Person of Interest: s02 e19 – Trojan Horse


Despite what you think, this womanis not the trojan

This episode was like falling down a very deep and dark well, so deep that you haven’t landed in the water when it comes to an end. It begins with a death and it ends with a death. And it’s a narrowing of threads to pass through the eye of a needle. Though it may not appear such on a first viewing, this is the one there’s no going back from.

Centrally, there is a Number of the Week in Monica Jacobs (Tracie Thoms), software expert, rising star at Rylatech, a walking powerhouse. The astute viewer immediately picks her for the ‘her’ who is digging into the death of Justin Lee and who has to be stopped. This one’s Finch’s job, undercover as an IT expert and developing a bit of a crush on Monicca’s elegant mind. This is because Reese is on a mission already, staking out an isolated house and a ‘quarry’ that’s carefully not identified as a Number, because it turns out it’s not. I admit to not immediately picking up the significance of the letterbox name of Cole.

At Rylatech, Monica, who’s been there ten years and totally committed to the company, is carrying out a surreptitious investigation into Lee, a young engineer killed in a car accident a week ago. Lee, it transpires, is a fake, a plant sent in to, presumably, steal confidential information and designs. For bringing this to the attention of Ross Haskell, head of R&D, a mass of fake information pointing to Monica as the mole is dropped electronically into her phone/schedule/records and she is promptly terminated (no, not with extreme prejudice), publicly demonised as a betrayer of what she sees as her family, and thrown out of the building.

Monica’s at the centre but there other lines developing of too great a substance to be called peripheral. Harold plays chess with Elias, who makes the board a cryptic symbol by removing several of his black pieces and providing extra white pawns to Harold. Two of the removed pieces represent the DA and Detective Szymansky, murdered last week by HR to advantage the Yogarovs, Elias’ major rivals. It’s an imbalanced game with only one outcome foreseeable, but Elias is playing a game of his own. He will play another chess game later.

John’s in the woods staking out the home of Mr and Mrs Cole, parents of Sameen Shaw’s ex-partner. The Government have smeared Cole as a Domestic terrorist and John’s watching against the notion that the parents will be tken out as well. Shaw’s thereas well, disarming him and sending him on his way curtly, but not before expressing a minimised disgust at her former employers dirtying Cole’s memory for his parents. John reminds her that they may walk in the dark but they don’t have to do so alone.

And at the Library, Harold looks up to see Shaw walking in. He’d given her his number to be contacted, though he’d imagined she’d call. Shaw’s making a point abut how unpleasant it is to be stalked, but she’s actually turned up out of gratitude. A story has been planted in the paper, ‘leaked’ by a non-existent operative, that Cole was a CIA Agent who died heroically, combatting domestic terrorism. In her repressed way, Shaw is saying thanks. And she’s still not taking up Finch’s offer of a job, but she does take an interest in Root, together with her photo and the list of aliases Finch has collected. Shaw needs a hobby.

There’s also the first of what will become a series of barbed quips about John, as Shaw comments about Finch in his derelict Library, with his poorly-socialised guard dog, and Bear.

At the Eighth Precinct, Beacher is still trying to get Carter to talk to him, but since Szymanski’s death (under investigation by Detective Terney, oh hah hah) she’s even more mad at him, specially when he won’t give up the name of the Confidential Informant who fed him the false information that led to Szymanski’s besmirching. Carter even gets Fusco to look at Beecher.

Events travel apace. Beecher meets with his CI, his godfather, Alonzo Quinn, Mayor’s aide and head of HR. Beacher is clean, he accepted the information in good faith, Quinn claims it came from one of Elias’s men. Quin and Simmons are concerned about Beacher. As well they might be. Beacher stands off Fusco, knows about his dirty background. But he goes to Rykers, to play chess with Elias, which is no contest. And Elias confirms that yes, he gave money to Szymanski, who threw it back in his face.

