Person of Interest

Season 3 Episode 10

The Devil's Share

Aired Tuesday 10:00 PM Nov 26, 2013 on CBS

Episode Fan Reviews (23)

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out of 10
330 votes
  • Best episode ever

    at least for me... never seen so much intensity in emotions!
  • Survivor's guilt

    I think no one on the team feels it more than Finch. He knows that he could've saved Carter and prevented so many casualties if he had asked for Root's help.

    Its a very tricky situation. On one hand, its the devil you know, and the other hand Root has caused so much trouble in the past, abducting Harold twice in the past. Its a tough decision and I don't criticized Finch's character at all. But doubting himself might play an important role moving forward.

    Impeccable lighting during the flashback to reveal Reese's face looking like a skull. Lastly What The Fusco?!? I didn't expect the ending mano-a-mano. Great ending
  • Brilliant episode

    The team all separate to try to find and kill Simmonds. John is seriously injured and dying and it's up to Harold to persuade Shaw to help find him before it's too late. Desperate, they enlist the help of Root.
  • Epic..

    I have never felt to need to need to watch an episode of POI over and over again, up until this one.. this one, with the perfect opening, with the amazing writing (my oh my, the placement of the flashbacks, the Fusco's kinda eulogy while kicking the hell out of Simmons, and especially the final speech of Elias), very satisfactory plot and character development, twists and turns.. it all felt like a perfectly constructed short movie.. I loved it to each and every single scene, and it has to get some sort of acknowledgement..
  • The Devil's Share

    It was not a perfect episode, but this was the kind of intense show Person of Interest needed as a followup to the last show. Where the show goes from here is crucial as they need to build off this momentum from the HR falout.
  • Great episode!

    From the very begin sound sync, photo, story, everything great on this episode. Great job, Nolan and team!

    I don't know how the Emmy's could possibly ignore this POI episode / arc. Acting (Kevin Chapman & the entire cast, Bravo!), WRITING, sound, cinematography, film editing, special effects, directing, etc. I hope fans here put the pressure on the awards to play fair, for once. I also encourage all to go to the People's Choice awards and vote up POI for Best Drama.
  • Great

    All is in the title.
  • Brilliant

    By far the best episode of all the entire show. From the opening scene which worked absolutely brilliantly all the way through to the end. Bloody brilliant! 10/10
  • Not that great

    I sadly didn't like this one especially as a conclusion of 2 great episodes. There's a badass contest, iconization of each character and the beginning song prevents any form of sincere emotion.
  • B est Episode This Season by Far

    ruined it. I give it a 9,.5 not a 10. WHy? Fusco easily defeats the bigger, stronger Simmons? plausible than last week when he amazingly broke his thumb and easily slipped off handcuffs to kill his would be killer. Apasrt from thatthis episode was totally engaging, enjoyable and intense. Keep it up. Hey from me a 9.5 is the highlight this season! Now that ROOT is going to become part of the TEAM ?? things should get more interesting if THE MACHINE reveals her true purpose but I get the feeling we may never know WHY the Machine talks to her and not Harold. This does set up a new Dynamic for the show and they have improved Fusco's character from wimp to Super Hero .I would rather he be a fighter than a follower.
  • Reboot

    They blew the lid off that episode one of the best all-American comic book vernissages in recent history. The episode intro was the sort of clip where even non-viewers of the series wouldn't have to know what the hell was going on in order to recognise its artistic merit. And maybe that was just the point.

