Quantum Leap: Season 1, Ep. 3: “Star-Crossed”

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LEAP INTO: June 15 – 17, 1972 – Part 2 of re-cap!

Part 1

EPISODE 2: STAR-CROSSED

The next time we see Sam, he is fully ensconced in Dr. Bryant’s digs – even down to wearing a silk kimono and a white scarf. He appears to be reading a book of poetry … and what’s on the television gives us a clue as to where and when we are. star12.jpg Sam comments in the voiceover that he used to care about politics … but right now, all he can do is think about Donna. And what might have been. And what might still be to come. Sadly, he’s going to have to wait a bit longer because Jamie Lee shows up at his window, dressed up as Guenivere, spouting romantic nonsense. At the same moment, Al appears. As Sam tries to diffuse Guenivere’s passion, Al snarks off to the side, “You brought this one on yourself, Sam” – because instead of rejecting her firmly in the earlier scene he had said something along the lines of, “I’ll see you again when the moon crests the towers of Camelot.” hahahahahaha So here she is and it’s payback time. She is all a flutter, twirling through the room in her dress and her crown. Al just stands back and watches. You can hear his inward chuckle. Like: would you get a load of this crazy broad? Jamie Lee wants to “play” Guenivere and Lancelot – and whaddya know – Dr. Bryant has an entire closet full of costumes just for the occasion. Jamie Lee brings out some chain mail – and Al is intrigued by what he can’t see in the closet – so he strolls in. Through the rest of the exchange between an increasingly nervous Sam and an increasingly worked up Jamie Lee – we can hear Dean Stockwell’s amazed voice emanating from out of the closet. “Sam! You gotta see this! There’s some really kinky stuff in here! He’s got rubber stuff in here!”

Sam tries to veer Jamie Lee off the track, tries to get her to think about Oscar, her boyfriend. Jamie Lee is SO not into Oscar, the meathead. He has no poetry in his soul!!! My favorite moment in this little scene is Stockwell’s. He emerges from the kinky closet and stands between Sam and Jamie Lee. He has no lines, but he is completely involved – going back and forth between them like a tennis match. He takes a very cynical view of the whole thing. Jamie Lee is nuts, the professor is a letch … isn’t this all so entertaining?? Nothing is too serious. He’s not like, earnest, or pleading with Sam to do better. He’s an audience member. And Jamie Lee has one line in response to Sam’s – Sam says, “But what about Oscar?” Jamie Lee moans, scornfully, “But he’s so stiff!” And you can see Al’s face light up hopefully in the background – like: stiff? Well, THAT’S promising! A completely dirty rendering of her innocent line – and Sam, without even looking at Al, holds up a finger at him, in reproach, like: do star15.jpgnot even go there. Beautiful moment of their dynamic – very funny, they already, at this early stage in the series, have found a groove with one another. You can tell. Bellisario has said you could see, over the first season, how their friendship actually formed and developed (they are good friends to this day) … and it’s moments like that where it really becomes concrete.

Sam finally (again) gets rid of Jamie Lee and he and Al then get to it. Sam thinks he knows a solution to his problem. Donna has father problems. If they can orchestrate a reunion with her father … then maybe he can change history? Al: No, Sam, NO. Sam lets loose with a little bit of information (enough for Al to run with) – that her father was career military – No, Sam, no!

But obviously, judging from what happens next – Al goes back to the present day and secretly pulls up information on Donna’s father to somehow convey back to Sam, against the advice of everyone. He could lose his job. But Al, crusty tough Al, understands – to some degree – matters of the heart. This is the true key to the character. This is why the show works, if I may be so bold. If Al showed up in every situation, and snarked about it … we would lose sympathy with him. But that he can show up, randomly, and find compassion for a rape victim, or a floundering trapeze artist, or a blundering TV reporter … he writes NOBODY off. Nobody is “lost”. Let’s get in here and do what we can do to make their lives better. star16.jpg Everybody is worth saving. It’s a truly beautiful aspect of Al Calavicci – the show would not have worked without it. He never becomes a sappy guardian angel – he always maintains a level of snarky distance from the event – it’s a fine tightrope wire to walk and Dean Stockwell does so brilliantly. It was the role he was born to play. He gets to exhibit ALL of the qualities that those of us who are fans value most in him. He is tough. Check. He is no-nonsense. Check. But he’s also the guy you want to have around in a pinch. Check. He has sympathy (as opposed to contempt) for the “weaker” sex. He thinks they should be protected. But he doesn’t think women are weak. To the contrary. He just understands the REALITIES. He has shown aspects of this in part after part after part. Here – he gets to put it all together.