That meeting is the trigger. It comes back to Quinn and Simmons, and a decision is taken. The recording of it, via Fusco, comes back to Carter (how Fusco gets it is left unexplained, a minor hole forgivable in the midst of so much). She’s relieved Cal is clean, calls him on stake-out, offers to buy him a drink. But the stake-out is a set-up. Shots fired, Officer involved, Washington Heights. Carter races out there with Fusco but it’s too late. Beecher is dead, on Alonzo Quinn’s orders. A long candle has started burning down.

But we’ve been neglecting Monica and it’s time to return to her story. Or rather, Rylatech’s story. Lee was a spy alright, but not for a rival but the People’s Republic of China. And not of Rylatech’s secrets but rather the company was being used as a conduit to siphon off vast amounts of data from Rylatech’s customers, including Government departments…

And over half the company’s officers are in on this. The scope, the implications are massive. But Ross Haskell wasn’t involved: he’s found dead in his office with a bullet through the head. From, it seems, Martin Baxter, the company’s founder and CEO, the true American story. But Baxter sold out after the dot.com crash, to avoid Rylatech’s bankruptcy. Now he’s going to kill Monica and Reese.

Except that he takes a phone call and the whole edifice turns over. Because the call is from Greer, to tell him that the time has come for the contingncy they talked about when Baxter did the deal. His family will be provided for. And Baxter shoots himself through the head.

Rylatech crashes. Finch has sent the masses of information to the FBI etc. They’ll investigate the China angle. But Finch has already seen that only a fraction of the data was going to China, the majority being diverted to a mysterious source, the onlyinformation he has being a name. For the first time, we hear the words Decima Technologies.

Finch and Reese are talking in the street. They walk past Greer, talking on his phone, planning the next strategy, to find the one source actively opposing them. Meanwhile, that one source is telling his badly-socialised guard dog that he recognised aspects of Decima’s coding in the virus Kara Stanton uploaded months ago.

And that the virus is looking for one thing: The Machine. And we are in the well, free-falling, and the cold water is still a long way below us.

Was this episode really only 45 minutes long? Only on the watch, only on the watch.

Person of Interest: s02 e18 – All In


For once, I would almost say that I was disappointed with the latest episode of Person of Interest: almost, but not quite.

The problem lay largely with myself. Since Relevance, and knowing how the season ends, I assumed the show would be going into its end game to set this up, but in that I was premature. All In was once again, in respect of its Number of the Week, a solus, with all the longer-term aspects taking place elsewhere, beyond the ken of Messrs Finch and Reese.

Once I realised that the issue of Lou Mitchell (Ron McLarty), a retiree on a fixed income who played bacccarat in an Atlantic City casino every day and who had lost over $320,000 over six months, had nothing to do with the wider issues, I found it difficult to be enthused. Yes, the story was nifty, and there was a nice scene when Finch, following Lou around all day, discovered his quarry was much less naive than he’d assumed and had not only made him from the off but confronted him in a bar, played baccarat for questions with far greater skill than he’d ever shown in the casino, and lifted his keys before dropping them in the lobster tank.

No, Lou wasn’t the loser he appeared to be. He was a card sharp from way back who’d fallen foul of the Mafia and been beaten for it, had married the woman who helped in and had forty very committed years together before her death from cancer. But to fund her treatment, Lou had sharked at a casino owned by Darren Makris (Michael Rispoli), and when Makris found out, Lou found himself on the hook, alongwith several other retirees, required to play, and lose, every day.

Why? Makris was in the drug trade and also owned a pharmacy. Lou and the others picked up ‘prescriptions’ daily, money they then lost, in a money-laundering operation. Makris’ drug profits disappear into the casino and come out as its profits.

What makes Lou stand out, and drew the Machine’s attention, was that he was using his skills to skim a bit off the top, a gesture of defiance, I’m not a loser, on the one hand, and with a sentimental purpose in mind on the other. Even when Harold sends Lou out of town, whilst he and John ‘eliminate’ Lou in Makris’ eyes, the cantankerous old bugger comes back.

