Person of Interest: s05 e13 – Return 0

This is the third time I have watched the final episode of Person of Interest. I have watched it desperate to see how it all falls out, I have watched already knowing what fates are determined. This is the first time that I have forced myself to wait a whole week before watching it. This has, as I suspected, been absolute torture, but you should keep your promises, especially those made to yourself.

It’s been torture because I know what happens, especially in two moments where I am bound to cry. I know a man ain’t supposed to cry, Marvin Gaye sang, but these tears I can’t hold inside. And as the years go by and this world gets ever darker, the vulnerabilities build up and fiction touches me in ever deeper places, places I no longer allow reality to encroach upon. I know I am going to be awash with tears as John Reese and Harold Finch meet their inescapable fates. I know when, and why, and that my response is uncontrollable.

We begin at the beginning, Amy Acker’s words as delivered at the start of the season: If you can hear this, you’re alone. The only thing left of us is the sound of my voice. I don’t know if any of us made it. Did we win? Did we lose? I don’t know. Back then, we didn’t know who it was that spoke them, or why, or when.

Begin on a rooftop, with Harold Finch, clearly in pain but under rigid self-control. He has the suitcase, the one that contained the compressed Machine. He has eight and a half minutes until something is overhead. We do not have to wait to see that he is bleeding from a gunshot wound in his belly to know that he is dying, because he is talking to a voice in his head. The voice of the Machine, the voice of Root. It too is dying. Harold Finch sees and hears his creation as Miss Groves. Who tells him, even as all knowledge and learning fades away, what she has learned, about human beings, about what they are and who they can be and how you can’t tell until their end. Everybody dies alone.

And the faces roll by. John Reese, kneeling with a gun to the back of his head. Lionel Fusco, clutching at two holes in his stomach. And Shaw, staring at a gravestone marked only with a number, the last resting place of Root.

It’s all crumbling. Ice9 is spreading. Everything has gone to pieces. John is outed as the Man in a Suit, but the Police plan to execute him and Lionel, until the final shots from offstage, across the harbour, a sniper freeing our two men to follow Finch back to the subway, there to divide into two missions, to divide forever.

Samaritan is trying to preserve itself, a duplicate in an air-spaced server, impervious to the virus. Using the pretence that he is carrying a thermonuclear device, Finch gains access to the server and uploads Ice9. Desperately, Samaritan creates and despatches duplicates. Finch intercepts them all, except one. It will be uploaded to a quarantined satellite.

The only last defence is to upload the duplicate of the Machine to the same satellite, there to fight Samaritan. It has lost billions of simulations: this time it can’t afford to lose. And though Finch has forgotten, it has Root’s modifications, giving it the power to fight. As soon as the upload is done, the building will be destroyed by a rogue Cruise missile. So that only he will die, Harold barricades John in to keep him safe.

The other two, Sameen and Fusco, have been left to defend the Subway, the Machine itself, that stranded Subway train carriage. Samaritan’s men, led by Jeff Blackwell, will attack. The Machine intervenes: the train is live and so is the Tunnel behind the wall. Blow it up, ride away. Blackwell gets on board, shoots Shaw in the arm, is taken out by Fusco.. Shaw examines his bag, forms the impression he’s shot a friend of hers… but as they reach the next station, Blackwell pulls a knife from his boot, sticks Fusco in the gut, twice, runs before Shaw can shoot him.

So we come back to the rooftop on an early, bright morning, Now we know why. Harold the Fisher King, lame from the beginning, wounded honorably. Hallcinating his Machine. Only the Machine has been doing one last job. It has been distracting him. Distracting him from realising that the aerials on the rooftop the Machine has led him to are not sufficient. Not like those on the taller building across the street that he now doesn’t have time to get to. On which stands another man. It is not Harold who will sacrifice himself today. John Reese has had his own deal with the Machine. He is going to pay it all back in one go.

It’s the end of his course. John Reese is going to die now and we are going to watch him die. No bullets will be fired from offscreen this time, no deus ex machina will plot a miraclous escape. Greater love hath no man.

