Shadow Box (S2x10)
Airdate: 13 December 2012
Written by: Patrick Harbinson Directed by: Stephen Surijk
Running Time: 44 minutes
Shadow Box serves as a definitive example of the mid-season pivot characteristic of the second season of Person of Interest. Technically, the episode is sound, boasting competent direction and a tight script that adheres to the show’s established procedural formula. However, it ultimately fails to deliver anything particularly memorable, resting comfortably in the middle of the road. While the thematic material presented suggests a sharp edge, the execution remains somewhat pedestrian, leaving the viewer with an intriguing concept and an increasingly compelling cliffhanger that overshadows the episode itself.
The central storyline orbits around Abby Monroe (Jessica Ann Collins), a young woman whose number has been churned by the Machine. What initially suggests a potential terrorist plot—typical of the "relevant" cases the Machine refers to government—culminates in a personal vendetta. The case is complicated by the involvement of Shayn Coleman (Brian J. Smith), a former US Marine bomb disposal expert who lost his arm in Afghanistan. Coleman is a classic archetype of the disgruntled veteran; having lost his fiancée and his home to foreclosure, he embodies the weary anger seen in figures like Timothy McVeigh. The acquisition of Semtex explosives by the couple initially signals a threat to the government, but the investigation reveals a motive far more intimate and tragic.
The narrative delves into the operation of the Home for Our Returning Heroes, a charity run by Philip Chapple (John Bedford Llyod). This organisation, ostensibly designed to assist US military veterans returning from Iraq and Afghanistan in securing homes, is exposed as a predatory loan scheme. By using flexible mortgage rates, Chapple was systematically draining the funds of vulnerable servicemen and women. Abby, whose own brother died in Iraq, was initially appalled by this exploitation. Her attempts to confront Chapple were thwarted when the charity boss framed her for theft, rendering her an unreliable witness. It was within this vortex of anger and injustice that she met Shayn, and together they resolved to exact revenge by orchestrating a daring bank robbery, using explosives to seize Chapple’s ill-gotten gains.
Reese, a veteran himself, finds himself deeply sympathetic to the couple’s plight. This shared military background allows him to connect with Abby and Shayn on a fundamental level, driving his decision to assist them in evading both the authorities and the mercenaries Chapple has hired to silence them. Meanwhile, the episode heightens the tension between Reese and the FBI. Donnelly, desperate to finally catch the "Man in the Suit," offers Carter a career opportunity within the Bureau if she helps him. The plan goes into motion, culminating in the robbery. Reese, aware of the couple's desperation, intervenes to prevent their capture, yet the situation spirals out of control. The final showdown results in four men being captured by Donnelly’s agents, with Reese himself ending up in custody—a shocking turn of events that propels the series into its next phase.
The script by Patrick Harbinson is notable for its engagement with real-world socioeconomic issues, a hallmark of the earlier, stronger episodes of the series. The episode shines a light on predatory lending practices, a factor often cited as a catalyst for the 2008 Wall Street crash and the subsequent economic malaise that fuelled populist movements like Occupy Wall Street. Additionally, the plight of veterans finding themselves abandoned by the system resonates powerfully. Had the performance been sharper, this thematic depth could have elevated the episode from a straightforward procedural to a biting social commentary. However, Jim Caviezel’s performance here feels relatively routine, perhaps a casualty of the script's complexity or the weight of the overarching narrative he is carrying.
Part of the issue lies in the episode being somewhat drowned by the increasingly complicated general story arc. The script hints at unholy alliances among Reese’s allies and enemies, creating a labyrinth of political intrigue. Carter is being courted by the FBI, offering her a chance to return to the "right side," but her prospective boyfriend, Cal Beecher, is revealed to be the godson of Alonzo Quinn, the HR boss and series archvillain. This revelation adds a layer of betrayal to Carter’s romantic life, complicating her loyalties. The episode concludes with a typical cliffhanger that suggests a "wham" development, hinting that the government might finally apprehend the "Man in the Suit" despite the Machine’s protections.
Despite these narrative layers, Donnelly’s incorrect assumption that the "Man in the Suit" works for a private intelligence or security service hired by a foreign governments—such as the Chinese—is a plot device that would be explored with greater significance in future episodes. It serves as a red herring that highlights Donnelly's desperation and his misunderstanding of the Machine’s true nature.
Stephen Surjik directs the episode relatively well, ensuring that the pacing remains brisk and the action sequences are handled with competence. The result is a solid, if unremarkable, piece of television. While the direction earns its keep, it struggles to make the material emotionally effective and memorable as much as the cliffhanger would suggest. Shadow Box is a functional, if forgettable, entry in the series that succeeds primarily in setting the stage for a dramatic confrontation between Reese and the authorities, leaving the audience to question how he will escape the predicament he finds himself in.
RATING: 6/10 (++)
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