And this time he’s playing to win, win back everything he’s lost. But with Finch staking him to $2,000,000 and John running interference on Makris, Lou wins over $20,000,000, negating the presence of our old friend, Leon Tau (an ever welcome cameo from Ken Leung, as shallow as ever but also as forensic with a money trail).

Reese saves the day when everyone is captured and forced to go through a Russian Roulette situation that’s actually harmless because Lou palmed the bullet. And with Finch’s help, Lou is set up to buy and preserve the diner in which he eats every day, the one he and his Marilyn practically lived in. A nice, sentimental ending.

It was a decent Number of the Week, and in another frame of mind I would probably have enjoyed it more, but I’m impatient for things to hot up, andthe only place that happened was in the B story, centred on Detective Carter.

Joss is still gathering evidence about the missing Detective Stills, using Detective Terney (Al Sapienza), when Detective Szymanski is hauled in, in handcuffs. Szymanski is due to testify todayagainst the Yogarof brothers, when he’sdirtied up by planted evidence he’s on the take. Carter starts investigating this immediately. Would-be boyfriend Cal Beecher is about but ruins his romantic hopes by admitting he provided the tip on Szymanski.

It’s all a scenario set up by H.R., Officer Simmons and Alonzo Quinn, for a cash deal with the Yogarofs: they will not go to jail. Except that Carter, following the money on the advice of Fusco, finds evidence that Szymanski has been framed. The trial goes ahead, with extra charges as to witness-tampering. Fusco warns Carter aboout making herself a target. Quinn invites the DA and Szymmanski to dinner, impressing on them how invested the Mayor is in securing a conviction. Both of them are determined to press ahead. And Quinn pulls out a gun and kills both, two shots each to the heart.

And another member of H.R. enters, Detective Raymond Terney. The killer got away through the back, leaving two dead and one wounded: Terney shoots Quinn through the right shoulder.

That’s where the heat was, where the long story took place. I sure hope the show turns its face towards the season ending next week…

 

Person of Interest: s02 e17 – Proteus


Behind you…

We’re into the season 2 endgame now, or so we thought from last week’s brilliant episode, introducing Shaw and showing Root in her full-on mania to find the Machine. So Person of Interest hands us an intricate, oddball episode that is ninety percent a solus, with only minimal links to the overall story. In fact, you could say that Proteus was typical in its untypicality.

There’s a storm a-brewing, a monster, heading for New York State, creating the ground conditions for the episode as Reese and Finch end up trapped on an isolated island with a group of people, one of whom, Ten Little Indians style, is the Number, a serial killer.

It begins with rain, and our two buddies coming out of a cinema with Bear. They’re not on a mission: the Machine has not coughed up a number for three days, Reese is worried, there’s a nod to last week when Reese asks if Finch has heard from Shaw, the balls being kept in the air. Then the Machine breaks its silence to spit out six Numbers all at once.

Six people, all male, no link between them except that when you put their pictures up on a US map, there’s a pretty clear direct line across America, someone heading east, who’s now in New York.

Carter’s brought in (there’s no Fusco this week) to assist, and she uses her FBI connection, Agent Moss, to get their Missing Persons files. This introduces the name of Special Agent Alan Fahey (Luke McFarlane) and a reminder from Moss that Carter’s boyfriend, Cal Beecher, is baaaad company.

Reese’s investigations into the New York name, Rollings, leads him to a summer home on Owen Island, way out to nowhere at the far end of Long Island, and in the eye of the storm. Over Finch’s objections, Reese heads out there, despite the fact everyone is being evacuated. Rolling’s house is already being searched when he arrives, by Special Agent Fahey, who’s usually a desk jockey. Reese immediately produces his stolen Marshall’s badge.

The storm’s getting worse. A disparate group of stragglers, some residents, some visitors, are stranded. Everyone takes refuge in the Police Station, echoing Key Largo. Finch flies in, having developed a theory. Rollings is dead, reduced to ashes in a basement furnace. The Numbers are linked by the absence of any photos of them, the minimal or non-existent digital profile. They are victims, of a digitally erased killer, who doesn’t just kill but who assumes the identity of his victim and lives their life for them, until he gets bored and moves on.