And they come from two directions, and John spins and shoots. The upload goes into space. Harold has left, in time to seek medical aid? But at last a bullet hits Reese. Then another. What Harold the mysterious stranger said in the opening episode comes to pass. John Reese has gone beyond all further regrets before the cruise missile vaporises the rooftop he went to on his final job.

And Samaritan tries to establish itself on the satellite, but the Machine has followed it.

Did we win? The cybercrash is over, and the recriminations start. Senator Garrison, trying to avoid responsibility, claims the threat was of Chinese origin. Oh no it wasn’t, the committee chair contradicts, it was Northern Lights. Either way, it’s moot: the programme is defunct.

Jeff Blackwell packs to go away somewhere, very rapidly, but not rapidly enough. Sameen Shaw enters his apartment. He tries to explain it was nothing personal, just a job. Shaw agrees. She used to do jobs like that. In fact, before she met some people, good people, she would have just shot him. I’m sure they wouldn’t want you to do this, Blackwell tries, hopefully. They wouldn’t, Shaw agrees. But they’re all dead. And she shoots him dead.

Fusco survived too. He and Shaw meet for what’s probably the last time. She comes to collect Bear.

For the third time in this final episode, we witness a small boy standing rigid in the rain at his father’s funeral. His father died a hero saving lives. We cut to the grave of another military man, died 2005: Lawrence Dixon, who ‘died’ when he went into Black-Ops.

The phone rings in the abandoned Subway station. Amy Acker’s voice repeats into a tape-recorder. And screens begin to run, programmes run, a new mission is requested.

John Reese is dead. In a bar in a computer memory, a cop who has had to deliver his thirty fifth message of a death, listens to his partner surmise that everyone dies alone. Except, he says, if someone, even if it’s only one person at all, if someone remembers you, maybe you don’t really die at all. And in Italy, Grace Hendricks is painting with calm and concentration. A man stands looking at her, a few yards away, waiting for her to look up, and recognise him.

And if I can see anything at all by now, so overwhelmed that I am, I see Sameen Shaw, walking Bear in Times Square. A payphone begins to ring. She stares at it, crosses and picks it up. She listens hard. She puts the phone down and starts to walk away. As she does, a smile comes to her face, such a smile as Sameen Shaw has never smiled before.

This is our future. Make of it what you will. And thank you for following me these past two years.

Person of Interest: s05 e01 – B.S.O.D.

[beep] If you can hear this, you’re alone. The only thing left of us is the sound of my voice.

I don’t know if any of us made it. Did we win? Did we lose? I don’t know. I’m not even sure I even know what victory would mean anymore.

But either way, it’s over. So let me tell you who we were. Let me tell you who *you* are… and how we fought back.

It begins at the end, the very end, twelve long weeks from here. Root’s voice, in darkness, coming from a telephone message to an abandoned, almost destroyed Subway. No equipment, no people, a demolished wall… no train. Then we pull back to start the full story of how we got from, here to there. And where there is.

BSOD stands for Blue Screen of Death, that fatal error screen that suddenly screams out of your laptop. I didn’t know that before starting to watch this episode so I didn’t know its appropriateness to this episode. Originally, this was not broadcast until almost a year after the final episode of season 4 and though it starts almost immediately after that, it doesn’t fel like it. There’s a massive urgency to everything and this is because the name of the game is now survival. Reese, Finch and Root are classified as Enemy Combatants, assassins and death squads are tracking them, the Machine is a set of RAM-chips in a damaged briefcase and can offer no aid let alone protection. Run rabbits, run.

Manwhile, Fusco is investigated by IAB  Detective Soriano (Ned Eisenberg) and FBI Special Agent LeRoux (David Aaron Baker) on suspicion of killing Dominick and Elias. He idn’t, we know that, but nobody believes him about the rooftop sniper, Reese asks him to pay this down and an FBI ballistics report that LeRoux won’t let Soriano see, ‘confirms’ it was Fusco’s gun: he stopped  major crime figure fleeing custody: he’s a hero.

