’s wrong but-”

“Is he okay?” You didn’t mean to cut her off, it just happened like that. Your mind is so clouded right now with a petrifying vision of Aaron dying alone on the floor of his new apartment that he hates so much, while you were waiting for a call for him.

“He-he hasn’t woken up yet.”

You sit on a chair by Aaron’s bed. He looks like he’s sleeping, and a part of you had always wanted to see him like this. It would be comforting, if he actually was sleeping. You’d imagined it a little differently—you thought for sure he snores and sleeps on his side. You always notice sleep lines only on one arm when you guys have just woken up and continue working on the case. You stare extra hard when he rolls up the sleeves of his dress shirt on particularly hot days. Everyone would moan and groan about another case in the heat of Texas or Arizona, but not you.

It seems like those memories were a million years ago.

When he wakes up, everyone pours in and it distracts you for a few heartbeats. When they realize what Foyet is actually after, the terror is apparent on everyone's faces. You realize how long it’s been since you last saw Haley and Jack when they finally step into the room. You and Emily leave to give them privacy.

Later that night, you’re back in that chair. Aaron wakes up for a few minutes at a time, and when he finally stays awake, he notices you.

“How long have I been out?”

“Thirty minutes. Give or take.”

“Is there water?”

“Yeah, yeah.” You scramble up to get the pitcher and pour him a glass. There’s a straw too, which you put in the cup and hold still for a second so he can drink.

“Thanks.”

“Yeah.” He can see all your emotions on your face. It doesn’t take him long at all, not anymore. You’ve been crying and your clothes have blood on them. He’s alarmed again.

“Is that your blood?” he asks, swallowing hard.

“No, no, Hotch. We had a case, the-the unsub shot Spence. He’s okay though, it just got on me and I haven’t been back home to change yet.”

“Why don’t you? Go home?”

“I didn’t want to leave you.”

“I’ll be fine.”

“I let you go home alone yesterday and look what happened.” You smile meekly at your own joke, hoping he appreciates it. He lies still though, not smiling.

“I think you should go home. Get some rest after everything.”

“You know, Hotch, only you would tell me to go home and rest up when you’re the one who’s currently in the hospital.”

“I just think-”

“Do you want me to leave? If you do, I will. I swear.” There’s silence between you two for a moment.

“No.”

“Good, because I wasn’t going to.” The corners of his mouth turn up a little. You barely even notice it. “I can’t leave now. I don’t want you to sit alone here.” You should stop talking, you think to yourself. But you don’t. “You know yesterday, I got home and the whole time I sat there wondering if you were gonna call my cell. I even turned the ringer up all the way so I didn’t miss it. And I know that’s stupid because why would you call me? But I had this feeling. And now all I can think is why didn’t I call you?”

“Don’t think like-”

“Don’t think like that? Yeah, I knew you would say that. But if I had called you like I wanted to, and asked you to come over like I wanted to, maybe this wouldn’t have happened. But I didn’t because I was scared and I don’t want to be scared anymore. And I know this is the last thing you need to hear right now, but I guess I can’t hold it in any longer.”

You want to clamp your hand over your mouth. Your favorite cheesy rom-coms have infiltrated your brain, and you can’t fathom how stupid you must sound right now to Aaron. He’s just almost died and the kid who was the last to join his team is declaring love for him on his hospital bed. But it won’t stop coming out.

“Can I tell you something Aaron? I mean, more than I already have? Emily said she didn’t tell me you were hurt because she knew I wouldn’t be able to think straight about the case anymore. About anything, anymore, if I knew you were missing or that you were hurt or dead. And I’ve been trying to hide it for so long, because I know you don’t need any more complications in your life right now, but, I think I have feelings for you, Aaron.” Hot tears stream down your face. You try to stop them but you can’t. They’ve been building up for two years.

“Please don’t cry. I don’t have a tissue for you this time.” You smile through your tears, but your entire body is still tense. It’s because you’re still expecting bad news, still waiting for the other shoe to drop.

“Do you want me to leave? I can call Emily, she’ll sit with you if you don’t want to be alone.”

