Chronological markers: this scene fits in as a deleted scene from The Umbrella Academy, season 3, at the end of episode 6 (shortly before Allison brings Harlan's lifeless body to Hargreeves Mansion).

Suggested soundtrack: Defying Gravity (Wicked), Glee cast cover.

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April 05 2019, 06:01 pm.

I needed to find a familiar place when Chris - exhausted - finally had to go 'recharge'. To return to a room where I had felt more or less okay when I agreed to stay at Hargreeves Mansion after Reginald's death, back in our 2019: to support Klaus and kick his wasted ass.

The 'Kids lounge'. The 'common room' in the basement of the mansion, also equipped with a kitchen where the children ate their everyday breakfasts. The only human-sized place in that huge house, if you overlook the bathrooms and toilets. A space born from the merging of several old businesses on the ground floor of the buildings absorbed by Hargreeves for establishing his headquarters.

In this reality, the place clearly hasn't been used as much, probably because its futuristic counterpart was quickly built on the rooftop. Yet something happened here, possibly during the Sparrows' childhood. The kitchen is nearly identical, though in a more advanced state of abandonment, but the area that once housed the foosball table is now filled with Reginald Hargreeves's interpretation of the concept of 'toys'.

Pragmatic, devoid of sentimentality, and focused on efficiency, he provided them with items resembling training mannequins more than dolls. Puzzles of varying complexity, chessboards, timers, different types of targets and projectiles. Foam combat sticks, strength-training bracelets. And a whole heap of books written in ancient Greek. On the walls, I spot some of the drawings illustrating combat postures that had already 'decorated' this room and some hallways in the mansion I knew. Each one breaks my heart a little more as I imagine the childhood Klaus and the others endured.

And now mine too, through Chris.

I can't describe how I feel since he showed me what happened to him. Since I realized that Hargreeves was fully responsible and had done it as a last resort, in what he considered a critical situation. A kind of compromise: sacrificing the material form of one of his children to prevent the death of another.

Why? Perhaps for an even greater reason, tied to the one who was killed during this mission - Jennifer - whose name still haunts Ben's hazy memories. Driving him to cover his notebooks and walls with drawings, much like Klaus expressed his own pain by writing surreal phrases on the walls of his room.

I had always understood that the 'Jennifer Incident' marked a turning point in the Umbrella Academy's history. Losing Ben clearly triggered the Academy's dissolution as well as Reginald's loss of hope in his plans. To me, it seemed he changed strategies at that moment, as if having his 'team' complete was indispensable. As if Ben, perhaps, had a crucial role to play.

By sending us to the 1960s through his time loop, he not only assessed all of us but also learned for himself that Ben had died. In this new timeline, he did everything to prevent it, and succeeded. Ben is fundamental to his plans, I understand that now. I just don't know why.

There's no coffee in this version of the 'Kids lounge': only a few indeterminately colored bottles that might once have held juice or milk. Piles of vitamin containers, dry biscuits, and fossil-like remnants of cereal boxes consumed by weevils long ago.

Leaning against the long wooden table, I remember those mornings when I used to come here before anyone else woke up, back when all the Hargreeves siblings had gathered for their father's eulogy. It may sounds odd, but I almost consider it a good memory, even the memory of the shiver that ran down my spine when I glimpsed Luther's big silhouette.

And this time, I don't even flinch when I see him appear from the dimly lit hallway, as if it's natural to find him here. Natural? Frowning, I notice that Ben hadn't lied to me earlier. In front of me stands the Umbrellas Number One, approaching while wearing one of the Sparrows red uniforms.

"So what I'd heard was right: you're here."

He too has come downstairs to find a bit of what used to be his 'home'. I nod as he crosses the kitchen to inspect the toy area near the display windows of the old butcher's shop, where heaps of very old, unappealing board games are stacked. We've barely spoken since we arrived: the last real conversation we had was in 1963. And despite his new outfit, I wonder if things have truly changed that much.