He also finds the sniper’s casing on the rooftop afterwards. And the dissatisfied Soriano, re-classified by Samaritan as an ‘Obstructionist’, dies of a heart attack. We understand that it wasn’t natural.

But what of Reese, Finch and Root? And the Machine, compressed into a supposedly indestructible briefcase whose battery has been damaged and is dying. The first two team up and make it back to the Subway after a couple of adventures: a trip on the East River Ferry brings flashbacks to Harold of Nathan Ingram’s death and the vending machine that, Batman-style, conceals their access to the Subway is being serviced. Reese drives forward, obsessed with restoring normality, getting back to the Numbers. But once ‘home’, the problem of saving the Machine arises. And they are too late and they don’t have the equipment…

Root’s on a different path, much more of a chase sequence, that leads her to an old client who really doesn’t get what’s going on. He thinks it’s a better deal to sell her out to Samaritan. Is there no honour among thieves any more? Because everyone knows from Second One that the price he’ll be paid will be measured out in lead, not gold. Still, John’s here for the deus ex machina rescue, but Root wants to take a little souvenir back with her: 300 games consoles.

Finch’s though is the loneliest path. He has to try to save his child. There are flashbacks, to 2006, steps in the creation of the Machine or rather reservations and limitations leading to the dumping of all the Machine’s memories every night. Nathan protests the step, warning that if Harold doesn’t create the first free and unhindered AI, someone else will. Grace Hendricks tells him to follow his heart. The Machine in its last moments, reminds him that losing its memories is the same as the ‘death’ of Harold’s father, longer than its 25th Anniversary of the death of his body, but rather when the Alzheimers took his memories. Alea jacta est: the die is cast.

And in 2015, Finch tries to save the Machine by reviving its batteries. It gets iut, it tries to decompress but there is no room Finch pulls the plug. But 300 games consoles can be wired up to create a super-computer big enough to house the Machine. Finch apologises to her, saying that he would not make certain decisions the same now. It comes on-line. “Can you see me?” he asks.

More next week.

Person of Interest: s03 e21 – Beta

There are defeats and there are defeats, and more of them as this pivotal season closes in on its end, but this is one of the hardest of them to take. Finch has gone missing since refusing to condone killing to save the Team. Reese and Shaw, unable to find him, are continuing to deal with Numbers.Samaritan has gone live for its Beta Test: 24 hours of feeds in New York. It’s public objective, for Senator Garrison, is to find a terrorist, just as efficiently as Northern Lights did.

It’s real task, for John Greer, is to find Harold Finch.

That’s going to be impossible with Samaritan in its infancy. Fincvh has gone inside a black hole and drawn the entrance inside after him. Root can intervene with Reese and Shaw to alert them to Decima execution teams waiting to ambush them, but she can’t find Finch. Very well then; if Finch himself is invisible, let us search for the next best thing: someone close to him, someone who matters to him. Straightway, we know who that is. Grace Hendricks.

The action in the episode is in trying to keep Grace from being kidnapped, but that proves beyond the headless Team Machine. Greer has grace but he doesn’t know what he’s got. He can produce a record of every little piece of her life but he can’t find out why she has been identified to him by Samaritan until, almost at loss, she mentions having once been in love, with a man who is now dead, but whose body was never found. And Greer has it. He has the late Harold Martin and he knowswho he is.

There’s a moment of irony. Grace tells Greer what Harold meant to her, and angrily denies that he ever lied to her. It is a moving, passionate moment, as she talks of living with an alcoholic father, becoming attuned to detecting lies, growing up mistrusting everyone about her, except Harold. It’s defiance and defence in one, but it’s also unknwing denial because we know Harold did indeed lie to her, about everything but one thing, the thing that mattered.