    So far, the series has been interesting, more than good the kind of interesting that's potent enough to make you forget how plastic the characters really are. The problem that this series has isn't so much that it's failing to appease its core audience, it's that it's sandwiched between genres; and while the producers can dig it, and a devoted audience can dig it, what it tends to do is confuse everyone else. Viewers start to feel close to the characters because it's a story well told, but one can't ever dismiss the lingering sentiment that it's action figures trying to play Dostoevsky, and at some point, they manage to produce a bizarre blend of Serpico, the Avengers, the Dark Knight and Oldboy. And while this tweaks the sensitive spot in my cortex for each of those genres, it's the sort of blend that is going to turn more reality show/celebrity chef/Big Bang Theory viewers off than it's going to turn Arrow/Walking Dead/Homeland viewers on. It's solidly back into Whedon Firefly territory, which is reason to be ecstatic with a dose of despair perhaps this time the audience will love it before it gets cancelled.

    Punching into a season-ending episode with a four-minute rock video montage, lacquered with one of the sweetest songs of a generation, is a classy move to face smack all those viewers who 'gave it an episode' but didn't bite. It's the kind of cocky confidence that emblazes the hood ornament of this Chevy El Camino "Ultimus" of a series into your brain and kicks the series into another season on strong footing where the story can develop into its potential.

    But where can it develop? They've just kissed goodbye to one of the classiest actresses of the series (that relationship was never really taken seriously by anybody), taken down the king pin nemesis, and redeemed their status in the city as civil-minded vigilantes - it's hard to imagine where the story has left to go. On the other hand Root's new relationship with the computer has made her a proper superhero hand-of-god; Carter's old CIA partner is back from the dead and bent on revenge (but really, for what?); then there's Finch, the voyeuristic not-dead husband; a villain who started off too likable but is beginning to show indications of proper evil; and a computer that is now a living intelligence watching over a metropolis (why is the computer morally conscious in it's omniscience?) - there's still a few reasons to go on.

    The scriptwriters seemed to have changed gears somewhere after the first few episodes of the third season and are winding up towards something with a bigger brain for season four. The summation of the episodes of a very uneven series thus far seems to have reset the clock and with a [re] starting place of some solid backstory and a cult following, that doesn't seem like such a bad thing.

    The writers and producers have just doubled down on this series with a teaser that hints at greatness - a heavy burden for the writers to bare, as the team is stacked with lots of goodies, but not a lot of inspired baddies (a similar episode to this one for the baddies would be a good start). I think they might just have the panache to pull it off; and if they do, it will be one hell of a season 4. If they don't, the show will quickly become irrelevant.

    But please no more fake beards on horse-drawn buggies and, for the love of god, do something about Finch's hair.

  • very good episode

    it was fun to watch
  • Best Episode Of The Show

    All is in the title.
  • Perfection

    It's too bad that the powers that be don't take this show seriously; this episode should be the one submitted for Emmy consideration.

    I know it would be too much to ask for a nomination for Jim Caviezel (he's able to convey so much through facial expressions alone, never mind the pain expressed in his speech too). He is such an underrated actor. But the show should at least be nominated for writing.
  • This is a TEAM!

    I can' t even begin to express my shear and utmost respect for the writers and actors of this episode.

    Shaw, Root, and Fusco shoot 'em up scene was "so hot"!

    Flashbacks of the four were so appropriate.

    Fusco and his evolution and his importance remind me of Samwise Gangy in "The Return of the King". He was pivotal. Great!

    And ... It was so right that Elias be the one to kill Simmons. The forewarning by Shaw indicating, the machine didn't say who.... Again great!

    many tears again this week.

    I seriously watched it twice and still rewatched many scenes over and over. Definitely staying in my DVR awhile.

    Anxiously waiting for more!

  • Everything in Everyone's Arsenal

    Perfect. The music-only opening (who was "hurt", I everyone); Reese out & about for vengeance as soon as the sedative wore off (I was worried for a bit; in a recent interview with JN he said "If we were real a**holes we'd kill Reese off next week"); Finch letting Root join in to save John; Fusco, the new moral benchmark in the PD; and bless him, Elias. Flashbacks for everyone, illuminating (except for Reese's eyes, but this time that effect was appropriate) everyone's steps to where they are today. I was very worried by the first few episodes this much change all at once. Now I'm back in the fold and anytime I feel myself slipping away, I'll rewatch this arc. Perfect.
  • Nobility in unexpected guises

    Everyone got a chance to be a hero last night, and every damn one of them stepped up to the plate and knocked that sucker right out of the park. People who have wailed that with the loss of Carter, the show has lost its heart, its thirst for genuine justice, relax: Fusco's got your back!
  • How much pain and character development can you pack into 40 minutes?