Next scene we see Sam walking into the Science Building. So obviously Dr. Bryant, despite the Einstein poster, is moving out of his comfort zone, to confront Donna, try to forge a connection. I was so amused by Sam’s friggin outfit in this scene. He is wearing a long grey-green blazer – with a matching belt around it, and of course there is the ubiquitous polyester shirt with Peter Pan collar. It’s so endearing to see Sam – virile manly Sam – take on all of these different aspects. star17.jpg Like: Okay. I am this guy. It is 1972. I hate the fashions in 1972. Yet I will succumb for the purposes of the quantum leap! He finds Donna – who is, naturally, alone in a dusty classroom, working out physics problems on the blackboard. Of course. The romance of physics, or, as Sam says later, “the poetry of physics.” Geeky. Yes. Corny? Unbelievably so. But consider me hooked. Let’s remember that poor Donna thinks that he is the lecherous literature professor – she is rightly baffled when he walks into the classroom, corrects her math on the board, and starts talking to her about how she didn’t factor in the expanding universe into her arithemetic. Regardless of how unrealistic this is … it works. She does say to him, “Why do you know so much about this?” And he blunders some answer … that she buys … because perhaps maybe in life it is easier to just believe than not believe. Donna doesn’t ever FULLY believe – she always maintains a healthy level of skepticism towards Dr. Bryant, she knows who he is, and what he is capable of … but in this scene, he talks to her about science, and about books she needs to read, and about physics, in a way that hooks her in. Against her will. Terri Hatcher plays this quite nicely … how she is getting sucked into this against her will. I KNOW that this guy is a jerk and a letch … yet … the way he speaks … I can’t help but listen! How many of us have had that experience? Heart leading over head, etc.

And I just have to say one thing about Scott Bakula – who has the straight man’s role throughout – the success of the show rides on his shoulders – yet so often he doesnt’ get the flashy part – he is the HEART of the show … and in this scene with Donna, the love of his life, who doesn’t even know him yet – he has a moment where he smiles at her – with the full force of that nice Scott Bakula smile – she’s getting something that he’s talking to her about – a difficult concept … they’re connecting on that deep and intellectual level that would obviously be important to someone like Sam – and Bakula smiles at Donna. A lot of this is just in the ACCIDENT of what he looks like – just a nice rugged handsome face – with piercing green eyes – but just look at his smile here. And tell me you don’t get why he became a star.

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It’s not smouldering, or burning with sensuality and double meaning … it’s just a nice and open smile – filled with his SELF … and the actor that can actually do that – into the camera – and have us believe it – will never collect an unemployment check. And Bakula never has. Look at that! It’s deceptively simple, people. He makes it look easy. It probably, on some level, IS easy. For him. That’s called talent.

The lovely encounter with Donna goes horribly wrong. He lets slip that he knows her father left her – and she is devastated. Beautiful work from her. “How did you know that? I have never told anyone that!” She feels betrayed. Sam chases after her and makes it right … “I have a theory about the universe … ” which he shares with her. She says, disbelieving, ‘The universe is infinite.” He says, again, with that nice nice smile on his face, “Maybe not …” He suggests going to the library – a “nice public place” where they can discuss – and she, against her will, perhaps, again, concedes. Then we get a nostalgic montage of Sam and Donna, throughout campus, discussing the universe and its possibilities – just like they would discuss it 10 years in the future. star20.jpg I could have done without the sappy romantic music during this montage, but that’s just my bias – which is inherently unromantic. I love LOVE, don’t get me wrong – but I have a lot of sympathy with Oscar, the meathead … who thinks such conversations are “mush”.