In retrospect, the killer is obvious, and should have been obvious to anyone who knows PoI: who would make the biggest twist? I didn’t need advanced analysis, I remembered the episode from before: it’s Agent Fahey.

Finch works this out whilst John is elsewhere, inadvertently disrupting a marijuana shipping. ‘Fahey’ intends to kill Harold Gull and assume his life (boy is he going to have trouble detecting that digital footprint). Before that, ‘Fahey’ treats us to what might charitably be called his philosophy, but which Harold calls his deluded ravings. ‘Fahey’ sees himself as superior to his victims. He watches them closely, absorbs the details of their lives, so that when he’s ready to kill them, and make them physically disappear entirely, he steps into their shoes and lives that life and, do you know what?, he’s better at it than they are. He lives their lives to a fuller extent than they did or could, because he’s just better at being everything. One day, he’ll find the life that is perfect, and he’ll stop.

Which gives Finch the cue to tear down such pretensions by pointing out that ‘Fahey’ could never be him because Finch saves lives and ‘Fahey’ ends them. And ‘Fahey’ will never stop, because people like him don’t, they don’t kill for some pretentious, elevated cause, they kill because they like it, and for no other reason.

That diatribe gets ‘Fahey’ to raise his gun, at which point we expect, and get, the trademark PoI saving shot from offscreen, Carter into ‘Fahey’s back. Only, as Finch realises, too late, ‘Fahey’ is wearing body armour… But don’t worry. It’s a double-bluff, another offscreen shot, this time from Detective Beecher, who’s come to the island with Carter, despite her resistance to seeing him. Their story is not yet done. Not until the middle of next season.

But there’s a coda. Day dawns, the storm clears, the island can be evacuated, all the symbols in place for emergence from the Long Dark Night of the Soul. The Machine fed our heroes the Numbers for the victims because there was no number for the perpetrator. All very clever. But it was silent for three days. Finch fears what’s coming. It’s nearly five months since Reese and Snow, under Kara Stanton’s coercion, fed that virus into the Government network. Is it coming active?

There aree five episodes left in this season to find out. Person of Interest has fed us a fascinating thriller, again, and kept its enlarging background in the background, for a while longer. We wait. We shall see.

Person of Interest: s02 e15 – Booked Solid


She’s baaaack.

Structurally, this latest episode of Person of Interest was a solid procedural Number of the Week, supplemented by two differing strands from the show’s ongoing underlying mythos, three if you count the mostly peripheral return of PaigeTurco as fixer Zoe Morgan. But it ended on a twist made all the more enjoyable in its reveal by withholding the name of someone from the opening credits, which is the lead-in to the theme that will dominate the remaining third of the series.

Our Numbr this week is Mira Dobrica, real name Mira Brozy, played by Mia Maestro. Mira works in a very upmarket Hotel, supposedly a Serbian refugee from Kosovo. The Hotel has just acquired two new members of staff, a Concierge and a Bellhop, named Harold and John respectively, there to look out for who, in a Hotel of over 700 guests, wants to murder a housemaid.

The answer is relatively straightforward, indeed almost obvious once it is teased out that a professional hit squad is staking the Hotel, though there’s a not very serious attempt at drawing a red herring across our path with the fact that the officious Floor Manager is running a hooker ring that someone has shopped to the Police (who is never revealed, but between Derek’s accusation of Mira and her non-denial of John’s assumption, we can guess it was her, but why she should be drawng atttention to herself thusly was never directly discussed). No, Mira was a witness to war crimes conducted by a Serbian General currently running for high political office and wanting the evidence, and the wittness, to disappear.

In dealing with the thriller aspect of the story, the episode made good us of our two Guardian Angels, together in the field, and their respective skills. Harold, neat, professional, unhurried, a comprehensive source of information, was the spider at the centre of the web, all-seeing, all-directing, and a pefect concierge, and John our roving operative, covering the whole Hotel, whose guests included one Zoe Morgan, who took hisappearance in a bellhop’s uniform in her professional deadpan style with a murmured, “Nice suit.”

