We gotta start teaching our daughters to be somebodies instead of somebody’s.
In rewatching The Crocodile I realized something fascinating about the last scene between Rumple and Killian – he never intended to kill him. He literally says that ‘[death] is not in the cards for you’ and then follows that with goading him to live longer – in fact, to live 300 years. This puts a new slant on the scene with Rumple and Snow and Charming in the cell, when he asks for Emma’s name. Why? Because he knows that one day Killian will put Emma in that very same cell and that the squid ink will rescue them. Not only that, but in season one Gold makes a deal with Emma that he doesn’t act on until he has the right leverage for the situation. Killian’s life.
At that point he’s only seen Emma with Killian once – at the car accident, saving him from Gold crushing his windpipe. But Emma’s the savior of the entire town; she’d stand up for anyone. How can one simple moment be enough for Gold to think that Killian’s life meant something to Emma?
Unless he knew. From the very start. There’s literally no other reason for these scenes and lines, than to set up the fact that Gold knows the fate of Killian and presumably Emma. (requested and written by maggie)
So, here I am once more revisiting a theory I had eight months ago. I’m going to add some very important dialogue to this post.
Rumplestiltskin: (To Prince Charming) Tk, tk, tk, tk, tk. The infant is our only hope. (To Snow White) Get the child to safety. Get the child to safety and on its—(Closes eyes in concentration)—twenty-eighth birthday, the child will return. The child will find you—and the final battle will begin! (Insane cackle again)
New York City Serenade
Hook: I came to save you.
Hook: The message told me that the only hope… is you.
Hook: Someone powerful enough to reach into this world.
Emma didn’t want to give up her good life, but Hook wanted to remind her that maybe the life she was about to remember wasn’t all bad. His line about her loving someone in the life she lost was beautiful, and it was a nice callback to “Going Home,” in which Emma’s “Good” seemed to encourage Hook to believe his affections weren’t wholly unrequited. Morrison played Emma’s reaction to that perfectly—there was some fear in her eyes, but there was a surprising bit of hope there, too. Emma wants to be able to love; she doesn’t want to lose that part of herself. So when Hook implied that she might still be able to love—and to love this person she already feels herself drawn to—it gave her a sense of hope that not all the good things from her life would be lost.
The moments after Emma drank the potion were subtle but effective. Morrison did a good job of showing that Emma was both surprised that someone came back for her and not surprised at all by who it was that found her. And Hook’s response was just cheeky enough to be perfectly in-character. In fact, I loved that Hook had his swagger and his sense of humor back in this episode.
Sharing a drink like old times after Emma’s memories were restored, there was a real sense of understanding and openness between Emma and Hook. This was the scene where I felt Morrison and O’Donoghue were at their best together. When Hook told Emma there was nothing left for him in the Enchanted Forest, all Morrison needed to do was change her facial expression slightly to show us that Emma understood that Hook was lost without her. And when Hook told Emma that he came back to save her, O’Donoghue delivered that line without any real sense of romance. It was a fact. But it was a fact Emma has never heard in her life—someone is capable of making her their top priority. Emma was defined by her role as the savior from before her birth; it’s her job to bring back happy endings. But Hook wanted to save her from a life she didn’t choose—a life of false memories. His job in this episode was to give the savior her own chance at a real happy ending.