FLESH AND BLOOD

Harold Finch: "Meet the heads of the five families. Caparelli. Zambrano. Grifoni. Basile. Gianni Moretti Jr. Moretti's son. Junior took over when Moretti went to prison. Unless all these men suddenly decided to turn on one another, I think it's fair to assume that they're being targeted."

Well, to be fair, even if they have decided to turn on one another, John guesses that still counts as being targeted. Just, by each other, not by a single individual. He guesses, too, that maybe they could be pushed against each other by someone remaining in the shadows. It would save time on the cleaning up... but not on the preparations.

Harold Finch: "I know they encouraged a certain moral flexibility when you worked at the CIA, Mr Reese, but I like to think that we're reaching for a higher standard."

Which is kind of ironic, when John thinks back to Megan Tillman. To how Finch was at first alright with letting her kill Andrew Benton. Or, at least, alright with pretending it wasn't their business to stop her. He's not saying that Finch isn't, indeed, reaching for a higher standard. Just that the man himself can be pretty judgemental, when it comes to shortcomings he himself presented at some point or another – not that John is in a place to judge, considering his own flaws.

Harold Finch: "An apology might go a long way, Mr Reese."

First of all, Carter isn't even willing to listen to said apology. Second, while John might apologize for the way things turned out, while he might even admit that he could, perhaps, have done better... this isn't what Carter wants – if she was willing to listen – in said apology. What Carter wants is something he will not apologize for. The detective wants him to apologize for not having called the police when it became too much, instead of resorting to asking Elias for help. She wants him to admit that there was a very specific, very lawful, better way to deal with the situation. Something he doesn't believe to be true – would the police, other than her and Fusco, have even listened? He doubts it. Especially as they'd have asked why, and how he knew about the Petrosians, about the baby, about everything. A question he couldn't have answered, an answer that they wouldn't have believed. And John will not apologize for something he doesn't have to apologize for – he will feel sorry, yes, and he will probably blame himself, but he won't pretend that the world is fair and an easy place to live in.

Harold Finch: "Are you certain this is the best course of action? Mafiosi don't take kindly to people who approach them... unannounced."

Most people John has to deal with don't take being approached unannounced kindly. He's learned not to let it hurt his feelings when they try to shoot him on sight, thanks for the concern.

Carl Elias: "We're more alike than you'd like to admit. Both killers in our own right."

Oh, John doesn't deny that part. He has, after all, a problem with revenge. But unlike Elias, he never let his own need for revenge hurt innocent people – no more than what's unavoidable, at least – and he certainly hasn't ever let it claim a life outside of the scope of his revenge.

Joss Carter: "I guess you should know, the FBI has a new task force set up in your honor. They think you're working with Elias."

Obviously that'd be the answer they come up with! Then again, if he was investigating someone who did exactly what he does, without knowing the person, and without the right context, John guesses he wouldn't believe them to act out of good intent either, so...

John Reese: "In war, you need to be able to coerce your allies every bit as much as your enemies."

That's why they're allies, and not friends. Besides, it's prudent to even have something on your friends – as long as you don't ever use it. Simply because you can't have trust without a bit of respect. And respect implies a bit of fear. Not necessarily in what the other will do to you if you betray them, but in what they could do to you, and yet have decided not to.

Harold Finch: "I'm not certain I meant that as a compliment."

Finch doesn't need to tell him that. John knows. But he'll still take it as a compliment.

John Reese: "You have my word."

And here goes his resolution not to make promises... But it's not unexpected, really. It's difficult not to try and offer comfort, when it's personal. When it's to someone you actually know. He only hopes he will be able to do what he promises.

Harold Finch: "I'm sorry I'm not much use on this end of things. Look... Show me how to fire one of these and I can help. I'll... create a distraction, I suppose, or..."

He knows Finch doesn't mean that he will actually fire a gun at someone, even if he has to. But it's surprisingly pleasant to hear that the man would go so far as to at least pretend to threaten someone, or even shoot in the air – just to use a gun, even if not on someone. It tells him that they definitely walked out of the employer / employee relationship, into something that's more equal-partners ground. That, just as John is making compromises, Finch is starting to understand that sometimes, he has to make compromises too. That being said, Finch's offer is more likely to get the older man killed than anything else, so that's a no.

Don Moretti: "You here to rescue me? Or shoot me?"

He's not even here for the man, he's here for Taylor Carter. But since he's here, and Moretti is here too... Well. Rescue or shoot. It mostly depends on the man's intentions, at this point. After all, John's policy is to rescue first, and shoot only if he's not given another choice – which doesn't mean he will hesitate either.

Joss Carter: "Good to know you keep your promises."

Good to know this particular promise was possible to keep, he'd rather think. Because it could have gone sideways, and he's perfectly aware of that. Which is why he hates making promises.