62: Deep Shock (4.05)

1980; 48 minutes

Director of Photography John McPherson 
Written by Ruel Fischmann

Produced by Robert Bennett Steinhauer, Karen Harris, Jill Sherman
Directed by Reza S Badiyi

Whilst trying to help out a colleague on a construction site, David is changed into the Hulk, who receives a powerful electric shock.  Comatosed, David is taken to hospital where he finds, after awakening two days later, that the shock has somehow triggered fleeting tendencies towards premonition.  He's disturbed to foresee him (as Hulk) seriously injuring the aforementioned colleague in a later event whose preliminary circumstances are currently still enshrouded in mystery.  His attempts to leave, primarily in order to avoid the premonition becoming truth, are then thwarted when his friend loses control after being made redundant.  This appears to be leading David to a point where he cannot avoid a certain future.

Quite an intriguing idea doesn't start well with Hulk's first rather contrived and lazy appearance, quite early in the episode compared to most.  The question of whether the events of the future can be averted in any way is tackled to some extent, although mainly through the occurrences within the story rather than any philosophical dialogue exchange.  It does all build towards a reasonably entertaining climax, with McGee once again very close to his obsession.  I never could quite figure out though why this ace reporter never carries a camera, particularly as many people who he attempts to convince of the Hulk's existence refuse to believe him...

Number of Fists: ***

61: Dark Side (4.04)

1980; 49 minutes

Director of Photography John McPherson 
Written by Nicholas Corea

Produced by Robert Bennett Steinhauer, Karen Harris, Jill Sherman
Directed by John McPherson

Having acquired a number of near-unobtainable chemicals from a pharmaceutical firm he has managed to get into, David is performing experiments in the comfort of the family home that he's lodging at.  They have their own domestic issues, generally revolving around the father's tendency to work on ships at sea for months at a time.  The daughter, probably in the absence of a consistent father figure, develops an infatuation with David.  However, problems escalate when the chemicals that he injects into himself in attempt to suppress the monster inside actually succeed in bringing out an evil side to his personality, making him a threat to the girl and the wider world around them.

Fine fantasy-based story that plays almost literally on the Jekyll and Hyde theme of the show as a whole, turning David himself into a scarier monster than the Hulk ever was, particularly in the face of the potential loss of innocence of a teenage girl (she is 'over age' but it was still a brave move on the part of the show's makers).  There is drama aplenty as the wayward husband struggles to reconnect with a daughter that is becoming infatuated with a much older man.

An especially interesting sequence occurs when Hulk appears for the first time, as the 'Hyde' version of David is out causing trouble.  He actually takes pleasure in the fact that he knows the transformation is occurring and then Hulk himself is influenced by the same chemicals in his system, meaning a genuine homicidal streak hitherto absent manifests itself, and the primitive monster who's supposed to be driven by rage is stripped of the usual benevolent tendency that occasionally marrs credibility.  Absolutely great stuff, this results in one of the best Hulk appearances of the show's run, as the creature becomes the raging monster of menace that was suggested at the very beginning. 

Number of Fists: *****

60: Free Fall (4.03)

1980; 48 minutes

Director of Photography Edward Rio Rotunno 
Written by Chris Bunch, Allan Cole

Produced by Robert Bennett Steinhauer, Karen Harris, Jill Sherman
Directed by Reza S Badiyi

David is working for a skydiving team that are mixed up with corrupt politicians and old friends with grudges to bear.  They're also willing to make their points by resorting to extreme measures. 

Thoroughly mundane entry, particularly after the explosive season four opener that was Prometheus.  Some good aerial photography and a pretty exciting moment where David falls out of the plane without a parachute just about elevate this one beyond complete boredom.

Number of Fists: **

58/59: Prometheus (4.01/02)

1980; 48+48 minutes

Director of Photography John McPherson 
Produced by Robert Bennett Steinhauer, Karen Harris, Jill Sherman
Written and Directed by Kenneth Johnson

A potentially destructive meteor is spotted by a space observation centre closing in on Earth's atmosphere, subsequently being tracked during the hours before it crashes in Utah.  In the vicinity, David is helping a blind woman (having saved her from drowning) who's moved away from the city, trying to adapt to a more solitary life.  He sees the flash through the sky just prior to the impact explosion and heads through the forest to investigate.  As he gets closer to the object, the gamma radiation being emitted from the object interferes with his body chemistry, causing him to stagger backwards.  Putting his hand into a wasp nest the resulting swarm prompts a transformation that leads to some small scale destruction before Hulk wanders back towards the woman's cabin.

Following his return, the frightened blind woman is present during the reverse metamorphosis, but it stops half way - David's body becomes trapped in a halfway state between the two beings, both physically and mentally.  Returning to the crash site the military close in on the scene and mistake David/Hulk for a possible extraterrestrial, capturing him in a solid steel prison for further analysis back at a laboratory (Prometheus) designed to exploit lifeforms originating from outer space.

What a corker of a story to open season four.  As a whole these two episodes veer completely from the formula that has been established in the series, with the possible exception of having David help the almost-annoying blind woman whose presence seems to be a little contrived in order to elicit sympathy.  The first part builds tension quickly as a near science fiction scenario is developed (it is suggested that the meteor is flying at an angle that leads to speculation that it is piloted) until David's reverse change results in a rather creepy hybrid, interestingly using two actors (Bixby himself for close-ups, and Ric Drasin - obviously a little more muscled than the former but not quite up to the mass of Ferrigno - for medium to long shots).  Bixby, as was routinely the case, shines as an actor, pulling off his diffused mental intellect combined with bouts of uncontrollable anger convincingly.

Part 1 concludes with a classic cliffhanger leading to the second part taking place largely at the military base where the creature has been captured, while McGee has tricked his way in hoping to finally learn the secret behind the monster.  The second part is the most Hulk-heavy (no pun) episode of the entire series, with Ferrigno being on screen significantly more than he generally would otherwise (the decision to have him running around for much of it in, er, shorts was possibly a mistake, however - and this is when shorts were shorts...).  The overly tidy conclusion wraps things up with marginal dissatisfaction, and excessive use of one of the principle incidental themes during Hulk's rampage during the finale of Part 2 are the only real negatives in an otherwise great double episode.

Number of Fists: *****/****½