The next scene is perhaps my favorite scene in the entire series. Period. Donna and Sam, post-montage, sit in The Rathskeller, talking – and it is clear from her first line (“So he can only leap within his own lifetime??”) that Sam has probably revealed way more than he should about the Quantum Leap project. She goes off to start her shift – and suddenly Al appears – in one of his most bizarre outfits ever. star22.jpg What I love about this scene is Al’s palpably guilty demeanor and Stockwell’s freedom in playing it. Al is not alone in the “imaging chamber” – he is being “observed” to make sure he doesn’t pass on personal informaiton to Sam – and Stockwell plays this double-ness to the hilt. He is the personification of 1. guilt. and 2. trying to get away with something. He’s not even trying to hide it! He’s signalling to Sam with his eyes the whole time, like: “duuuuude, I’m not alone on my end … WORK. HARDER.” And it’s delightful! And so stupid! It reminds me of what I find most beautiful about actors, and why I am so glad that the majority of my friends are actors and artists: they do not care about being stupid or obvious. Much of life already is a caricature … but it takes a gifted actor to portray it. Dean Stockwell, in this scene, is over the top guilty – his eyes flit about from side to side, he is trying to convey meaning without language – he is in the most desperate charades game of his life. (Regular non-actor people play desperate charades games – naturally – but could a regular non-actor person embody what that was like ,in take after take after take? Nope. They could not. That takes skill and imagination and freedom in front of the camera.) It’s just so fun to watch Stockwell turn himself inside out in this scene with no language. My favorite scene in the whole series. He shows up – and he is obviously not alone, although it takes Sam a while to figure out why he is acting so WEIRD. He is wearing a sash with hieroglyphics on it because he hopes Sam, with his doctorate in ancient languages (that Sam doesn’t even know he has), can decipher it and figure out Donna’s father’s whereabouts. Al has turned himself inside out for this one. But he is TOTALLY in trouble – even with Ziggy – because Ziggy believes, the computer believes, that Al will try to talk to Sam in code – ha ha yuk yuk – code … can you believe it? (meanwhile Al is gesturing frantically at some random glyph on the scarf). It’s a brilliant scene. I love it.

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In the shot above, he’s trying to get Sam to say “the Pentagon” – using only hand gestures. Like, Al – did you think you would get away with this?? The scene ends with Al suddenly being jerked away by unseen forces and dragged to the back of the room. Obviously the jig is up. Weitzman is onto him – and so is Ziggy – so they take control. As he is dragged to the back of the Rathskeller, screaming in protest, he manages to get out the following words, “I WASN’T speaking in code!! How could I say Colonel Wojohowitz in hieroglhypics???” before he is zipped back into the present day. Ah, Al. We love you SO much. star28.jpgYou put your job at risk in order to help Sam maybe – maybe – get a shot at his lost love. It only becomes clear much later in the series how much you understand about lost love … we know nothing about you at this point – nothing about your love life – we know you;’ve been married multiple times, but that’s it … but the fact that he is willing to lose his job in order to give his friend another chance … it speaks worlds, doesn’t it? We don’t even NEED to know his plot-line to know that he “gets” it. Even with his crusty lascivious exterior … we know he gets it. After Al is yanked back into the future – Donna and Sam have a brief encounter where he basically takes the leap of faith. He asks her to drive to DC with him (he has figured out that “colonel wojohowitz” is in DC due to Al’s convoluted clues on his damn sash!!) – He asks her to come “to save a lost love”. He doesn’t explain any further – but he says he will take a chaperone – Oscar and Jamie Lee. Hmmmmm. Donna – a bit tentative – agrees. Maybe there’s something in her that responds to this romantic side of him (as long as it’s not directed at her). Later, in the car, when she repeatedly mentions how “romantic” he is … she says it in a tone of awe, like: “You can’t really MEAN this, can you??” Sam Beckett, is, as we know, a very romantic man. The antithesis (or so we think) of Al. He’s probably only slept with a handful of women, maybe less – because his rules about love and sex having to go hand in hand are so strong. Donna- battered by childhood memories, terrified of being hurt – responds to this. But not in an immediate “ohhhh I love you” way. Terri Hatcher plays it more like a a doe – tiptoeing out of the forest – to see if the coast is clear. It’s very effective. Of COURSE Sam would love a woman like that. She takes the leap, too. Yes, she will come to DC – even though she doesn’t know why.