    A lot.

    I am left breathless and floundering, hollowed out and whooping with excitement, time and time again - all within the space of ONE episode.

    A lot of the time, Person of Interest is good.

    Sometimes, it's excellent.

    And then there's "The Devil's Share".

    When you're left completely out of breath, feeling like you've been punched repeatedly in the gut, and you realize you've just watched the not-quite four minute intro, you know you're in trouble.

    Or in luck, if you like a bit of emotional upheaval with a side order of epic-level action and storylines on a completely ordinary weeknight.

    This episode delivered on SO MANY fronts, and with so many titillating glimpses of backstory and character development, that you quickly realize you're going to have to watch it again to catch it all.

    You're just not sure you have the energy to do so anytime soon.

    Because this one'll take it out of you, hit you where it hurts and keep coming.

    So, what happened? Well, Finch and Fusco are grieving fairly quietly, while Reese and Shaw are, predictably, grieving with Extreme Prejudice.

    Maiming and killing their separate ways across town, Shaw eventually teams up with Finch and Fusco when she's told that Reese is still fatally wounded (which we're not likely to forget, after the chilling opening with him in a hospital bed, Finch by his side, listening to the steady beeping of the heart monitor,) and that time is of the essence.

    In the end, the unhappy threesome is expanded to a foursome, as Finch FINALLY caves and lets Root off her leash. There will be consequences, but in the end, he's willing to take the chance and pay the price, if it means saving Reese.

    And save him they do, of course - and also Quinn, incidentally. Because Finch is right: Carter was willing to sacrifice everything to bring him to justice within the legal system - killing him would NOT serve her memory in any way.

    This episode had so many incredible flashbacks, and I'm still trying to make full sense of them.

    We finally got to see Shaw as a doctor, being confronted with her apparent lack of emotions and sociopathic tendencies - a nice mirror to today's Shaw, who has managed to acquire a handful of friends, people that she honestly seems to care about and have feelings for. While she may not have been suited to the kind of healing that takes place in a hospital bed, she's very well suited to ridding the world of more pervasive infections.

    We witnessed Reese, playing the young and vulnerable soldier being recruited over to the darker side of special ops and spying - while being a hardened executioner already. A few nice tidbits about his father being a soldier, and growing up without him - I'm not sure exactly what to take from this scene, except perhaps a reminder of just how ruthless and lethal Reese was before his redemption at the hands of Finch and The Machine.

    Finch saw a therapist, some time after the ferry bombing that cost him so much. He questioned the nature of grief, its purpose - she tried to counsel him to wait, to not make any drastic decisions in such a time of turmoil, and deemed it simple survivor's guilt.

    But as Finch said - what if you KNOW, beyond simple psychological mechanisms, that it really IS your fault? A nice touch there, because he probably feels the same way now, and Reese probably shares that sentiment.

    And finally, a truly stellar portrayal of Fusco, in his pre-team days; an uneasy interview with a police shrink, after a "good shooting". A clearly troubled Fusco starts off all abrasive sass and snark, until the therapist reminds him that it's all confidential, and it would do him good to unburden himself.

    Suddenly, we see a very different Lionel - a self-confident, smirking, kind of scary version, who tells a very different story; a story of stalking a criminal who had got away with killing a cop, finding him and taking him down. Giving him the Devil's share - . giving him what he had coming.

    It was a chilling reminder of just how far down the rabbit hole Fusco used to be, and that the friendly grouch with a slightly comical appearance hides a far darker past than we like to be reminded of.

