Director of Photography John McPherson
Written by Karen Harris, Jill Sherman, George Arthur Bloom; Produced by Robert Bennett Steinhauer;
Directed by Barry Crane
Whilst on the run through the streets of San Francisco during a simultaneous police chase of a small-fry gang, Hulk is seen just before his escape standing near a critically injured member of the gang, effectively a teenage boy. Elsewhere a young woman with psychic tendencies leaves her job following yet another incident where her powers of foresight bring her more trouble than they appear to be worth. On her way home she accidentally comes into momentary physical contact with David; assailed with visions of his secret alter ego, the spooked woman promptly departs.
Written by Karen Harris, Jill Sherman, George Arthur Bloom; Produced by Robert Bennett Steinhauer;
Directed by Barry Crane
Whilst on the run through the streets of San Francisco during a simultaneous police chase of a small-fry gang, Hulk is seen just before his escape standing near a critically injured member of the gang, effectively a teenage boy. Elsewhere a young woman with psychic tendencies leaves her job following yet another incident where her powers of foresight bring her more trouble than they appear to be worth. On her way home she accidentally comes into momentary physical contact with David; assailed with visions of his secret alter ego, the spooked woman promptly departs.
Down on her luck with the rent she sees a newspaper story about the Hulk, combined with the offer of a $10000 reward for information leading to his capture. She calls in McGee, but before he arrives in town she runs into David again at the hospital (where he's awaiting news about the boy he apparently injured). This time she realises what kind of person he is in reality, despite the affliction. Developing a kindred understanding between each other she offers to help him out for a while as events take a turn for the worse - McGee is on the scene and the hospitalised boy dies.
A poignant story for a number of reasons. Notably the psychic Annie is played by Brenda Benet, Bixby's wife, with whom he had a divorce a few months before the shooting of this episode. Aside from the divorce there was only further tragedy to follow, as their son Christopher Sean Bixby died about a year later, with Benet taking her own life a year or so beyond that. Particularly touching when there are scenes in The Psychic of both Banner and Annie's characters considering taking their own lives in separate instances.
A poignant story for a number of reasons. Notably the psychic Annie is played by Brenda Benet, Bixby's wife, with whom he had a divorce a few months before the shooting of this episode. Aside from the divorce there was only further tragedy to follow, as their son Christopher Sean Bixby died about a year later, with Benet taking her own life a year or so beyond that. Particularly touching when there are scenes in The Psychic of both Banner and Annie's characters considering taking their own lives in separate instances.
The tale here again showcases Bixby's fine acting (although I'm not so sure he is truly acting in one or two of the more upsetting scenes) as Banner becomes distraught over the belief that he has killed a boy during his earlier turn as the Hulk (the factor that leads to his desire to end his life). McGee, whilst initially on the scene to capture the creature, becomes instrumental in uncovering the truth. But a particularly strong moment at the end of this episode stays with you: throughout the course of the story we see glimpses of Annie's visions whenever she comes into contact with someone, yet at the final moment when she last makes physical contact with David, she is visibly distressed by whatever she sees, albeit in a very subtle way, but we do not as viewers get to witness whatever it was. A small detail but an emotional hint of great sadness to come in Banner's life. One of the series' standout episodes.
Number of Fists: *****
No comments:
Post a Comment