Person of Interest: s04 e20 – Terra Incognita

Now? Then? When?

We’re now only two episodes from the end of Person of Interest‘s fourth and last full season. Based on the pattern of the past two seasons, I have long been expecting some form of overriding arc but this has not materialised, except in little, background moments. Against such concerns, ‘Terra Incognita’ is an unusual choice of story, coming so late and, except in a little-pursued B story that occupies Finch, Root and Fusco, in keeping them off screen, is detached from any progress. And it’s one of the best, most deeply hypnotic, and saddest episodes ever produced.

The episode digs into your emotions in several ways. It lays John Reese bare for us, and shows us the man, the living, feeling man, beneath the hard-armoured shell that he wears to allow no-one near him. It brings back Taraji P. Henson as a guest star, for what is essentially a two-hander, to remind us of how much we miss her, and to point to a present that never existed, a phantom limb of life never expressed, a could-have-been that never could have been. And it points to a future that never would be, a phantom path through the woods ahead that had to be choked off the minute Person of Interest received a qualified, do-what-you-can-with-this renewal for a half-season to bring it all to an end.

The structure combined undated flashback, a present winter day and hallucination that allowed those so minded in the audience to incorporate the supernatural.

It began in the past, Reese and Finch on stakeout over a number, a bar owner in danger from HR. There’s a third person in the car, Detective Joss Carter. Finch leaves to walk and feed Bear. Reese and Carter talk as they wait. Or rather they don’t talk. Carter wants to know more about the Man in a Suit, who he is, what and why.

In the present, two members of the Brotherhood are shot dead without Numbers coming up. Is the Machine defective? No, it was murder by oportunity, not pre-meditated. A hint, no more. The Machine has been distant this season, in hiding, delivering mainly offscreen. We see everything through Samaritan now, though there’s one brief moment when the Machine’s eyes become ours again.

But there is a number and John Reese makes it his own business, his and his alone, all others excluded. Because Chase Patterson, former junkie, suspected of killing his parents and sisters, is a cold case, removed to the freezer when he fled the country. He was Carter’s case, her first, working with Detective Tierney. Hohn wants this to himself, to close the case in Carter’ honour. And to be close once again to the woman he liked, admired, felt an affinity for and who, in another life without the walls he has built, scared and alone in War, he might well have fallen in love with.

Reese follows Carter’s trail, the episode flipping between then and now, distinguished by a colder, bluer, more washed-out colour scheme for the past. it ends at a remote family cabin, in the snowy Catskills, off grid. No-one, not even the Machine, knows where John has gone. Long ago, Carter disturbed the real killer, who didn’t have the courage to kill a cop. Now, Reese finds Chase and the set-up for murder by drugs overdose. This time, the killer shoots John, badly.

The killer? An out-of-left-field older half-brother, son to a mother abandoned by Chase’ father for the woman who was Chase’s mother. An embittered psycho, of no importance, a nobody, a nothing. is this going to be the man who kills John Reese?

Another flashback to Reese and Carter, on stake-out, in the car. John unbends to start talking about Jessica, the real and unbelievably sad reason why he pushed her away, the woman he loved and who loved him. This cannot be fiction, it cannot come out of even the most sophisticated and deepest of writers, only real life can produce thoughts like this: two dead platoons, one from each side and every man carries a picture, a girlfriend, wife or kid they would never come back to, and the man who would become John Reese thinking that if he had no picture, no future he longed to last to see, it might make him more invulnerable. The heart cries at that thought.

nd we realise that we are no longer in the flashback, that like the Pacific Ocean canoists and the NASA astronauts in Pete Atkin’s ‘Canoe’, we have moved between times. John has killed the killer. He has broken into Chase’s car for refuge. He is bleeding to death, though he’ll die of the cold far sooner. And Joss Carter’s next to him, digging at him, poking and prodding, continuing a conversation they never had in life, despite John’s hazy recollections, opening him up. Keeping him alive long enough for someone to come out and find him.

Is Carter really there? Is John so close to the border with death that she can come back for a time, fighting to keep him from crossing over? Or is John’s mind constructing for him an hallucination, by way of self-preservation, not merely of his body but of his… well, would you call it soul? Forcing him to understand that he cannot remain so detached, so concealed from anyone and everryone that he is literally killing himself, seeking a death that he sees as inevitable, determined from the start?

