Til Death (S2x08)
Airdate: 29 November 2012
Written by: Amanda Segel Directed by: Helen Shaver
Running Time: 44 minutes
It is undeniably challenging for a television series to sustain the high-octane intensity and intellectual depth that Person of Interest established in its first season throughout a sprawling second season. Audiences understand that quality variance is inevitable in long-form television, but when an episode stands out as a distinct misfire, it warrants pointing out. Season 2, episode 8, Til Death, unfortunately, represents the most significant disappointment of the series up to that point. It suffers from a severe tonal schizophrenia, appearing as if the production team mistakenly transplanted a lightweight, high-concept Hollywood comedy premise into the gritty, realistic, neo-noir science fiction world they had carefully constructed.
The narrative premise begins with the Machine churning out two numbers instead of one, identifying Daniel Drake (Mike Pellegrino) and his wife Sabrina Drake (Francie Swift), co-owners of the East Village Publishing company. The couple has recently published texts critical of the Maryland Militia, a far-right militant organisation, and Reese and Finch learn that the militia members are poised to arrive in New York to protest. Reese, while tailing the couple to assess the threat level, uncovers a lucrative offer to purchase the company, a business proposition that fractures the marital dynamic as both spouses have different opinions on the sale. This setup initially grounds the episode in the procedural trappings of the series, suggesting a realistic conflict between financial ambition and personal safety.
However, the plot quickly veers into the realm of farce when Reese notices that an improvised explosive device is being planted in Sabrina’s car. He successfully removes and defuses the bomb just before it is scheduled to detonate via a disposable cellphone. By tracing the number of the caller, Reese identifies the perpetrator as a man named Santi (Jacinto Taras Riddick), only to discover that Santi is calling Daniel Drake. Reese concludes that Daniel hired Santi to kill his wife, intending to frame the far-right militants for the murder. Finch then provides the background: Santi is actually Nestor Santiago, a recently released convict. This sets up a classic manhunt dynamic where Carter recruits NYPD narcotics detective Cal Beecher (Sterling K. Brown), to help track Santiago.
The tension peaks during a book signing ceremony that is being disrupted by militant protesters. Reese spots a sniper aiming at Daniel and intervenes, saving his life. The true nature of the threat is then revealed: Sabrina, too, wanted to eliminate her spouse and had hired an assassin. Finch drily observes that beyond their mutual hatred, both spouses had extra motives to kill each other, specifically to avoid the long and expensive divorce proceedings that could jeopardise their lucrative buyout deal. Frustrated by having to constantly prevent assassination attempts and angry that he must waste time and resources on people who doesn’t deserve his protection, Reese takes matters into his own hands. He kidnaps both spouses, brings them to a safe house, and ties them up together, using them as bait to lure out their would-be assassins. The plan works, and the would-be killers are neutralised. In the meantime, the Drakes, left to their own devices, seemingly realise that they still love one another. When the police arrive to arrest them for attempted murders, they invoke spousal privilege to avoid testifying, likely securing light sentences with the help of expensive attorneys. The episode concludes by tying up the romantic threads of the supporting cast, with Carter agreeing to go on a date with Detective Beecher and Fusco impressing a schoolteacher named Rhonda (Tricia Paoluccio).
Complicating the narrative is a flashback sequence that delves into Finch’s romantic past. Set in 2006, the sequence serves as a reminder from the late Nathan Ingram that Finch must be honest with his partners and not make the terrible mistake that cost him his own marriage. Finch then proceeds to win over Grace Hendricks by secretly purchasing her favourite painting and having it donated to the Guggenheim Museum in New York.
Til Death was written by Amanda Segel and directed by Helen Shaver, a veteran Canadian actress who has become renowned for her television direction. The episode makes a critical error by delivering too much fan service at the expense of thematic and narrative consistency, creating a potential "jump the shark" moment for the series. While the idea of spouses independently plotting to kill each other—albeit a trope recently revisited in Mr. and Mrs. Smith—might possess potential for dramatic irony, it stretches too much credibility here. The pacing is rushed, and the motivations feel thin. The most egregious flaw is the final twist, where Daniel and Sabrina, in a very Hollywood-like fashion, suddenly realise the errors of their ways and rediscover deep love for each other without any emotional build-up or real consequence for their actions. It feels like a cheat to resolve the conflict quickly and neatly.
Segel’s script attempts to make love and romance a recurring theme throughout the episode, contrasting the cold calculations of the Machine with the messy, chaotic reality of human relationships. Yet, this thematic focus feels forced. It seems the writers were desperate to pair up every character, turning Person of Interest into a soap opera of sorts. In the end, only Reese is left without a romantic partner—either in the present timeline or in the past—making him feel like an outsider in his own emotional landscape.
Finally, fans of Lost will likely appreciate the presence of Mike Pellegrino, who portrayed the mysterious Jacob in that series. However, his character here is bland and easily overshadowed by the regular protagonists, failing to leave a lasting impression or contribute meaningfully to the overarching mystery. Til Death is a clunky, tonally confused episode that prioritises flashy action and romantic subplots over the smart, grounded storytelling that defines the show. It is a missed opportunity that highlights the difficulties of maintaining narrative consistency in a complex series.
RATING: 4/10 (+)
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