Greer has his lever and demands a meeting, 7.00am on the Jefferson Bridge, a trade-off. Finch reappears, on Grace’s doorstep, having finally realised her danger but far too late. There is only one course: we will surrender himself. All that matters is Grace. She will be saved. Reese and Shaw and Root and Fusco will not fight. He would be obliged if they could avoid violence if at all possible.

And Finch has his own way of saying how much he is in love with Grace. If she is hurt, if they harm her in any way, they are to kill them all.

So the handover proceeds. Grace is blindfolded so as not to see Finch. As they pass, she stumbles and he catches her arm to steady her. She thanks him. He says nothing. All is arranged. A job in Italy that she had been invited to apply for is hers, under a new name. A new life, a new start, get out and don’t come back. She asks Reese if he knew Harold: he tells her that all he knows is that she loved him, and he loved her.

The Beta test is over. It’s nearly a foregone conclusion that Garrison will ensure Samaritan is hired. Finch is a captive, Greer has waited a long time to meet him. But Root has stolen seven state-of-the-art super-conductors from Decima, imtended for Samaritan, diverted by her. It’s not over yet. It’s not over, yet…

Person of Interest: s02 e21 – Zero Day


So, this is where we come to the end of the beginning, the first of a two-parter to end season 2 and change things for ever. The guest list runs on forever with names we know, the action is low-key but non-stop, the accent is on apprehension, the Machine is on the fritz, cracking in Finch’s opening monologue, breaking it down, breaking down. It’s Zero Day, the day Decima’s virus goes active at midnight and all the rules come up for re-writing.

There’s a nervy edge throughout as the Machine’s constant insertions flash, split into code, blur the sound, racket crazily about until you’re twitching just from watching it. Reese is twitching: there have been no Numbers for ten days (nor any Relevant ones either as ‘Miss May’ – our dear pal Root – deploys an unusual method of handing in her notice to Special Counsel). Reese is reduced to ‘ambulance chasing’, following the Police bands. He’s too late for this one, two Elias men, one innocent, but gets to speak to Carter, who’s determined to bring down HR, a decision that will have consequences for her.

But the game’s on, a Number forced out, Ernest Thornhill, millionaire owner of payphone companies, who seems to operate wholly on-line, whose company employs people to spend all day copying code out of one computer and typing it into another. Thornhill (are we remembering North by North-West yet?) even hires a car to drive nobody back from the airport, a car bombed by a drone, a drone set up by Decima Technologies.

The Machine, reeling it seems, goes into flashback mode. A whole Finch tells Nathan Ingram that he plans to ask Grace to marry him on her birthday. Nathan’s engaged in rebuilding the company after seven years non-profit work developing their ‘project’. Nathan’s also engaged in drinking a lot. It’s day 1 of a new life for Finch: no, the engineer in Finch corrects, Grace’s birthday is tomorrow. That makes today Day 0.

There’s a complication, brought up jocularly by Nathan, but there’s something else under his voice. Under what pseudonym will Harold marry? Will Grace become Mrs Ostrich? But Harold is intending to become his real self again, for the first time in a long time. That will cause certain legal problems. It appears Harold’s real self is still wanted for youthful transgressions: sedition, mayhem. Still, the company can afford good lawyers…

And Harold proposes to Grace, as far away from surveillance cameras as he can, and out of earshot, the whole bended knee. And she accepts.

Everything is turning, falling in upon itself. Root calls Finch on his mobile phone. Time is running out. Whatever’s going to happen will happen at midnight. Everyone except Harold seems to be in urgent mode. Only he knows better.  But despite John’s insistence on protecting him from the ingenious hacker, Harold goes to a meeting with Root without telling. He has to: it’s outside Grace’s home. Root has made friends with Grace.

So Harold Finch unwillingly starts working with Samantha ‘Root’ Groves. And, following the trail of Ernest Thornhill, a ‘ghost’, a non-existent person created as a front, John Reese starts working, a little less unwillingly, with Sameen Shaw, who’s still following Root’s trail.