There’s a mention of his psychologist, of Iris Campbell, a story that would have gone far further in the season 5 that wasn’t to be and which had to be abandoned, as we shall see in the season that was. Phantom relationships, stretching forwards and backwards. Elsewhere, people are looking for John. Headlights approach. he won’t die. Neither will Chase Patterson, who will reach a hospital before the pills his half-brother forced him to take can end him. No music, just a fade to a Person of Interest caption card.

And a long, silent ascent towards our own reality, full of thought.

7 thoughts on “Person of Interest: s04 e20 – Terra Incognita

  1. “Terra Incognita” [4×20]
    Written By: Erik Mountain and Melissa Scrivner Love
    Directed By: Alrick Riley
    Originally Aired 14 April 2015

    A very out-of-the-box episode of Person of Interest this week. Have you ever seen an episode of tv quite like this one? I haven’t. And yet it is certainly one of the best, most affecting stories the series has ever done. The only problem with it is that it could have been placed earlier, which perhaps would have made the season’s pacing flow better. We begin this week in media res with a single gunshot, though it is not clear at first. Flash back to Reese reflecting on his time with Carter at an unspecified point early in Season 2. Of course, eventually, the present day leads to back to that single gunshot, and his ‘memories’ become hallucinations, and BAFTA award-winning director Alrick Riley makes it subtly clear on re-watch as the two timelines blend together to form one coherent argument made about the show’s main character. There’s a point in which the color of the flashbacks becomes tinged with grey–that’s when he starts hallucinating, and shortly after that, Carter mentions his therapist girlfriend which she would have no way of knowing. It’s tragic that John Reese can’t open himself up to others, but so be it if we get haunting, beautiful character studies like this one. This has been building in the background since Carter’s death, really, but especially in Season 4, when the writers shifted focus back to him (he got a bit shafted in S3 after 4C).

    Grade: A. Near perfect. Resolution of the case’s mystery isn’t great, but it is also tangential to the main point of this episode, so…big deal.

    1. I don’t usually comment on your grades because my mind doesn’t work that way, but you are 100% right. The case is a Macguffin, appropriate but unimportant, a shadow cast by the story we really watch. Earlier in the season? Maybe. But as a lead in to ‘Asylum’, and the pace struck up there, unimpeachable.

      1. Oh yeah, you got to watch ‘Asylum’ this morning. The show never disappoints when it comes to season finales, eh?

  2. Terrific episode. I’m trying to search my alleged memory. I was in a pretty active FaceBook PoI Group and I kinda think that even by the filming of this ep Jonathan Nolan and his team didn’t know if the show was going to be renewed. I know that the renewal came very late, because CBS was really debating it, but I don’t remember for certain HOW late. CBS pulled the same crap with The Mentalist, another cusp show with a small, but devoted, following. That got renewed, also for a short season, AS they were filming the final ep of what turned out to be the penultimate season. Watching it, it looked a lot like a series finale. Nolan had more faith, or knew earlier, and didn’t make that mistake. My wife was a big fan of The Mentalist and had a serious crush on Patrick Jane, which was only fair because I had serious crushes on BOTH Root & Shaw (and on those actresses dating back respectively to Angel and The L Word). When Root is blazing away with handguns in both hands, I get weak in the knees!

    1. According to Joe\Y,and I’ve independentlty confirmed this, the season 5 order wasn’t made until a week after the season finale was broadcast. If Nolan knew, or had very well-placed spies… Persionally, i think they gambled.

      I’m sorry your wife was disappointed over The Mentalist. How manyseasons did that run? Two? I think that PoI’s longevity to date helped it. DVD box-sets make for a long tail,bringing in income long after cancellation, and it seems obvious to me that a series with an ending will attract more buyers than one left open-ended Hence a greater likelihood of getting at least a part season in which to wrap things up.

      With you on Mesdamoiselles Acker and Shahi.

  3. I really wish I had something more insightful to say about this one….but it’s hard. It really has to be seen to be believed. POI goes full art-house cinema, but as usual it’s perfectly lucid and clear in what it’s doing, even if the structure is incredibly intricate. Just….ugh.
    “Will you stay with me? Just for a little longer?”
    Stop cutting those onions Martin.

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