Clearly, one of the big questions we're left to chew on is this "loophole" business and how it affected the corporeal John Locke. Or New-bad Locke as we've taken to calling him. (Round of applause here for Terry O'Quinn and Michael Emerson's fanastic work in this seg.)
Clearly, we need to figure out why there was such bad blood between Jacob and the other guy with the salt-and-pepper beard that he was verbally sparring with in the opening sequence. The other dude's promise that he would "find a loophole" to come back and do bodily harm to Jacob kicked things off on a nasty and oh-so-mysterious note. Are we to presume that salt-and-pepper is the guy who's inhabiting Locke's body?
And what the heck was the time period ofthat opening segment? Jacob and Angry Guy were speaking in contempo argot but the presence of a clipper ship (similar to the ship in the bottle Richard was building in last week's ep) and the full-bodied statue certainly hinted at Black Rock era of the late 1800s (I think?).
Even more tantalizing was the other guy's
Jacob's comment about how "they come, they fight, they destroy, they corrupt -- it always ends the same" as he looks out on the ship. So we're to assume that motley crews have been arriving on the island for a long time? That would explain a lot, I suppose.
Cleary, we still need to figure out the Richard (Ricardos) connection in all this. And the Ben connection to Richard. I still can't shake the feeling that they are still working together despite everything that's gone down -- and Ben's promise to his vision of Alex a few episodes back.
Clearly, I need to watch the episode again to formulate anything like a coherent analysis of what we learned last night and where we're going in season six. Until then, let's review the great moments:
No. 1: The long scene with Jack and Sawyer in the jungle. First they communicated with each other like never before -- Sawyer opening up about his childhood, Jack expressing his love for Kate and regret for losing her -- and then they fought like never before. Chopsocky in the jungle! If it's a "Lost" finale, then somebody's getting beaten to a bloody pulp, but this one is by far a record for bloodied heads.
No. 2: Juliet's fall. O! M! G! My arm hurt afterward. R.I.P., Blondie. You went out (we think) with a bang. Fantastic work in this sequence by helmer Bender. And he couldn't have done it without the talents of Elizabeth Mitchell.
No. 3: Ilana and Bram and crew meeting up with Richard at the statue and dumping Locke's body out of the cargo container for all to see. That corpse sure gets around.
No. 4: Vincent, Rose and Bernard reappear! Thank you, Darlton, that was one for the fans. Loved seeing Bernard in Grizzly Adams mode. And loved the fact that they purposefully evaded LaFleur's efforts to find them after the flaming arrows business, as Rose explained, "because we're retired." Bernard amplified: "People try their whole lives to find a nice quiet place by the ocean." And when Kate started bleating about Jack having a bomb, Rose observed: "It's always something with you people." Priceless. I'm convinced now more than ever that Rose and Bernard are the island's Adam and Eve. They've found their Eden. I think the encounter with Rose and Bernard has a big impact on Juliet and Sawyer, in different ways.
No. 6: Ilana and Bram et al reach Jacob's cabin. Finally, we get a look at the place in daylight. A fixer-upper indeed. "Someone else has been using it for a long time," she surmises, suggesting that Ben has been play-acting there for a long time (something he basically confirms by the end of the episode). And who needs Post-it notes when you've got burlap sacks and hieroglyphics?
No. 7: Sun finds Charlie's Drive Shaft ring in Aaron's old crib. Sigh.
No. 8: The patented "Lost" season finale group-trek, this time led by New-bad Locke, complete with Michael Giacchino's stirring march-like theme.
No. 9: Locke's line after Richard leads him to the four-toed statue (aka Jacob's Place): "It's a wonderful foot, Richard, but what does it have to do with Jacob?"
No. 10: Hurley getting discharged from the L.A. County hoosegow. Trying to convince the stone-faced administrator dude that he really needs to stay. And then he runs into Jacob in a waiting taxi, who steers him toward LAX. "You don't have to do anything you don't want to do." Yeh, right.
No. 11: Jack to Sawyer: "See you in L.A."
No. 12: The faceoff among Ben, Jacob and New-bad Locke. "You found your loophole," Jacob tells New-bad Locke. (Oh boy, big clue.) "Indeed I did," he replies. "You have no idea what I've gone through to be here." Meanwhile, Ben is reduced to whining and moaning about being Jacob's handmaiden for all those years and he didn't even have the decency to show his face. "What was it that was so wrong about me?" Ben obviously has no idea about the Locke mind-body switcheroo. Whoo hoo!
No. 13: Bang, bang, bang. "Come on, you son of a bitch." And everything goes white...
My goodness -- all of that and I still didn't touch on Miles, who seriously grew on me as a character, to Ken Leung's credit as a thesp.
Didn't touch on the strange alliance of Kate and Juliet -- the Thelma and Louise of the island!
Didn't touch on Phil's gory end, impaled by a thin metal rod. Yet somehow Radzinsky lives long enough to become a stain on the hatch, years later.
Didn't touch on Sayid getting shot, and seemingly resigned to his fate.