“I don’t want you to leave. And you don’t have to tell me these things, I already knew them.” Another few tears drip down your face. Aaron’s chest hurts more than it has ever before. He thinks back to your conversation on the jet that day, when you told him you cared about him and he hadn’t said much of anything at all. “I hope you know that I have feelings for you, too.”

“You mean you care about me and the team?” you question half-heartedly. You think you’ve already gotten your answer. “I mean I care about the team a lot. And I care about you more than I should, more than what’s right. More than a superior should care about one of their agents. And I think if this hadn’t happened, I would have called you last night. Not because of the case, because of you. Because I need to make sure you’re okay.”

Your heart thumps uncomfortably in your chest. Aaron reaches out his hand a little, and you take it into yours. You sit like that for a long time, and you know there’s so much else going on, but a small part of you sighs in relief. Aaron is okay, and he feels about you how you do about him, and maybe everything will be okay in the end.

The months after Haley’s funeral are tough for everyone. It’s weird going to work and not seeing Aaron. Sometimes you inadvertently make a cup of coffee how he likes it and have no one to give it to. You started drinking some, even though it tastes bitter and terrible, it makes you feel close to him.

How stupid is that, you wonder one day, sipping the coffee and looking over files with JJ. If the rest of the team thinks you're stupid, they haven’t shown any signs of it yet. You’re sure they mostly feel bad for you and your pathetic behavior. You’ve gotten sloppy because you can’t stop thinking about how Aaron is doing.

You and the team will go visit him and Jack at his new place. You make cookies, snickerdoodle for Aaron and oatmeal raisin for Jack.

“What kind of a kid are you?” you questioned, helping Jack scribble in his Captain America coloring book. He’s munching on a cookie while you try to figure out what part of the shield is blue and what part is red. “I mean, who likes oatmeal raisin cookies at the tender age of 5?”

“I did,” Spencer says, taking another one out of the tin.

“You don’t count, genius,” Morgan says, and then directs his gaze at you. “And I mean come on, no chocolate chip for me? None at all? That hurts.”

“I made you some like two weeks ago! I have a job, you know,” you fire back. Aaron laughs, eating the snickerdoodle after dipping it in milk. It’s so domestic, you feel yourself staring. You only turn away when he catches you looking.

When he comes back, you wonder if it’ll ever feel normal again. That silly routine you two had, the chairs on the jet near the coffee machine that you still sit in, walks to your car.

At first, it just feels strange. So much has changed yet the team’s dynamic remains the same. You get through cases with the same ferocity you had when you first started, eager to prove your worth again. Your reports detail every detail and then some, and you stay even later than Aaron some nights. You need something to focus on, and your cases seem like the best option. The other option is to have another conversation with Aaron about your feelings and you think you might die if that happens.

When it finally does happen, it’s plenty embarrassing. You were so sure about your theory about this unsub, so sure that he would confess if he was confronted about his crimes and reminded of the humanity of his victims—three little kids, all under ten. Maybe that’s why it bothered you so much, and that’s why you stormed into the residence even though the rest of the team was screaming at you not to. In the end, you talk him down, but Aaron runs in behind you anyways and nearly spooks the unsub into suicide.

“You do not have the authorization to make calls like that,” Aaron yells at you, and though you had once thought you would die if he yelled at you, it’s all too easy to yell back.

In that moment, when you had known what would happen, dealing with your area of expertise, he stormed in and questioned you and your abilities as an agent and as a profiler.

“I don’t need authorization, I knew what would happen, and I knew how to talk him down without this ending in gunfire—”

“I don’t care what you think you knew. This is a team, and we don’t make decisions that jeopardize a case without agreeing on it!” “You mean you have to agree with every decision I make? I had it handled, Hotch, you almost blew that whole thing up because you didn’t believe in me!”

“That’s not what this is about,” he fires back, and it feels strange to be yelling at you. He can’t recall the last time he’s ever done this. The rest of the team is just packing up in the police station, trying not to overhear but not really having any choice in the matter.

“Yes it is! You don’t trust me! Not to make decisions for this team and for our cases, or for anything. You just proved that back there. You don’t trust me.” It’s happening again. Tears brew in your eyes. They spill down before you can stop it. Aaron softens before your very eyes at the sight of them. “Stop! Stop feeling bad just because now I’m crying, they’re not tears for you, they’re angry tears and I can’t control it-”

“Of course, I trust you.” His voice has dropped from a yell to just above a whisper. “How could you think that I don’t?”