"It's not to make any deals with anyone. I just needed to find answers here."

I don't tell him Klaus is here for a similar reason. If he doesn't already know, he probably doesn't need to. He senses that my words are loaded with subtext.

"I'm making no deal, Rin", he says, picking up a child's strength-training bracelet from the floor, making it clear it evokes memories for him too, even though it once belonged to Marcus.
"I'm just... less and less welcome among my siblings, while here, I have someone waiting for me."

I've noticed these tensions: with Viktor, with Allison, and even with Diego, despite things improving in 1963. I don't think any of them are thrilled about his whirlwind romance with Sloane, and Luther knows it.

"We've been here three days, Luther", I tell him. Some of us are struggling more than others with the loss of our spouses, children, or... those who could have been our mothers. Another apocalypse looms over us. The Sparrows have been hostile, to say the least. I can understand why it's hard for everyone to see us getting closer to them."

He lifts his head, far too small compared to his massive shoulders, and looks at me.

"Us? Who have you gotten close to?"
His question is fair, even if my situation is different from his. So I smile faintly.
"I know, it's not that obvious, but Christopher... is another version of me."

I expected him to laugh like Klaus did, but he doesn't. Instead, Luther blinks with curiosity more than surprise.

"I admit, you do have some things in common."
"What?"
"He's efficient, straightforward, impulsive, downright cheeky... and very small."
"Jerk."

I laugh softly, despite myself, because there's a kind of optimism in Luther's tone that feels good. These past few days have been tough, but I can sense something in him: a mindset that contrasts sharply with what you'd expect at the end of the world. I once described him as 'devoted against all odds'. I no longer think that's accurate: instead, Luther now seems like the one who wants, more than anyone, to escape his father's influence, and the very symbol of the Umbrella. Today, I'd say he wants to be 'happy, against all odds'. I shake my head.

"Why did you accept the uniform? You don't need that fashion atrocity to build connections. Unless you're deliberately claiming an allegiance… but I don't understand it."

As he said, I'm blunt, and he sighs.

"It's mainly to convince Sloane of my loyalty to her. We're trying to… move past some of the distrust that still lingers between our families, even though they aren't us."

I don't know if that's the right approach. I think Luther might just be adding fuel to the fire by doing this, especially with Allison, who is being so harsh these days and had a strong attachment to him, to put it mildly. I don't want to know where that particular issue stands: for my part, I'm actually happy for Luther that he's finding emotional fulfillment, as it's all we can hope for.

"I imagine what surprises your family, Luther, is how fast this has all happened", I tell him. "And that nothing else seems to matter anymore."
"It's true", he admits. "But I've never felt this way, Rin. It's an attraction that truly defies gravity."

What he says makes me squint, because those are precisely the powers of both Luther and Sloane. Both connected to those fundamental forces of the universe. It's a kind of Big Bang love, born explosively in the midst of adversity, as it happens sometimes. A less Shakespearean remake of Romeo and Juliet, with more latex but not necessarily less blood.

"You know what Friar Laurence says to Romeo", I tell him, knowing their father made them read Shakespeare before brushing their teeth.
"He tells him that these violent delights..."
"… have violent ends, I know."

I blink as I watch him toss the strength-training bracelet into the pile of training dolls. Friar Laurence truly hopes to unite the Montagues and Capulets: he secretly marries Romeo and Juliet and even helps Juliet fake her death. Yet he's fully aware of the risks and that such all-consuming passions often burn out as quickly as they ignite. Klaus knows this all too well, unfortunately, and I wouldn't wish such pain on Luther.

Now that I see them, knowing Luther better, and even though they remain very different, I can't help but think that Klaus and he are more alike than I would have believed for a long time.

Luther too died because of his father's ambitions and actions and came back changed. He too wanted nothing more than to please him, even though today, he's taking the opposite path from the one Klaus is now walking to get closer to him. Luther too was imprisoned by the very hand from which he hoped for validation: not in a mausoleum, admittedly, but in isolation on the Moon. He too was treated as a disappointment, a nuisance, more trouble than he was worth.

