title from t. s. eliot's "wasteland" poem. takes place shortly after august w. booth's arrival, before we knew him as august w. booth.
it is my theory that wonderland has some elements from from frank beddor's version ("the looking glass wars") of lewis carrol's "alice in wonderland." hence the pool of tears.
Son of Man
jefferson knows everything, even when he doesn't. a look into the daily life of a hatter that's probably mad.
He hates wind, but he follows where it takes him, when it calls to him, because it's nothing and everything like his long-ago hat. He hates that thing, but right now, it's the only call to normalcy; if one wants to call half-dead, half-hidden, magic normal, but besides Mr. Gold and the mayor, he's the only one that remembers.
The wind leads him to Emma Swan, the new resident and sheriff of Storybrooke. The old sheriff cast off as a tramp—Regina's choice, not the residents'—but still socially accepted, unlike Mary Margaret Blanchard, though he can't quite understand why; something about David and his missing and presumed dead wife. Emma Swan is speaking with Mr. Gold on the other side of the street. Jefferson makes a point to cross the street so he can listen to what's being said.
(listen, listen. hatter, aren't you listening to me?)
(i'm listening, child. always listening.)
Jefferson slows, pretending to admire a painting of two children exploring underneath a giant mushroom. He ignores the idea that whoever the artist is must have been a Wonderlander; he pays closer attention to the conversation.
"I need a favor." Hesitancy. He doesn't need Mr. Gold's words to know that she's asked multiple times.
"Again, dearie? Keep asking for favors, and someday, you may run out."
There's a pause, and he can see Emma Swan's reflection place her hands on her hips, frowning. "I didn't realize there was a limit."
He can hear the smile in the words: "No limits, dearie. Just expectations."
"You haven't asked yet, but I'm willing to pay with whatever favor you're going to ask in the future."
There's another pause, and Jefferson stops admiring the painting and walks to the next store—a clothing store with hats in the window. He doesn't have to pretend, now.
"Sydney isn't helping as much as I hoped. I need evidence against Regina—"
"I, as Ms. Blanchard's lawyer, cannot do much to help your case—"
"Our case, Gold."
Mr. Gold doesn't react to Emma Swan's interruption with words, and from this angle, he can't catch any reflections.
(it's water, child.)
(then why aren't there any reflections?)
(it's the pool of tears. tears don't have reflections.)
"—But as your personal consultant, I will do my best."
"That's all I ask."
Jefferson continues on his way, going where he is called before either person can question his motives. He ends up at the diner with the urge to enter, maybe stay a while. Order some food for an early dinner or late lunch. He's surprised when, ten minutes later, Emma Swan enters with her son—only biologically, he presumes considering he's living with Her Majesty—and they settle at the bar. If he wants to, he can easily hone in on their conversation, but sitting in the middle of the diner has its advantages, so he tunes out, waiting to hear what he came for, munching on grilled cheese.
Finally: "Cara, what are you doing here?" Surprise, anger, and excitement.
"Kevin, you know why I'm here." Exasperation, anger, exhaustion.
Except, no, the children aren't who he's here for because they leave, no doubt not wishing to make a scene, and he's not being called. Jefferson listens, waiting; Emma Swan and Henry Mills are whispering quietly, and he can only catch words that don't make sense out of context: cobra… book… snow… evil… huntsman?… leaves… enters either…
(if you're a mad hatter, then where's your hat?)
(dear girl, you're in it!)
(i came through a rabbit hole, silly! haven't you been listening?)
(listen, listen.)
Jefferson listens, waiting; hears Ruby arguing with her grandmother over burnt hamburgers; hears Leroy's silence as he mulls over his life while sipping whiskey; hears the bell tinkle and the immediate silence that follows. Jefferson catches Henry Mills giving a look that says speak of the devil and what is he doing here? to Emma Swan. They must know something about this strange man—were probably the first ones to meet him because mother and son always somehow end up in the middle of it all. When the stranger sits next to Henry Mills, it confirms his suspicions.
But Jefferson doesn't stay to hear what they have to say. The urge to leave is overwhelming, and he can always find the stranger at a later date. He pays for his grilled cheese, and heads home, back to his tea and his countless hats that won't bring him home.
(hatter, did you grow up here?)
(no, child. my home is far away from wonderland.)