“I’m not stupid, Aaron. I know what I’m doing. My plan was going to work and you shot me down in front of everyone because you didn’t believe in me,” you say between tears. “Nothing’s changed.”

“And what do you think would happen if you stormed in there and I lost you too?” His voice is gentle. You hadn’t noticed that he was so close to you now. You can see the eyelash on his cheek and feel the heat radiating from his body.

“That’s not what this is about.”

“That is exactly what this is about. You think I don’t trust you, so I won’t let you walk into a confrontation alone? That I think you don’t know how to profile, how to handle these unsubs, so I get into a screaming match outside a crime scene? Tell me, does that check with any of my behavior in the years I’ve known you?”

“I don’t know, Hotch, I don’t profile you.”

“You call me Hotch in front of everyone, and especially when you’re upset with me. When it’s just us you use Aaron. You know how I take my coffee even though I’ve never told you, because you pay attention even when no one else is looking. Cases with children affect you the most, especially when it takes us longer to work them, because you think you should be quicker and figure out the unsub faster since you worked with kids before joining the team. You remember the little things everyone says because you don’t want them to think you’re not paying attention to them. You cry about cases when you feel like there’s something more you should have done, even though there’s nothing else any of us can do. And you cry about me the most of all, that time on the jet, in the hospital, and just now because you think I don’t share your feelings. You think I know all this because I’m profiling you, but it’s not. It’s because I pay attention to those whom I love.”

Shell shocked. You are shell shocked at Aaron’s speech, eyes wide and mouth open. You’re sure the rest of the team, hidden behind a bulletin board and the conference table is much the same.

“I’m going to kiss you now. And that’s the end of the conversation about me not trusting you, okay?” You nod dumbly. Aaron’s lips are sweet and taste like his coffee—black, with two sugars. You feel another tear falling but it’s only because you hadn’t expected any of that.

“That took long enough,” David says from behind the partition.

and voila <3

#spent my sunday writing this while rewatching season 3 #putting off prep for my grad school interview b/c this is so much better <3 #hope everyone likes it #criminal minds #aaron hotchner #aaron hotchner x reader #aaron hotcher imagine #hotch #hotch imagine #aaron hotch fanfiction

1K notes · View notes

weekendwarriorblog · 5 years

Text

The Weekend Warrior Movie Preview November 27, 2019 – KNIVES OUT, QUEEN AND SLIM, THE TWO POPES, 63 UP

You might notice that this column is no longer called “What to Watch This Weekend.” There are reasons for that I will not go into in much detail right at this time. I’ve always considered myself an original and when I recently learned the title had already been used long before “I came up with it,” I had to change gears and go back to a more familiar title. I have a feeling that few people read this column each week to even notice the difference.

Of course, Disney’s Frozen 2 will win the weekend, but the big new release has to be Rian Johnson’s KNIVES OUT (Lionsgate), which has such a to-die-for cast, including Daniel Craig, Chris Evans, Jamie Lee Curtis, Don Johnson, Michael Shannon, Toni Collette, LaKeith Stanfield and many more. You can read my review of that here, and obviously I’m very bullish on recommending this to people since it’s such a fun whodunit, much better than last year’s Murder on the Orient Express. I really hope this does well since it will allow Johnson to keep making cool and original movies like this.

The other movie opening this weekend is Lena Waithe’s QUEEN AND SLIM (Universal), directed by Melina Matsoukas (who directed that long-form Beyoncé music video), and starring Daniel Kaluuya and Jodie Turner-Smith.

I wasn’t going to review this, but I might as well use this space to talk about the problems I had with the movie. I feel I might be mainly on my own with this one, but it reminded me so much of Moonlight, a movie I was pretty non-plussed by, yet that not only went to the Oscars but won Best Picture that year. Huh.

