Dead Zone 4.6: "The Last Goodbye"

Written by James Morris, Shintaro Shimosawa, and Steven Binder
Directed by Michael Robinson

In which Johnny discovers that a musician beloved by Sarah is still alive, despite a well-publicized death, and in the process of finding him, the two uncover more than they bargained for…


I didn’t really care for the last two episodes. This one is similar to the other two, but I found myself enjoying it more. It still had some of the same predictable weaknesses, especially in terms of investigating an apparent murder, but the framework of the story is a bit more personal. I find that the episodes dealing with Johnny’s personal life, in conjunction with his ability, rise above the more standard fare.

This could have easily been an episode about a random rock star’s son who Johnny just happens to catch in concert. Instead, the writers make the elder Foldes and his music an iconic part of Sarah’s history with Johnny. This could have easily imposed upon the existing mythos of that relationship, but instead, it adds another layer of meaning. Granted, it could have been grafted to the overall past history a bit more carefully, but the concept itself plays into the nostalgia that many children of the 1980s can relate to.

It’s rare for Johnny and Sarah to be on the same page this season, so it’s good to see them working together. Is this a sign that the writers are steering back into all-too-familiar territory? I certainly hope not. The Johnny/Sarah/Walt thing has run its course, and at this point, they need to settle into a stable equilibrium. The scenes with Walt seem to indicate that his fears have been largely addressed, despite the indiscretions of the past. Johnny, too, seems to have moved on.

Sarah’s comments, on the other hand, make her sound a lot more conflicted than she should be. But then, that could have a lot to do with the circumstances. Foldes and his music became, in her mind, something forever associated with Johnny and her life with him. There’s a metaphor at play between Foldes, his apparent death, his discovery, and Sarah’s relationship with Johnny. If Sarah equated Foldes’ death with the end of her relationship with Johnny, is his “resurrection” now dredging up emotions she thought she had resolved?

Even if that’s the case, it doesn’t have to be more than a wistful moment. Foldes returns to life, so to speak, but he has no intention of returning to his old life. Similarly, Sarah might be reminded of the depth of her love for Johnny, but she could also be reminding herself that their feelings for each other must evolve into close friendship.

Ben Foster seems to bring a true intensity to his roles, even if the “deeply conflicted” thing is getting a bit old. I truly disliked his character on “Six Feet Under”, and while I see a lot of the self-loathing in Darrin, at least he’s not so annoying. One actually believes that Darrin is this scarred inside, and that’s what Foster brings to the table.

What I didn’t like were all the plot holes. The gorgeous Audrey is stabbed in the back of the shoulder with a needle, and the coroner still concludes that it was an overdose! That’s the kind of plot convenience that drives me nuts. And given who killed Audrey in the first place, it’s hard to figure out who beat up the reporter. For that matter, who was Darrin’s mother? Some random groupie?

It’s the possible metaphor with Sarah that makes the episode work for me. It helps me set aside some of my issues with the predictability (I saw the killer’s identity coming a mile away) and the plot holes. As someone who grew up in the 1980s, I completely understand Sarah and Johnny’s point of view. Just look at how people react to the combination of Springsteen, the disappearing icons of the Jersey shore, and their relationships…it’s something everyone can relate to on some level. It’s still not as strong as I expect from earlier seasons, but it’s regaining momentum.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 7/10