Things start to converge. Finch spots Nathan Ingram acting suspiciously, follows him to his ‘lair’, a disused Library, discovers Nathan and his back door into the Machine, his non-Relevant numbers, his less than fifty percent success rate (hence the drinking). Finch is stern in his opposition to this use of the Machine, obdurate in the face of faces who will die without intervention, callous in his assessment of Nathan’s remaining skills, and permanently shutting down the access. Out he storms. The last Number the Machine issues before it shuts down is Nathan Ingram.

Root knows far more than she should about the Machine. Decima knows a hell of a lot of it too. At midnight, the Machine will shut down. It will undergo a hard reset and call a payphone. Whoever answers will be given total access and control over the Machine. Decima know this. Decima wants the Machine. They’re guarding all the payphones, they want ‘Thornhill’ dead because ‘he’ owns them. Reese and Shaw, tailing Finch and Root, meet Greer, a confident, dry, wholly composed Greer, who drops a bombshell: their virus was built from code in a briefcase, the briefcase, the Ordos briefcase Reese and Kara Stanton were supposed to retrieve/destroy. The creator of that code was a man called Harold Finch.

Meanwhile, Carter’s being taken out of the game by HR. Terney has a lead on Beecher’s shooter, but it’s a set-up, a raid in which he’s meant to kill her. But a shooter appears before them. Carter draws and kills him, a good shoot. But not when IAB arrive, and both the gun and Terney’s recollection of seeing it disappear like the morning mist…

And Root and Finch, ten minutes ahead. Finch is confident. Yes, the Machine will call a payphone at midnight. But only he knows which one. Except that Decima know it too. And there’s more. Root realises that the print-outs, the endless code recycling, ae the Machine’s memories. To limit the Machine, Finch programmed it to dump all its memories at midnight. Every day it is reborn. Root’s horror infects us. Every night, Finch kills the Machine. We anthropomorhise as much as she does, see the Machine as a person, not a thing.

It’s almost midnight. Appropriately, the payphone is in a Library. Everybody’s headed there. Root is determined to take the call, to enter God Mode, to free the Machine. Reese and Shaw are shooting Decima bad guys. Harold diverts the call to the payphone he and Root are at, by rewiring the junction box. At midnight the Machine shuts down. Two payphones ring. Root answers one, seems pleased with what she hears, drags Finch off saying that the fun starts now.

The other is answered by Reese. The voice of the Machine asks, “Can you hear me?”

On original broadcast, the audience had to wait seven days for the second part. Now, so do I.

Person of Interest: s02 e08 – Til Death

Marriage guidance…

Would you believe that a high-concept, high-tempo, action-thriller procedural could successfully tell a story about love? The evidence is here in the latest episode of this Person of Interest re-watch, one of which is a moment of fate, moving someone’s life off the trajectory it occupies, towards a destiny impossible to suspect from here.

The episode began with a flashback to 2006, picking up on the last flashback two weeks back. Harold has begun to see Grace Hendricks. They talk in a bar, halfway between a confident surface and a nervous interior, sharing thoughts and experiences, far more than we’d ever expect to see from the seclusive Harold. The flashbacks will multiply, show us more of their courtship, ending with thir first kiss. Michael Emerson and Carrie Preston bring to these scenes a depth of emotion that is more than acting, being married in real life.

That first flashback cuts back to 2012, and Harold walking Bear in the Park, the one just outside Grace’s home. He keeps his self-imposed distance as she descends her steps and sets off to where she intends to paint. There’s a moment of simple symbolism as a payphone rings, delivering a new Number: by the time Harold can re-direct his attention to Grace’s progess, she is gone.

The Number is the second love story, though that should be Numbers, two of them, Daniel and Sabrina Drake (Mark Pellegrino and Francie Swift), husband and wife, of differing backgrounds, rich, joint CEOs  of a small but successful Publishing Company facing a buy-out offer. The Drake’s are divided on how to respond to this offer: he, take the money and run, she, fight to retain control.