Sam, now armed with the NAME of Donna’s father, locates him at his apartment in DC. He calls. There is a very poignant brief conversation – between Sam (playing the literature professor) and Michael Gregory – a wonderful actor who plays Donna’s long-estragned father. Colonel Wojohowitz is seen, in an apartment, in his uniform, packing a suitcase when the phone rings. He picks up. Sam bumbles a bit … and Wojohowitz, impatient, asks him to get to the point because he’s “shipping out to Vietnam at 0800.” Sam gets to the point. “It’s about your daughter Donna.” Why I say Michael Gregory is a wonderful actor is because of what happens to him inside, in the following moment. We first see him – and he is a cold hard shell – packing a suitcase neatly – a man on a mission. He is polite to the stranger on the phone, but vaguely impatient because he has other things to do, important things, like fight a war. But at the mention of “Donna” … just watch his response. That’s all I’m saying. It won’t change lives, and it won’t win him an Emmy – this is just plain old good meat and potatoes acting. Play the scene. Do what the character would do. star29.jpgAnd do it fully. Dont’ hold back. Acting is never about histrionics – unless it is called for. Good acting is all about character and context. Colonel Wojohowitz is a stern man, a man of action – a man who has, perhaps, stuffed down the regret he feels about abandoning his family – in order to live his life competently. He has “forgotten”. But then – in a flash – WHOOSH – here is his past, come to claim him again. And Michael Gregory, the actor, stands up – at the sound of Donna’s name. It’s that simple. He stands up. “Donna? Is she hurt?” It’s a quietly moving moment – again, not one that will win any awards – but through such moments are a great series made. So I’m givin’ the props. Because they are due! Sadly, Colonel Wojohowitz is not open to “opening that wound” again – and he hangs up on Sam, the issue unresolved.

But Sam decides to go for it anyway. He asks the meathead Oscar if he has a car … and if he and Jamie Lee want to take a little road trip to DC. And so the four of them start off, from the college in Ohio (I think) to DC. Nobody, except Sam, knows why they are going. But larger forces are apparently at work. Donna definitely feels it. She sits in the front and keeps stealing glances at Dr. Bryant, wondering, wondering … why would he so put himself out there to make sure that Oscar and Jamie Lee get together?? Why would he so commit himself to wronging a right? To saving a lost love? Is this guy for real?

One word, yet again, on art direction. star30.jpg To anyone who grew up in the 70s, please look at that shot, and tell me you do not see your whole life. This is every gas station I ever went to, throughout that entire decade. My entire CHILDHOOD is in that shot. Perfect. I can’t even count the details that are right. All I can say is: nothing clanks with a wrong note, nothing calls attention to itself as kitschy or wrong; It’s is 1972, it’s a gas station – and that’s final! Sam gets out to go to the loo – and runs into (walks through) Al on his way there. He is overjoyed – the last time he saw Al, Al was being bodily removed from the imaging chamber! Now, I realize that much of the nuance will be lost in the following snippet of dialogue – you have to SEE it to get how funny and witty and well-played it is … but it’s an example of why I love this show, why I love these characters. It’s so RIDICULOUS – there’s a ba-dum-ching humor to the show, a neverending joke in the fact that Al is consumed by his own personal life – to the detriment of the project … and Sam, dealing with a freakin’ quantum leap, has to patiently (or not) wait out Al’s lecherous stories. Here’s the dialogue:

Sam: Al, thank God you’re here! star33.jpg I thought I’d never see you again. I figured they pulled you off the project.
Al: They did. They fed the hieroglyphics into Ziggy and then they fired me.
Sam: They can’t do that!
Al: Tell that to Weitzman. But that’s not important. What’s important is – he’s had a change of heart.
Sam: I didn’t think he had a heart.
Al: He probably doesn’t. But his wife does.
Sam: You slept with his wife???
Al: I would never do anything so unscrupulous as that! Unless it was Bartlett’s wife. Now there is a woman to get fired over. Ran into her one time at the fights. Bartlett was at some seminar in Utah or something. And it was her birthday – and do you know that the fool forgot?
Sam: What happened?
Al: Well, we had a couple of drinks, a nice rare steak with green chile —star34.jpg
Sam: [impatient] With Weitzman!!!
Al: Oh! Weitzman! You know Tina?
Sam: Yeah.
Al: [lecherous grin] Weitzman knows her too.
Sam: You set Tina up with Weitzman and then blackmailed him?
Al: …… Yes.
Sam: That’s —
Al: Unscrupulous! But … effective!