I feel like Queen and Slim is another example of a movie that will be pushed for its SJW message even if the story has so many issues that I’m shocked so many people are overlooking them. The essential premise has Kaluuya and Turner-Smith as a couple who meet on a Tinder date, she a defense lawyer whose client has just been sentenced to death. After an awkward meet-cute at a diner, they drive off but are stopped by a police officer. One thing leads to another, the officer ends up dead, and the defense lawyer decides, “We should make a run for it,” and that’s exactly what they do.

That’s one of the big problems I had with the movie and it continued throughout, which is why I think this movie should have been called “Bad Decisions: The Movie,” because these are clearly two smart individuals, yet they are constantly doing really stupid things, which makes it really hard to root for them. On top of that, I wasn’t too impressed by Matsoukas/Waithe as a filmmaking team, as the movie had a lot of beautiful shots but really didn’t have much of a flow, making Matsoukas’ music video background far too obvious. It’s very typical of a new filmmaker wanting to create this beautiful-looking movie and losing sight of the actual narrative storytelling, which isn’t great. And then there’s the message Waithe is trying to drive home, clearly inspired by #BlackLivesMatter, but it just goes completely overboard at times, and no one in this movie acts like normal people might act in order to resolve their issues.

In other words, Queen and Slim is trying to be an arty film in what is a business where movies that cost a lot of money need to make that money back, and I see this as a pretty big risk on Universal’s part for a movie that just isn’t that great.

You can read about how the above movies might fare at the Thanksgiving box office over at The Beat.

LIMITED RELEASES

There are, thankfully, a fewer number of limited releases this weekend, the big one being Netflix’s THE TWO POPES, starring Jonathan Pryce and Anthony Hopkins, which is absolutely fantastic. Directed by Brazilian filmmaker Fernando Meirelles from a screenplay from Anthony McCarten (Darkest Hour). Basically, it’s about the relationship between Popes Francis (Pryce) and Benedict (Hopkins) as the latter is being criticized for allowing Catholic priests to get away with repeated sexual abuses against young parishioners. I saw this movie quite some time ago, and I really need to see it again before writing any sort of review, but it will probably be in my top 25 mainly for the amazing script and the performances by the two leads. This will open in select cities on Wednesday and be on Netflix December 20, and maybe I’ll have a chance to rewatch so I can write more about it at that point. Regardless, it’s another movie opening this weekend I recommend seeking out.

Opening at the Film Forum on Wednesday is Michael Apted’s excellent doc 63 Up (Britbox), the culmination of the 56 years he has spent following the lives of a number of British kids from different classes over the course of their lives. I’ve loved this series since I first discovered it, probably around the 21-Upyears, but it’s amazing how every seven years, you can revisit these people and learn more about them. There are a few of the subjects that you’ve begun to really care about, but at a time when class struggles play such an important part in the conversation and films like Parasite and Knives Out (see above) and M. Night Shyamalan’s new series Servant, it’s amazing to watch this venerable doc series in that context. I’m not sure if Apted will make it seven more years to make 70 Up, but if not, this is a fine conclusion to his masterful masters thesis. 63 Up will open at the Landmark Nuart in Los Angeles on Dec. 6 before hitting Britbox.

Getting a week-long run in New York and Los Angeles starting Friday is Ladj Ly’s intense police thriller LES MISERABLES (Amazon), which is France’s selection for the Oscar’s “International Film” category, and it’s an amazing film that follows a group of cops trying to cover up the shooting of a kid from the projects. Like many police dramas, it involves a rookie who is thrust into this world of crime, and I’ll definitely have more to say about this before its official theatrical release in January.

Also getting a qualifying run in New York and L.A. this week is Emily Taguchi and Jake Lefferman’s documentary After Parkland (ABC Documentaries/Kino Lorber), which I somehow have missed so far, but I’ll probably have a chance to see it in 2020 when it’s getting its official release. As one can gather from the title, it’s about a number of families from the Marjory Stoneman Dougle High School trying to get through the Parkland shootings that left 17 dead.

STREAMING AND CABLE

Before we get to this section, I want to give a quick shout-out to VitalThrills.com who have an absolutely amazing Streaming section that you should be using as a resource, since it’s quite complete, maybe the best one on the internet?

If you’ve been putting off seeing Martin Scorsese’s 3-1/2 hour THE IRISHMAN, because you feel that’s too long to be sitting in a movie theater, it’s now on Netflix so you can watch it over and over, stopping and starting whenever you want. Happy?

