Person of Interest: s04 e13 – M.I.A.

The Mayhem Twins

Very recently, and in the context of Person of Interest itself, I discovered the term ‘schmuck-bait’. It refers to television episodes that threaten the life of a permanent member of the cast. It’s termed schmuck-bait because only a schmuck would feel genuinely threatened by the prospect of a star character being killed: I mean, it’s just not going to happen, is it?

I bring this up in the context of this episode of PoI  because the whole episode is a prime example of what the term means. Two episodes ago, Sameen Shaw sacrificed herself to save the rest of the team. Is she still alive? Is she dead? Don’t be silly, she’s a star of the show, her name’s in the opening credits… Well, actually it’s not.

The episode divides itself into two strands. Reese and Root have trailed a refrigerated truck to the upstate small town of Maple. Maple’s a nice town, a happy town, a lucky town. It’s the epitome of small town America, couldn’t be more apple pie and Mom’s cookies. six months ago, it was broken: it’s only industry collapsed, everyone was going to be out of a job, but a new Company, Carrow, took the plant over and everybody prospered. Maple is also a puppet town, with people shuffled into jobs and roles that most suit them. Everyone loves it. Maple is also an omelette. A few people don’t fit. A few people get broken, like eggs, and like eggs, once broken they don’t get up and walk around.

Reese and Root don’t care. They’re here for one thing only and that’s Shaw. She isn’t dead. But she is Schrodinger’s Cat, in that until Finch and Co get an answer, she is both alive and dead and neither. And we know from last week that Finch believes the worse. Root is ultra-positive: this cat can’t be killed. But Root is positive because she has to be. She can’t let herself entertain the least doubt. Where is Shaw? The truck arrived in Maple but it never left.

But even as the Mayhem Twins rampage upstate, back in New York the Numbers keep coming, in this instance a real sad sack of a guy, Albert Weiss (Mason Pettit). Finch takes the folder to Fusco, at his desk in the precinct, his ears ringing, just stewing. Fusco’s as badly hurt as the rest: he wants a Number to give him something to do, to alleviate his feelings.

Weiss is a nothing, a sap, a mouse. But he’s also being watched by a former Number, Dani Silva, a welcome repeat for Adriana Arjona.  The pair team-up to check out Weiss, who may look completely innocuous, but who, every time he visits the Big Apple, there’s a Missing Persons report. Someone with gang connections. The sappy exterior is a clever cover for a freelance assassin.

Whilst things are hotting up in Maple, this half of the story looks to be cleverly made but uninvolving. Things don’t go well for this ill-matched pair, Weiss is too smart for them, especially Fusco. And Fusco’s being protective, paternal and patronising in exactly the way Dani is going to hate. Some of it is Fusco’s not overly developed but still present chauvinism, but most of it is his quiet line, ‘I couldn’t stand to lose somebody else today’.

It boils down to a nice little twist. Dani breaks into Weiss’s New Jersey home, discovers a Kill Room, escapes being shot when Fusco intervenes. Fusco discovers that another cop who spotted the pattern between Weiss’s killings went to sleep in his garage with the car engine on. Dani goes home, wanders through a deserted apartment not really turning lights on, goes into her bathroom, strips off her t-shirt revealing her black bra. Only then does she shut the door behind her. Weiss steps out of the shadows, holding a rope by which a cop will commit suicide. But when he opens the bathroom door, Dani’s facing him with her gun in his face. And Fusco’s behind him.

Weiss isn’t done. He slams the bathroom door shut, tackles Fusco, gets his gun, is about to shoot him when Dani emerges from the bedroom, having taken the time to put her t-shirt back on (I get the modesty angle, but is this the best time, girl?) and shoots Weiss twice in the chest.

Apart from Fusco telling her she reminds him of a friend, that’s it for this part of the episode, having climbed to a higher height than at one time I expected.

Manwhile, back upstate, the Mayhem Twins discover that to pursue the trail of Shaw, they need to learn everything they can about Maple, which involves kidnapping and torturing – over Finch’s frantic pleas – the town’s public face, Leslie Thompson (Maddie Corman).