This dialogue is so much fun. I never get sick of it. This is the scene where Al says the chances are 4 to 1 – if Sam reunites Donna with her dad – that she will be able to love again … BUT! She might love “the jerk she met before you!” Again, Sam is willing to take that chance. Al, having made everything right back in the present-day, by having his girlfriend sleep with his boss for blackmail purposes – I mean, Al – what??? – is willing to go along with this leap now. He’s okay. He will play along. Let’s get Donna to her father before he ships out.

The team runs into a snag, though, once they reach the apartment complex of Colonel Wojohowitz. There are two stuffy security guards who will not let Sam and Donna pass – even though she says she is the Colonel’s daughter. The Colonel has a “do not disturb” message on his phone – and her last name does not match the Colonel’s – so no. We can’t let you through. Defeat. But Sam – man tenacious enough to get 6 doctorates – will not give up so easily. He and Donna go off around the building in search of an open door. Which, naturally, they find. Abracadabra. star36.jpg Throughout this sneaky espionage section, we keep cutting back to the guards – who have noticed something odd about one of the cars in the visitors lot – and one goes to investigate. It’s Oscar’s car, obviously – with Oscar and Jamie Lee curled up in the back, getting to know each other. Here is where we come close to the “kiss with history” – because, obviously, it is June 17, 1972 – and Colonel Wojohowitz lives in the Watergate, and we all know what happened in the Watergate on June 17, 1972. So here are Sam and Donna “finding” an open door … or did they inadvertently open a door, leaving access easier for the Watergate burglars? I don’t know – it’s “clever” – but for me, it isn’t necessry for the OOMPH of the episode, which is there already in the upcoming reunion of Donna and her father.

Next scene: the big finale. Colonel Wojohowitz sits in his room – when a knock comes on the door. There’s a flash on his face as he stands up … like he knows. Who would be coming to his door at this hour of the night? Could it have something to do with that weird phone call he got earlier? He just KNOWS who it is. Lovely moment. And whatever, I’ve watched this scene now probably 3 or 4 times since buying the series again … and it always makes me choke up. I’m not necessarily a sappy person – but when something works, on a simple heart-level – I’m all there. And this scene does. His stern staunch demeanor at the door – his frozen soldierly posture as he stares at the beautiful young woman – who is the daughter he left 10 years before. Her fear at the sight of him – huge gleaming tears trembling but not falling – she starts to leave, terrified, “This was a mistake” – and he, manly, steps up to the plate. This is how a man should act. Like Sam said to him on the phone, “I don’t know why you left your family – I’m sure you had your reasons – but Donna needs you now – she doesn’t think you love her.” So the man does not make excuses. He steps forward into the hall and says, “No. The mistake was waiting for 10 years.” He owns it. It was not HER issue, it was HIS. No excuses. End of story. And she – staring at him – realizes … he loves her. He loves her. He has always loved her. Terri Hatcher just crumbles – crumbles into a little ball – and rushes into his arms – it’s beautiful, folks, just beautiful!! We hear his voice say, “I’m so sorry, Donna … I love you …” and at those words, she winces – it’s almost like her joy is too searing and hot to bear – and she actually whimpers. I can’t describe it any better than that – her joy is so much that she MOANS in response … star37.jpg Now look, this is manipulative television at its best. I realize that. But “manipulation” to me is not a bad thing IF IT WORKS. Don’t you dare try to manipulate me and FAIL because then it just looks like you think I’m stupid!! But if you manipulate me and it works – like when Terri Hatcher literally WHIMPERS in her father’s arms because she is so freakin’ happy – then I am DAMN okay with that. I cry, More more more.

Sam stands off to the side, watching this – and there’s a sadness in him. Because he knows that by helping to heal this wound – he may, eventually, lose Donna forever. But again – like the great character that he is – he’s willing to take that risk. Because having Donna be healthy and happy is more important, ultimately, than her being with Sam. Now these are difficult truths and it’s hard to talk about them without sounding cliche. But seriously, it comes down to: what is important in life? What is RIGHT? We cannot predict the outcome. We cannot ASSURE the ending. But we can do our damndest that things come out right for those that we love. And that’s all we can do.

Donna, after hugging her father, comes over to Sam – and star38.jpgshe doesnt’ know what to say – her heart is full – what he has given her has worth beyond measure! Sam has a quiet kind energy in this scene, doesn’t push his luck, doesn’t get romantic … just lets her know that maybe one day … she will be old enough. For them to be together. She looks up at him wonderingly – again, like a naive doe coming out of the forest.