Zoe would be very briefly used to ‘accidentally’ spill wine on a guy who’d been sat in the lobby all day, exposing him as part of the threat, but otherwise her appearance was deliberately for show, the series indulging itself in teasing our expectations. And John’s, if their mutual decision to stay on an extra night was any indication.

Fusco was brought in midway to lend an extra pair of eyes and legs. He managed, surprisingly, to shoot down two professional killers and then, when he’d brought Mira back to the Precinct for protection,Carter was forced to shoot another one. Add to that the two John shot up in the Hotel, one in an elevator car where he’d got Mira trapped, and it was a busy day.

But Mira was saved, the hooker ring exposed, Finch bought the Hotel and installed Mira as its new Floor Manager, plus the General was brought down, so all was well that ended well. Despite the political reason for Mira becoming a target, the Number was really a rather lightweight story, well-executed.

Except for her dramatic intervention to save Mira from an in-Precinct garrotting, Carter was kept back from the action this week, as part of her ongoing story. Special Agent Donnelly may be dead but his recommendation of her as an FBI Agent isn’t. Carter’s interested. Her relationship with Detective Cal Beacher is going well, enough so that she’s talking about introducing him to her son, Tyler. He’s definitely serious about her. And he is under investigation by IAB (Internal Affairs Bureau) forenough matters that her association with him knocks Carter’s chances on the head. Joss needs to think ad, being Joss, she will need to know. Is Beacher dirty? We know, though Carter doesn’t, that he’s the godson of the head of HR. Where is this leading?

Of more direct application to both the Number and the ongoing story is the re-emergence of Hersh, having finally got himself out of Rykers. Special Counsel wants him finding Reese and disposing of him, but he wants to know who Reese is working for. The taciturn Hersh knows simply to look for a ‘mess’ and reports of gunfire at the Hotel is enough of a lead.

John’s got Mira out. He’s resigned as a bellhop, changed into his other suit, is about to leave and Hersh, who knows his face from Rykers, comes up on him from behind. The two fight, both professionals. This time, it’s John who prevails, sticking a kitchen knife into Hersh only just far enough to not sever an artery. John recognises a fellow soldier just as much as Hersh recognises him: in twenty minutes, Hersh will bleed out. He can pursue John or he can get to a hospital and save himself. That’s the difference: nothing is personal to Hersh, he follows orders. Everything is personal to John Reese. He invites Hersh to consider if his masters would show him the same mercy.

I’m forced to question Reese’s not killing a dangerous opponent who he knows will come back at him again. Letting Hersh live is tactically foolish and exposes both himself and Finch to risks that are, by definition, unnecessary. Hersh and Special Counsel have parts to play: at episode’s end, the recovering Hersh will be summoned by to Washington by his master to deal with a more pressing matter, taking him off the trail for the moment. But it’s still a development that smacks of scripting convenience rather than the natural outcome.

This summons for Hersh places us in Special Counsel’s office, where he works with a secretary. Literally seconds before the show revealed its twist, I saw it coming, this time and first time, from Miss May’s voice, from her super-competence, from the way the camera avoided showing her face.

A long time ago, in the second series of 24, one episode’s cliffhanger hinged upon the unexpected, last second appearance of President David Palmer’s now ex-wife. Penny Johnson Gerrold’s name was in the credits at the start and she didn’t appear anywhere in the episode, so the surprise fell flat because it had to be her. Series have learned from that fiasco since, including Person of Interest. So Amy Acker ws left off the credits for guest stars. Miss May is Root. Welcome to the endgame.

Person of Interest: s02 e10 – Shadow Box


Oh, wow! This is where things really start to roll.

This far into Person of Interest‘s life, there have always been backround elements telling something of a broader story, and there was the season-crossing three parter concerning Finch’s kidnapping by Root (who gets a mention this week, to remind us of the lady), but there has been no directly continued story, until now. This week we had a cliffhanger ending.