    But, like Shaw and Reese, he too was changed by Joss Carter, and when he catches Simmons he takes the time to beat him bloody (in a fair fight), but leaves him alive. Because that's what Carter would have wanted.

    And, in a beautiful little scene at the end, another one of Carter's fans steps in and takes Simmons out of the picture because while Carter was a civilized person, who wanted to solve this in a civilized manner - Elias is NOT civilized, and as like recognizes like, he deems the dirty cop better suited for a different kind of justice.

    Highlights of the episode:

    - Shaw, after seeing what Root could do with two guns at once ("Lame"); "That was kind of hot". Oh, Shaw, honey, never ever change (too much)!

    - Fusco, revealing how he killed a crook in cold blood. Chilling!

    - Reese, telling Quinn about how good he was at killing people, and what he would do to him. *shivers*

    - Root, returning to the library after the action was over, letting Finch lock her in again. I didn't really see that coming - and Bear seems to have grown to like her! Be careful, Finch, now you've got TWO girls trying to steal his affection from you! Bear, you take care of your master now!

  • More Than Expected, Much More.

    After last week one fully expected Simmons would be in Reese's crosshairs. The way the writers unfolded it was excellent, with a twist even. Reese, knowing he might not make it if went after Simmons did because time was of the essence as the Russians would likely find him. The gravity of it was huge and the intro with Nine Inch Nails "Hurt" as gut wrenching brilliantly performed by Johnny Cash began the darkness of "The Devil's Share" with authority.

    The man who is Reese did not fully come into view until this episode. After losing his father at a young age he began a path with many turns finally culminating here. In his arsenal of righting a rotten world he reserves a shred of humanity he can selectively turn on. Simmons finally turned it all off when he ordered the deaths of Fusco, Fusco's son, and actually killed Carter. Reese as a one man hall of justice ramped to the nth degree really is something special. It's a nice twist too the writers made it clear he had no reservation in pulling the trigger which misfired. That allowed an even better end involving Fusco proving his full circle of redemption. Plus, Elias got the final word and those words were especially well delivered.

    The Devil's Share was everything those of us who have watched from the start could have hoped for. Bringing Root back in the way she was used was excellent. Root's character has never been more interesting and her final scene with Finch was superb. Harold and Root's chemistry really peaked as the dialog nailed home what;s next will require them both. Wow, the entire episode was so filled with a feel of darkness and the fight against it. The cinematography was like blockbuster movie level, so big it was like a character in itself. Truly a 10!
  • Emmy nominations needed: Writing, Editing, Sound and Lighting.

    A song-only track montage, a silent lead for the first 30 minutes, unexpected but extremely well-played flashbacks with faceless costars, two simultaneous hallway showdowns that will charge your adrenaline while amazing your eyes, a long-overdue confrontation followed by the best speech the character has ever had, and an absolutely priceless understated performance in the final scene.

    Come on, Emmys, drop the politics/agendas/baggage and give POI its rightful share.

  • You Are Not God

    This episode had an exquisitely perfect tone for the aftermath of Carter's death. It brought the whole team together in their own ways; grief, anger, the full spectrum. Root was the surprise angel sent at the perfect moment. That opening - there are no words but hurt. It was perfectly poignant. The one and only problem I had was that Elias got to deliver the final blow. Yes, it speaks volumes as to how he felt for Carter and what she stood for, and not doing it himself was very much an Elias thing to do, but there were so many other people who deserved that kill. But that's nit-picking. This was the best episode. The. Best.
  • The Best Episode So Far

    Everything in this episode was incredible. The music selection, direction, writing, acting... It all worked so perfectly. The show handled Carter's death surprising well, and this was yet another amazing episode.

    And for reference, the songs used in the ep are as follows:

    "Hurt" by Johnny Cash

    "Miami Showdown" by Digitalism

    "Colour in Your Hands" by
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