Sam and Al meet up in the stairwell. Sam is ecstatic. He did it! Maybe now Donna will be ready for him in 10 years! Al, though, is now chagrined – because he has realized that they have “broken into” the Watergate on the very night of the ACTUAL “breakin” to the Watergate. (Still: who cares? Do they thwart the breakin? No. Do they CHANGE history? No. Okay, I’ll let it go.) Sam couldn’t care less about the Watergate – not only that: he doesn’t remember anything – nothing, impeachment, Nixon, nothing. “Watergate? So??”

And it is here – in the stairwell – having righted the wrong between Donna and her father – AND having put Jamie Lee and Oscar together (who are now happily humping in the car in the visitors parking lot) … Sam leaps …

and finds himself in a boxing ring surrounded by screaming fans, he is facing another boxer, – who punches him in the nose – and dooooowwwwwn he goes.

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Oh boy!

Quantum Leap recaps
Overview
Season 1, Ep. 1: Genesis – part 1 of re-cap
Season 1, Ep. 1: Genesis – part 2 of re-cap
Season 1, Ep. 1: Genesis – part 3 of re-cap
Season 1, Ep. 3: Star-Crossed – part 1 of re-cap
Season 1, Ep. 3: Star-Crossed – part 2 of re-cap

Tommy’s posts:
Quantum Leap: an overview
Episode 1: Genesis
Episode 2: Star-crossed

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12 Responses to Quantum Leap: Season 1, Ep. 3: “Star-Crossed”

  1. Sal says:

    Only because I can’t bear for anything to mar the perfection of these re-caps:
    That’s not a Peter Pan collar. PP collars have rounded ends.
    It’s just a collar: though a too-big ultra-pointy weird polyester print one.
    /costume geekpedant

    These are a wonderful read, not just because of your powers of description, but because of your enthusiasm for the subject.

    QL was on during our TV-less years, so I’ve only seen one of two episodes. Thank you for doing this.

  2. red says:

    I love “costumegeekpedants”! You – as someone into costumes – would dig the details of this series, I think!! It seems to me they get the “feel” of different periods very much right.

  3. Mark says:

    he writes NOBODY off. Nobody is “lost”.

    You hit that right on the head. We’ll realize later that it’s because Al was lost himself, both literally and figuratively. When he was a POW in Vietnam, everyone wrote him off as dead, including his first wife, the love of his life. That sent him into a downward spiral, ending up a drunken mess that no one believed in — until Sam brought him onto the Quantum Leap project. I love how that one episode managed to explain so much about Al; not just his boozy, womanizing ways, but his compassion for the downtrodden and his complete loyalty to Sam.

    I’m going out tonight to spend stupid amounts of money on this series all because of this. Damn you, woman!

  4. red says:

    Mark – yes, nice point about Al being lost- and everyone giving up on him. I hadn’t really gotten that subtlety. I mean, even from a kid – abandoned by his father – who plopped him in an orphanage … You know, he had to save himself from that, and he did … but it’s that weird sympathy he has, with almost everyone – that is the true measure of his character.

  5. red says:

    Oh, and I applaud you spending ridiculous amounts of money on such a frivolous purchase – I applaud you!!

  6. Cullen says:

    Again, a fantastic piece. I think I’ve only seen this episode once, but through your descriptions it’s like I watched it last week.

  7. red says:

    Cullen – thanks!!! I’ll be moving on to episode 3 maybe this weekend.

    It’s been really fun – grabbing screenshots, taking notes, figuring out what I want to write … besides just the plot …

    Onward to episode 3!

  8. Dan says:

    Just an FYI – the ‘Kick Ass Mystic Ninjas’ podcast (you can find it on iTunes) just did an episode discussing Quantum Leap.

  9. The real question is:

    … can I finish Master & Commander by tomorrow night, midnight – in order to “get it in” to my Books Read This Year list, which, naturally, I will post in full, cause I’m geeky like that. I’m 110 pages…

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  11. Quantum Leap: Season 1, Ep. 4: “How the Tess Was Won” – Part 1

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  12. Quantum Leap: Season 1, Ep. 4: “How the Tess Was Won” – part 2

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