Mission Creep (S1x03)
Airdate: 6 October 2011
Written by: Patrick Harbinson
Directed by: Steven DePaul
Running Time: 43 minutes
Every television series is, in some way, a reflection of the time in which it was created, but some appear to be more explicit in this than others. This impression is certainly gathered, at least from a contemporary perspective, about Mission Creep, the third episode of Person of Interest. While the regular plot of the series in this early season often struggles to find its footing, this specific instalment captured a very specific moment in time within a brief scene that is much more memorable and insightful than the rest of the episode combined.
The plot begins when the Machine gives Reese a number belonging to Joey Durban, (James Carpinell)o. Joey is a young ex-soldier who fought in Iraq and Afghanistan and appears to lead a normal, well-adjusted life as a doorman. He has a beautiful girlfriend, Pia Moresco (Lily Mirojnick), who has patiently waited for him during his years of deployment. Reese follows Joey only to discover that he is part of a small but well-organised gang of robbers—veterans who use their military skills and stolen equipment to pull off jobs. Reese’s presence at the bank during the robbery, where he prevents a guard from reaching for his weapon, alerts Detective Carter, who also becomes interested in the case. Being a veteran himself, Reese decides to infiltrate the gang, which is organised through bar owner and military veteran Sam Latimer (Ruben Santiago-Hudson). He also befriends Joey, whose motive for the robberies is to provide money for the widow of a friend who died taking his place in Afghanistan. Finch later learns that their latest job—a raid on a NYPD evidence room—is a trap and comes to warn Reese. Two gang members are killed by Latimer, but Reese and Joey survive. Later, it turns out that Latimer works for a mysterious man named “Elias,” for whom he had stolen evidence related to a 1970s murder; Elias kills Latimer to cover his tracks. Reese tells Joey to leave New York City and start a new life with Pia.
Parallel to the present-day action, the episode dips into flashbacks set in 2006, soon after Reese’s service ended. Here, we see the origins of his tragedy. He meets Jessica, then engaged to someone else. Although Jessica is still in love with him and wants to return, Reese, being involved in a top-secret mission, cannot accept her despite still being in love with her. These scenes highlight the isolation at the heart of his character; he is a man of immense capability but emotional stuntedness, trapped between duty and desire.
The phrase "mission creep" is an apt title for the episode, a term originally used to describe the wars in Iraq and Afghanistan, which appeared to have no end in sight and were immensely unpopular. The script by Patrick Harbinson uses those wars for background but doesn't go for the obvious tropes. Joey isn't a maladjusted, PTSD-afflicted veteran; by all standards, he could be a normal, productive citizen if not for his deep sense of honour and the debt he feels toward the fallen comrade. The veterans themselves are shown to be imperfect—some suffer from gambling habits, and some, like Latimer, are not only involved in crime but take out their "brothers" when they outlive their usefulness. This adds a layer of moral ambiguity that elevates the show above standard procedurals.
The most interesting part of the episode is a brief scene when Reese and Joey discuss their situation. Joey expresses disgust over bankers ruining the country and becoming filthy rich while he and his comrades bled in the Middle East. This is overheard by a couple of actual bankers who come into the bar and engage in a verbal argument about the need for veterans to adjust to the "knowledge economy." The conversation escalates quickly into a physical altercation. This scene is an obvious nod to the populist sentiments that would find their reflection in the Occupy Wall Street movement, which actually reached its peak only weeks after this episode premiered. It demonstrates a level of social awareness that the series was just beginning to develop.
However, the main plot is rather lame and formulaic. The character of Finch is underused, serving more as a exposition delivery system than an active participant, and the investigation feels like a standard caper episode rather than the high-stakes thriller the show promised. At this stage, Person of Interest doesn't look very promising; it feels like a procedural that hasn't found its voice, saved only by the introduction of Elias, who appears to be the archvillain that might provide multi-episode arcs and thus break the procedural pattern of the series.
Finally, producer J.J. Abrams continues to add his signature references to Lost, in this episode being the statue of Madonna, here displayed in the NYPD evidence room. It is a small detail, but it reinforces the idea that this show is more than it initially appears, hiding its deeper narrative ambitions beneath a layer of seemingly mundane detective work.
RATING: 5/10 (+)
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