And here I am, realizing that, over the years and apocalypses... I've grown attached to Luther. And I see now that - of all of us, even me - he may be the one least under his father's control anymore. Unless...

"I hope none of this has been orchestrated by anyone else", I tell him, because the risk is very real whenever you're dealing with an Academy, any Academy. Reginald Hargreeves could very well have intended for this union between the two families to happen.

"I'd rather choke on a pretzel than that."

I step into the middle of the toys and bend down. There, on the floor, are some toys that don't match the others: dolls more typical of the toys this society often imposes on little girls, with sickly-sweet names like the short for Barbara and Kenneth. On the fabric lining, there's a black marker inscription contrasting with the frayed pink skirt. It reads: SLOANE ONLY. I purse my lips.

"I think your father needed to unite you all for his plans. As the Umbrella Academy. And now, he needs to unite all of us."
I look at him and add:
"And I think he's willing to go very far to achieve that."

After all, the last time he wanted to gather his children in one place, he did so by killing himself. Yes, Reginald Hargreeves is absolutely capable of anything, in any timeline, I'm sure of it.

"I don't care", Luther murmurs as the sound of a car can be heard through the vent, mingling with the ever-present wail of sirens and distant explosions. He straightens up, carrying a sort of defiance toward the future and fate.
"Yeah, I don't care, as long as I can be with Sloane. If he contributed to at least that in my life, then I'll take it."

I freeze, because Klaus once said almost the exact same thing. A sentence that made me realize that Hargreeves's plans could sometimes be turned to our advantage in the end: by exploiting the one who thinks he's pulling the strings. I haven't changed my mind on that. So I nod and smile at Luther.

Outside, beyond the old windows plastered with posters to block the view, it's now clear that the vehicle that just parked is headed for Hargreeves Mansion. Luther frowns.

"I have to see what's going on", he tells me, and I nod, saying only:
"Thank you, Luther. It did me good to talk to you."

He gives me a little wave and hurries up the stairs, where I can hear Sloane calling for him. As for me, I won't go upstairs, but I am intrigued, so I approach the old window and peer through the gaps left by the pasted-up newspapers.

There, in the rain-slicked street - parked crookedly against the curb in a way that matches the city's chaotic atmosphere and its dark aura - Allison steps out of what I recognize as one of the borrowed cars from Hotel Obsidian.

Her expression is indescribable, as if she's no longer herself but merely a vessel overwhelmed by the sadness she carries. Around her neck hangs the wedding ring from her marriage to Ray, as well as the ring she received when Claire was born, glinting in the streetlights like symbols of her pain.

She circles the car, where Ben and Fei have approached, opens the trunk with a single motion, and I strain to listen.

"You got what you wanted", she tells them. "This is done."

My eyes widen. I can't see what's in the trunk, but I deeply fear it's something awful. Ben had mentioned hoping she would deliver Harlan to them, and I can't imagine she could have done something so terrible. And yet, the chaotic energy swirling within her confirms that's exactly what has happened.

I remain frozen against the window, instinctively making myself invisible as she heads for the staircase of Hargreeves Mansion and disappears from my view. I never thought Allison would ever provoke such fear in me, as if she had - quite literally - become capable of anything.

I linger there for a moment, in this place where - yes - I once felt good. But today, I have no idea where we're headed.

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Notes:

I'm glad I finally had the chance to give Luther some focus in this season and express my thoughts on his evolution and his story with Sloane.

He will bring a kind of innocent light to the upcoming chapters with this 'last wedding before the end of the world', in stark contrast to the darkness that has overtaken Allison. Rin doesn't yet know the unforgivable thing Allison has done to him, and it's better that way.

Soon, Rin will likely have the chance to meet Sloane herself.

Any comments would make my day!