Though they have only one goal, Reese and Root can’t help but learn how thoroughly Samaritan has taken over Maple, and manipulated its people, first to happiness and now to see what happens when you take that happiness away. Maple is Samaritan’s petri dish, though the show uses the metaphor of an ant farm: it’s the microcosm that is embedded in the macrocosm.

Through Leslie, they gain access to the Carrow factory, even though Thompson will be killed for this betrayal. They shoot and blast their way in, they find that the factory is manufacturing transponders, microdots and neural implants, designed to be fitted to the whole population to enable Samaritan to observe and manipulate every human, they find the woman who was carried in the truck from the Stock Exchange. She’s got dark brown hair… but she’s not Shaw. Her name is Delia Jones and she was a secretary at the Stock Exchange. Everything, the only lead they have, was wrong. What’s that about schmuck-bait now?

Because this is the end of the trail. Root goes on a shooting spree, but she and Reese get Delia out. And Carrow pull out of Maple, leaving the town wrecked. Samaritan’s plans have been blocked. But they have no lead, no clue about Shaw. Reese recognises that there is nothing more they can do. Finch talks to the despairing, devastated Root. But she is not convinced, that is, until the Machine sends it’s one and only message, by payphone: Sierra Tango Oscar Pappa. S.T.O.P. Root says ‘Goodbye Harold’ as if it were a final word and walks away.

Shaw is gone. And the audience is treated to a final coda. Greer, in his most sinister-uncle mode, smiles down at a bed. Shaw is cynical: ‘If this is the afterlife, it sucks.’ Greer just smiles more, tells her to rest, she’ll need it.

We know, but they don’t. Schmuck-bait, but of the very highest order.

9 thoughts on “Person of Interest: s04 e13 – M.I.A.

  1. “M.I.A.” [4×13]
    Written By: Lucas O’Connor
    Directed By: Kevin Bray
    Originally Aired 3 February 2015

    “M.I.A.” completes the ‘kidnapped Shaw’ section of Season 4, for now. With two different strands. One of them I could see being adapted to an episode of the original Twilight Zone. Samaritan’s studying how humans behave. So it had decided to…rock the boat, so to speak. Make it an ant farm. It’s a very, very interesting concept. Reminiscent of it playing with New York City back in “The Cold War”. Interspersed with that is how every character is reacting to the loss of Shaw. And I think it’s exactly right for each person. Root’s desperate and will cling to any clue about Shaw’s whereabouts in order to find her. Reese is affected, but is hiding it behind his typical stoicism. Finch is trying to be logical about it, so he tries to console Root and prepare her for the worst. One definitely misses Sarah Shahi’s presence, but at least we’re getting great drama out of this.

    Back in the city, Fusco works through his feelings by doing what else but solving an eerie case of a serial killer. This was a mini horror movie in about 15 minutes, and if it started slow, it’s because plenty of horror movies have slower starts as well before really ramping up. One of the more memorable b-stories.

    Grade: A

    1. Excellent, as always. As you say, everyone responding with perfect characterisation. The Mchinwe intervening to both get its Agents back on track and to save their lives by keeping them from attempting the impossible. The mid-season phase ended, the stage cleared for the endgame again.

      1. First we’ve got to blow off some steam, so to speak. With a fun one set in a courthouse (I enjoyed that one far more than I was expecting to).

    1. Who’s after me? Oh, nobody. Except for the federal government. And an artificial super-intelligence hell bent on world domination.

  2. I love the term Schmuck-bait, which is new to me. Normally, I hate it when a show does this, but when M.I.A. aired I already knew that Sarah Shahi had to go on maternity leave and would be back as soon as she could after giving birth. So, I knew she wasn’t dead and I knew that she’d be back, if PoI got renewed for a 5th season. The renewal, not the return of Shaw, was the suspenseful thing at this point. I also knew that ratings were borderline, and the show was considered “on the cusp”.

    1. As I said, I only learned it very recently, checking something in a season 5 episode. First time round, the whole thing was a shock. I was binge-watching furiously, trying to catch up to s5 e12 before e13 was broadcast – I fell about 3-4 episodes short – and observing my strict principle about knoewing as little as possible about ever episode in advance. But it is indeed a briliant phrase. PoI gets closer to defying it than most shows.

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