There’s an obvious external threat to the Drakes, but this is the red herring. The twist in the procedural is that Daniel’s hired a killer to off Sabrina and Sabrina’s hired a killer to off Daniel. We should have known: after all, they bicker all the time only it’s not bickering. This is a couple in whom love has turned to hatred (the second flashback involves Nathan Ingram, reading the reason for Harold’s inner glow, but relating an awfully painful account of meeting his ex-wife, at a wedding, for the first time since their settlement, and concluding that there is a thing worse than love turned to hate, and that is love turned to indifference. He’s right, you know).

Lamenting that the Drake’s couldn’t just have gone to marriage counselling, and rejecting Harold’s suggesion that they let them get on with it and go help someone deserving, John needs to devise a solution that not only stops this over-privileged pair from killing each other today but stops them wanting to kill each other tomorrow. The violence part is easy to accomplish, but John procures the other by locking Danny and Sabrina into a larder and leaving them with nothing to do but talk: overdue talk about a miscarriage, about misunderstood motives, about silences in which the wrong words form in mistaken minds and a narrative based on what people resent instead of what they really mean slowly firms into what we’ve seen.

The Drakes are last seen getting arrested, each defending each other, summoning high-power lawyers: a short sentence and a long renaissance of the love that was always there, re-exposed to the light. A bit simple, a bit optimistic, but the ending we wanted and beautifully performed.

These do not exhaust the stories on hand. Fusco’s getting shifty refusing to answer John’s calls, something’s going on. Indeed it is: Fusco has a date, a blind date with Rhonda (Tricia Paoluccio), an attractive but not spectacular woman who, wenttheir dinnr is disrupted by a summons to work (from Finch), comes along and has a great time. It ends with a goodnight kiss. But it ends: Rhonda never returns.

Detective Cal Beacher (Sterling K Brown) does. Thus begins a momentum none of us can foresee. Ironically, it’s Harold who starts things, who is the pebble, sending Carter to Beacher for information on the cheaper of the would-be assassins. Beacher likes the look of Carter. She owes him one. Normally, he’d ask for a bottle of liquor, but in this case he’d like a date. So too would Carter. Threads, streaming out into the future. Love. The lack of it. Kisses that begin things, kisses that end things. Talk is cheaper than assassins. Grace Hendricks and Harold Finch, on their way to tragedy.

Love is such a small word for something that is so vast/for in it lies the future, the present and the past (c) Alan Hull.

Person of Interest: s01 e22 – No Good Deed

Grace Hendricks

It’s a measure of the confidence – and security – that a strong first season brings that Person of Interest can invest in its own future with a strong episode like this one, that enlarges the show’s mythos in so many ways, doing so by fractions and implications that raise questions, the answering of which will take time, a lot of time. The show knows it has that time.

In addition to stirring the pot in such a fashion, the episode also introduces two new characters, both of whom will recur in future series, having a substantial role to play in the show’s gradual but inevitable transformation from procedural to a complex and thought-provoking extrapolation on our near future.

At the outset, John Reese is tailing Harold Finch, still trying to find where his secretive partner lives. Like Fusco before him, he gets nowhere. He does see Finch appear to take a call at a public telephone, or rather listen to something. Almost immediately, Finch contacts him to say they have a new Number.

This is Henry Peck (Jacob Pitts), a quiet, thirty-something Stocks Analyst who lives alone and has a higher level of personal security than anyone to date. This is because he is not a Stocks Analyst but an Intelligence Analyst working for the National Security Agency: a good one as well. Reese recognises the set-up the moment he tries to get into the building: not many attractive young Receptionists hold 45s under the desk on their unexpected visitors.

Henry Peck’s life is about to change drastically. The Police enter his apartment, find a stash of drugs planted there, the arrest has him placed on administrative leave, he’s wildly trying to contact various figures, among them an Alicia, and when he goes home, there are pills and booze everywhere and a Government assassin waiting to make it look like an accident. Why?