While I’ve mostly been using this section for Netflix stuff (because it’s the only streaming/cable company that sends me regular PR), I’m excited that M. Night Shyamalan’s SERVANT will be debuting on Apple TV+ on Wednesday (today!), and that will be another darkly funny thing to watch with the family after Knives Out. You can watch the first three episodes, but I wrote a review of the first half of the season, which you can read here.

French filmmaker’s animated I Lost My Body will hit Netflix this Friday with its amazing story of the romance between a pizza delivery guy and a librarian, based on Guillaume Laurant’s novel “Happy Hand.” Also, Mati Diop’s Cannes-winning film Atlantics, which I STILL HAVEN’T WATCHED!!! Will hit the streaming network on the same day, so I’ll stop having excuses for not having seen it. Also hitting Netflix Thursday is the holiday comedy HOLIDAY RUSH, starring Romany Malco, La La Anthony, Sonequa Martin-Green and the legendary Darlene Love.

Also, Disney+ will be adding The Wonderful World of Disney Presents the Little Mermaid Live! to its library on Wednesday as well as Pixar’s Cocoon Friday, along with the fourth chapter of its ongoing series including one you might have heard of called The Mandalorian.

REPERTORY

METROGRAPH (NYC):

The Metrograph once again wins the Repertory Wars this weekend. Its Noah Baumbach Residency continues this weekend with the filmmaker’s 2010 film Greenberg and 2017’s The Meyerowitz Stories, both starring Ben Stiller, as well as screenings of Working Girl (1988), Pauline at the Beach (1983) and Five Easy Pieces (1970). (I don’t think Baumbach will be at any of these.) The annual Holidays at Metrograph series begins this week with 1934’s The Thin Man, Jacques Demy’s The Umbrellas of Cherbourg (1964) and the 1940 film Remember the Night this Friday and Saturday. Filmmaker Whit Stilman will be back at the Metrograph, once again showing his 1990 film Metropolitan (another Metrograph holiday mainstay) on Sunday, and he’ll also introduce a screening of 1998′s The Last Days of Disco. Welcome To Metrograph: Redux will screen George Cukor’s 1950 film Born Yesterday, Clint Eastwood’s 1995 film The Bridges of Madison County (with screenwriter Richard LaGravanese introducing the screening Saturday night) and David Lean’s 1945 film Brief Encounter. Late Nites at Metrograph screens Terry Zwigoff’s 2001 film Ghost World, starring a VERY young Scarlett Johansson, while Playtime: Family Matinees will screen the appropriate Miracle on 34thStreet, the one from 1947.

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Next week’s Terror Tuesday is Charles B Pierce’s The Legend of Boggy Creek (1972) in a new 4k restoration with a QnA with Pierce’s daughter moderated by Mohawk director Ted Geoghegan, then the Weird Wednesday is Liam Neeson in Sam Raimi’s Darkman (1990) in 35mm. (The latter is a fantastic film if you haven’t seen it yet.)

THE NEW BEVERLY (L.A.):

Today’s Weds. Afternoon Classics matinee is Samuel Fuller’s 1959 film The Crimson Kimono and Friday’s “Freaky Fridays” offering is David Cronenberg’s Existenz (1999). The weekend’s “Kiddee Matinee” is Jon Favreau’s Elf(2003), starring Will Ferrell, and Saturday’s midnight is a repeat of David Lynch’s Mulholland Dr. Otherwise, it’s mostly screenings of Once Upon a Time … in Hollywoodthis weekend.

FILM FORUM (NYC):

Opening this week is a 70thAnniversary 4k restoration of Robert Hamer’s Kind Hearts and Coronets, starring the great Sir Alec Guinness in 8 roles! Also this week, you can see a 4k restoration of the 1951 comedy The Man in the White Suit (on Weds and Sunday), as well as the 1955 film The Ladykillers, both directed by Alexander Mackendrick and also starring Guinness. Another repertory film getting a few screenings this weekend is the 1951 film The Lavender Hill Mob (another Guinness film!) and Carol Reed’s The Third Man from 1949 will get a full-week 70th anniversary presentation. This weekend’s Film Forum Jr. is To Kill a Mockinbird… ookay. On Sunday, you can see the 1975 Hal Ashby classic Shampoo in a single screening, and then on Monday night, there’s a single 35mm screening of Masaki Kobayashi’s 1964 film Kwaidan, based on four ghost stories by Lafcadio Hearn, introduced by Monique Truong, who has written a book about Hearn. Oh, it’s also over 3 hours long.

