Take a line from the American Constitution, add in a wedding (Ahhh), cross-pollinate it with both a seduction and the groundwork for breaking a relationship, and what we have is an episode that tries to ofer itself as a Number of the Week but which also embodies the fragmentation of Person of Interest‘s primary goals.
The wedding is that of heiress Phoebe Turner and underpaid Public Defender Will O’Brien. Finch suspects someone, probably Phoebe’s racehorse owner father Kent, doesn’t want to see Will come into a share of the Turner fortune, so he contrives, in an amusing manner, to get both himself and ‘Detective Riley’ invited to the wedding to ensure the marriage goes ahead. Root, who’s feeling lonely, gatecrashes as a supposed caterer.
The seduction is Sameen Shaw. Her rejection of the simulation has now reached over 7,000 iterations and the smooth, urbane, arrogant and utterly despicable John Greer is finally starting to realise that he’s getting nowhere. So he releases Shaw for a field trip, into the real New York. He shows her men making deals, corrupt deals that will enrich themselves but which will lead to deaths on a far larger scale than the individual lives the Machine plans to save.
And the broken relationship is Detective Lionel Fusco. Fusco’s gotten involved with the missing persons angle after last week’s disappearance of Krupa Naik. Root, via the Machine, gives him an angle, Howard Carpenter (Russell G. Jones), dispenser of permits, on the take to see these go to construction companies owned by the mob. Howard has received a permit request, no. 44802, without a payment. He’s having a meeting in the Park with Bruce Moran (James Le Gros) about the payment. But it’s not one of the Five Familes’ companies.
And so we go towards our endings. The Victim at the wedding is not Phoebe or Will, nor even her father Kent, whose house is surrounded by protesters over his alleged dioping of his horses. The doping is real but it’s not Kent but his elder daughter Karen and the victin is family photographer Maggie (Purva Bedi), who accidentally snapped Karen in the act. Reese and Root save the day.
Sameen remains resistant to this softshoe shufflle of an approach, to Greer trying to get her to see Samaritan as the good guy. But she doesn’t try to escape And then there’s a shock ending, a demonstration of the outcome from not stopping Chechen militants from bombing the Russian Consulate; a hyper-rapid escalation to all-out War and a nuclear weapon strike on NYC. Because this too is a stimulation, one in which Shaw hasn’t died by her own hand.
And Fusco, patient, persistent Fusco who’s had Bruce plant in his head the idea that his loyatly might be misplaced if it’s given to two people who have never told him the truth, good cop Fusco traces Permit 44802 to the demolition of an underground tunnel. Where he finds dead bodies, laid out in a row like the photographs on his pin board. Carpenter’s there. So too is Krupa Naik. But the first one he sees is Bruce Moran. And then the demolition starts, with Fusco still inside.
One last scene, back at the Wedding. All’s gone well, the day’s an idyll, Karen hasn’t spoilt it. Root asks Harold to dance. She tells him she knows his experiment with the baby AIs is not going well, that the Machine is losing heavily. Once again she urges him to make the Machine open, give it the tools it needs to survive. Once again he is cautious, fearful of how having such a Machine might corrupt him, them.
Three faces at a table, relaxing with fine bourbon, enjoying a wedding. Three faces fallen in anticipation of the crash that is to come. There is no room in the world any more. Everything has gone wrong. And seven weeks to put it right.