Because Henry Peck has noticed an anomaly, sixnames added without his knowledge to six of his reports, all figures involved in major terrorist activity. 100% accuracy. Peck analyses how this could have come about, and starts asking question. The only way this could happen is as a result of massive – and massively illegal – surveillance. Peck is asking questions about the Machine. Which means that if Reese and Finch are going to save him, they must do so at a distance. The more Peck learns, the more danger he’s in. Not just him but anyone he comes ino contact with. Peck is like a virus.

Here, let us divert to the flashbacks, to 2009, to an uninjured Finch and his friend, partner and ‘Corporate beard’, Nathan Ingram. It’s the eve of handover: tomorrow, the Machine is sent out as six train carloads of decommissioned computer eqipment that, at a given and unknown point, will be diverted by the Government, operating via Alicia Corwin, to the intended and secluded home where it will operate. Alicia meets Nathan for drinks; she’s nervous and jumpy. That transmits itself to Nathan. He talks to Harold about a failsafe, a means of shutting the Machine down if it is being abused. Harold dismisses his concerns: he has built the Machine to be infallible, impervious, immune to alteration. At night, Nathan reactivates the Machine, to add a new programme. Titled ‘Contingency’.

In the present of May 2012, it is of course impossible to save Henry Peck without getting up close. Peck’s running wild though, unwilling to trust anyone, constantly disappearing. He speaks to Alicia, who is as we expected Alicia Corwin, who in paranoid manner, ‘explains’ things by the word ‘Sibilance’ (code for an NSA security sweep) and simply tells him ‘Run’. He also contacts the office of Special Counsel, the Washington office that protects whistle-blowers and the like. A man we will only ever know as Special Counsel (Jay O. Sanders) identifies Peck’s co-ordinates and puts the assassns back on him.

There is only one solution. Peck proposes to go to the Press (Special Counsel orders the reporter be killed as well). To prevent everything, Finch himself goes to the meeting, at a table at an outdoor diner. He confirms Peck’s suspicions, that the Machine exists. He hands him a clean passport, plane tickets and bank details for a well-funded account, and tells him to find his own secrets. And Finch confirms he built the Machine.

Secrets. There’s still a coda, and little hints have been dropped here and there. Finch’s seeming difficulty with humans as opposed to machines. Nathan’s jocular reference to Harold finding someone. Reese finally picking up a trail: multiple copies of the same magazines, coffee cups from the same vendor. He finds a house, a fine house in a nice, central location, Finch’s home.

But it’s not. The sole occupant is Grace (Carrie Preston, Michael Emerson’s wife), an attractive redhead. She’s an artist, draws magazine covers. She’s outmoded in this digitalage, but every time she thinks she’s run out of jobs, another commision comes through: she has a guardian angel. She also has a photo, of her with Harold. He used to live there with her, but noot any longer. She lost him, an accident, two years ago.

John leaves, feeling a little guilty, at having pried. Harold is sat opposite. Whilst he doesn’tregret building the Machine, he didn’t realise until too late the personal cost. He has built an app that warns him if he gets within 100m of Grace. They think him dead, and so her life is safe. Nakedly, for once, Harold quietly speaks of having four years of love, and how some people get only four days.

As he walks away, we flashback, this time only a matter of hours. Finch sits with Peck in an outside diner. On another table sits a directional microphone, pointing at him as he ttells Peck that he built the Machine. We pan up, slightly. The microphone is being used by Alicia Corwin. The look on her face is shock. And terror.

It’s the last episode of season 1 next week, and there is an immediate response to a part of this episode. But most of it is trails. I know where these lead, but it is less than two years since I first watched Person of Interest, bombing through season 1 in less that seven days. I know where these trails lead. I know what we have yet to learn. I know fates and outcomes and who has yet to become part of the story. We are now beyond the ‘mere’ Number of the Week, though the show’s great gift is that these will come and come and come, without fail, and that they will branch into the overarching story, and amplify it. The procedural is not dead, but it is no longer in isolation.

Next week:the first season finale. And the first cliffhanger.