The Number of the Week story was again well-planned, taut, intricate. Jessica Collins played Abby Monroe, outwardly a paragon: well-educated, thoughtful, in a socially worthy job with a charity offering low cost mortgages to returning ex-soldiers. In every respect the archetypal victim, as soon as you can find the enemy.

The enemy turned out to be Philip Chapple, Abby’s ex-boss, who had fired her and framed her for stealing. The loans were a scam, interest rates becoming unpayable within a year, foreclosure, one Bank selling them on and splitting the profit with Chapple. By setting Abby up, Chapple cut off going to the Law. So Abby, sister of a soldier who didn’t make it, teamed up with victim and boyfriend Shayne Coleman (Brian J Smith), ex-Army munitions expert with a prosthetic arm, in a plan to access Chapple’s safe deposit box and steal back the money.

It’s dangerous, and they’re highly suspicious of Messrs Reese and Finch, though they needn’t be: Reese has a thing about veterans being messed with and he ends up assisting in the execution of the robbery. That’s where it all goes wrong.

But this is the Number of the Week story, and that’s far from all we got. There’s Detective Cal Beacher hanging round Joss Carter: he enjoyed dinner (and from her smile I’d guess she did too), and wants to do it again. Carter’s re-opening the Davidson case, after the tip-off last week: she asks Beacher if he knew Davidson. Fusco, on the periphery, is worried about this, starts checking Beacher out. He’s a bit flash, best of everything, hints that he may be on the take. He’s certainly connected, as the Machine makes plain, to Alonzo Quinn, head of the vastly shrunken HR. In fact, he’s Quinn’s godson.

And Quinn and Simmons are plannning to rebuild HR. Now Elias has emphatically shut down that connection, they’re looking for a new revenue stream. An association with the Russian mob?

But the biggest movement in the ‘background’ is the reappearance of Special Agent Donnelly, free, now that HR has been reduced to an irrelevance (has there ever been anything on which Donnelly has been right?) to resume his obsession with the Man in a Suit?

They’ve got a new lead, but in order for Carter to be briefed, she has to accept a temporary assignment to the FBI, for clearance. Donnelly’s sure that will quickly become permanent, to Carter’s advantage. He’s got evidence that a new group, a Private Security organisation, with Chinese backing, has aquired the Man as an asset. And Donnelly is convinced the Man has flipped missing CIA Agent Mark Snow as an asset. This time, they’re going to get him, they have tracking devices put together by their men at Quantico that can locate the Man. Here, at this Bank.

Yes, at this Bank. The one Abby and Shayn, with the aid of Mr Reese, are robbing. They’re going in underground, timing their explosions to coincide with the subway trains. Using the stolen building plans, they get underneath the vault, blow the ceiling, let it come crashing down to them. They’ve got the accounts, Finch can (and will) extract every penny and transfer it to genuine veterans’ organisations. They’ve just got to get out.

Which is the problem. Underground, three of Chapple’s thugs are there with guns (one of them is a new hire for this job: remember that, it will be significant), keeping Reese and co. from getting out. Above ground, the FBI, with temporary Agent Carter, are raiding the Bank. Above ground is Finch, or ‘Harold Wren’, legitimate Bank customer, with passes and IDs for three associates. Reese and co need to climb up the rubble and into the Bank to find him.

That’s not easy with three gunmen shooting at you. Reese sends Abby and Shayn ahead but as for him… John Reese is resigned to what’s coming. It’s been on the cards all along, the inevitable moment when it stops working out. He accepts it. Just in this episode he’s woken up chipper and bright, has found himself… happy. He puts it down to the job Finch gave him. Reese has made peace with himself.

So, Fusco arrives to run interference for Harold and Co. And Agents Donnelly and Carter sweep down into the chamber below the vault where the Man in the Suit has been captured. Except that his men are holding four prisoners. All men. All in suits. One is John Reese. The FBI have got their man. All they have to do is find out which one he is.

The game is not over. There’s an awful lot more of it. But that’s next week…

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 CEOsĀ  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.