AERO (LA):

The AERO’s “Happy Thanksgiving 2019” movies include Planes, Trains and Automobiles on Wednesday, Singin’ in the Rain on Friday, and Saturday is a triple feature of “Satirical Cinema: Using Comedy to Underminte Hate” of Charlie Chaplin’s The Great Dictator (1940), Mel Brooks’ The Producers(1968) and Taika Waititi’s Jojo Rabbit… yeah, one of these movies doesn’t match up to the others, and also isn’t really repertory. Sunday is a Charlie Chaplin double feature of City Lights(1931) and The Circus (1928). Tuesday’s “Christmas Noir: A Hardboiled Holiday” matinee is Blast of Silence from 1961.

EGYPTIAN THEATRE (LA):

Friday is a “Black Friday Double Feature” of mall-related horror films with Chopping Mall (1986) and Phantom of the Mall: Eric’s Revenge (1989), and then Saturday is an all-day The Lord of the Rings trilogy starting at 1pm.

MOMA (NYC):

The newly renovated museum continues it’s “The Contenders 2019” series, but Modern Matinees: Iris Barry’s History of Filmwill continue through the week, as well. Vision Statement: Early Directorial Workswill return on Monday with Julie Dash’s 1991 film Daughters of the Dust, then Darren Aronofskiy’s Pi(1998) and Satyajit Ray’s Pather Panchali(1955) on Tuesday.

FILM AT LINCOLN CENTER (NYC):

If you want to find me this weekend, I’ll be spending a lot of time up on the Upper West Side (MTA-permitting) for the continuing “Relentless Invention: New Korean Cinema 1996-2003” for a bunch of movies, including Bong Joon Ho’s 2000 debut Barking Dogs Never Bite. You should also check out Varda by Agnès while you’re up there.

MUSEUM OF THE MOVING IMAGE (NYC):

“The Collected Terrence Malick” continues this weekend with screenings of some of Malick’s more recent films: Voyage of Time: Ultra Widescreen Version, The New World: Theatrical Version (Friday) andLimited Release Version (Sat.), as well as Voyage of Time: Life’s Journey on Saturday, and then the “Brad Pitt version” of Voyage of Time on Sunday. Also, Malick’s classic The Tree of Life will screen Friday and Sunday.

IFC CENTER (NYC)

Weekend Classics: May All Your Christmases be Noirwill screen The Night of the Hunter (1955), Waverly Midnights: Spy Games screens Hitchcock’s North by Northwest (1959) in a 4k restoration, while Late Night Favorites: Autumn 2019 will screen… I can’t even. It’s movies they’ve shown a dozen times or more… Matt Zoller Seitz’s “Movies with MZS” continues next Tuesday with a screening of Moonstruck with screenwriter John Patrick Shanley.

QUAD CINEMA (NYC):

Thursday/Thanksgiving is your last chance to see Buster Keaton’s Battling Butler (1926) and The Navigator (1924) from out of the Cohen Films vault.

ROXY CINEMA (NYC)

Continuing its Nicolas Cage series by screening 1989’s Vampire’s Kiss in 35mm on Weds, Friday and Saturday nights, plus another screening of Peggy Sue Got Married (1986) on Sunday.

LANDMARK THEATRES NUART (LA):

This week’s Friday midnight is the uncut version of Alejandro Jodorowsky’s 1990 film Santa Sangre.

BAM CINEMATEK (NYC):

On Sunday, you can take the family to a matinee of Muppet Christmas Carol.

That’s it for this week. I’ll be taking a week off from the Box Office Preview over at The Beat, but the Weekend Warrior (sigh) will be back here with all the limited releases kicking off December.

#TheWeekendWarrior KnivesOut QUeenAndSlim TheTwoPopes 63Up Movies Reviews

0 notes