At
the end of the previous episode, we are shown the Waiting Room, and the
leap-in for this episode reveals the leapee for "Blood Moon!"
.
.
Leap
Date:
March
10, 1975
Episode
Adopted by: Eleiece <aka> Sherdran & Jennifer L. Rowland
Additional info provided by: Brian
Greene
Teaser:
Leaping
into a coffin is a first for Sam, who has become an artist who lives
like a vampire. It is the evening of Blood Moon, a sacrifice to Count
Bathory, and another couple have come to share in the ceremony. Sam
doesn't believe in vampires, but Al says he's the real thing. Sam must
prevent his host's girlfriend from becoming the sacrifice. And where
the heck is a mirror when you need one?
Sam
swoops into an artist who lives like a vampire and whose wife might
meet a gruesome end. Victor: Ian Buchanan. Claudia: Deborah Maria
Moore. Alexandra: Shae D'Lyn. Al: Dean Stockwell.
The Leap releases Sam with his eyes closed and his hands crossed over
his chest. He opens his eyes and discovers that he is surrounded by
quilted and padded silk above, below, and all around him. He bonks his
head on a hard surface and his eyes widen as he realizes he is enclosed
in a coffin!! “Oh no! Oh no!” he panics, his hands reflexively beating
against the lid, which pops open. Sam sits up to the accompaniment of
lightning and a thunder crash to see that he is in a coffin in the
center of a very macabre candlelit room, stone floor, stone walls,
stone ceiling. Intricate candle stands hold lit candles and a very old
metal ring style chandelier overhead bears lit pillar candles. Sam
looks down to see he wears a very ruffled white shirt beneath a black
robe-style jacket, very Bela Lugosi. As he continues to look around, a
disturbing painting of bizarre creatures surrounding a naked man riding
a cow catches his sight. Sam’s brow furrows and he jumps as a feminine
voice addresses him.
“Darling?”
Sam turns to see a lovely young woman with a mass of curly blond hair
above a high necked, puffy sleeved white Victorian gown trimmed in
gold. She smiles in greeting him, asking if he slept well.
“Oh boy,” breathes Sam.
The
young woman assists Sam in stepping
out of the coffin as he reflects that he has left “unusual” to land
“smack-dab in the middle of bizarre.” The young woman walks to a
glass-less window in what surely must be a castle and marvels at the
weather, stating that “it’s just as you said it would be.” When
Sam questions, “It?” she clarifies, “Blood Moon.”
Sam joins her at the window to see, through the rain, a blood red full
moon. The woman continues to remark that she didn’t understand
the world until he showed it to her. “I don’t pretend to
understand everything about you, Nigel,” she says. “I only know
that when you look at me, I’m helpless.” She continues to extol
over what “Nigel” has given her and swears that “when the moon is high,
I will return that love a thousand times more.” Her statement is
punctuated by a howling wolf and she shyly turns away while a perplexed
Sam continues to survey the strange place he has found himself.
Now the young woman is concerned that she’s caused offense.
Sam reassures her by repeatedly saying no. He backs away from
her, stammering that everything is fine. “Really. It
is.” He stops short as a middle-aged man in a three-piece suit
stands in the doorway, a lighting pole in his hands. The man
ignites a torch and then douses the lighting flame with his fingers.
“Does the master wish to inspect the livestock?” intones the servant.
When a confused Sam questions this, the young woman explains that she
asked Horst to bring up some sheep from the village for the
ceremony. Sam tries to play off his confusion by saying,
“Right. Right, for-- The sheep, for the ceremony.”
His nerves are not helped by the snarling of a Doberman pinscher, named
Vlad, of course, reacting to a stranger in the place of his
master. The young woman hurries over to the dog over Sam’s
protests, declaring that “He must sense your excitement.” She
strokes him to calm his whimpering and says she’ll take him with her to
prepare because “the others will be arriving soon.” The dog
follows her upstairs as Sam questions, “Others?”
Sam continues talking to himself, forgetting the presence of the
servant behind him. “This has got be some kind of joke.
Right? I mean the castle, the-the coffin, the-the whole storm and
everything—“ Silently, the servant steps past him to close the
coffin as Sam asks, “Right? Horst?” The only response is an
exhale of breath so that a smudge can be polished away. Horst
continues to focus on the coffin, not answering any of Sam’s questions
about “some kind of party,” as Sam helps him cover the coffin with a
thick dark cloth decorated with a logo. “We’re just gonna have
some kind of a little, uh, party or something?” presses Sam.
All Horst does is show a lack of respect for personal space, leaning
into Sam’s face and intoning a query as to whether the Master will be
needing anything else. Sam admits that no, but he was “wondering
about this whole ‘Blood Moon,’ uh ceremony.” But when he turns
around, Horst has left the room. Sam follows after into the
corridor as we hear the Imaging Chamber Door open, but he can’t find
the servant. As a wolf continues to howl, Sam mutters that he
hopes the sheep are okay. He turns around to see smoke coming
from an ornate sculpture of a goat’s head, but it’s just holographic
smoke from Al’s cigar as the Observer walks through the wall.
“What’s the matter?” asks Al, as he turns around. When he sees
the goat head, he yells and jumps back, fleeing the corridor.
“What are you trying to do, give me a heart attack?” yells Sam.
Clutching his chest, Al retorts, “Give you a heart—I’m having a heart
attack!” As Al tries to get his breathing under control Sam asks
if it’s Halloween. “Not unless they moved it to March!”
As Sam ponders this, Al follows behind him, asking Sam if he’s looked
in a mirror yet. Sam replies that he hasn’t seen any
around. Al repeats this statement and says, “Well that’s not
surprising.” Sam demands to know what that means.
“I think you’ve leaped into a—“ Al stops himself.
“Into a what?”
Al gulps and mutters, “A vampire.”
Incredulous, Sam echoes, “A vampire?”
“I know. It sounds strange,” admits Al, “but you should see the
guy in the waiting room. He looks like a cross between Bela
Lugosi and a sick corpse. He’s got all the markings of the
undead.”
Frustrated, Sam snaps, “And you have all the markings of the brain-dead. Now what does Ziggy have?”
Sighing and rolling his shoulders to re-center himself, Al pulls out
the handlink and informs Sam that it is March 10, 1975 and that he is
just outside London. Al is impressed that Sam has leaped outside
of America, but Sam impatiently tells Al he already knows this.
Al informs Sam that his name is Nigel Corrington, “London’s most
eccentric and expensive artist.” Al goes on to tell Sam that the
family has lived in this castle for five generations. “And you
just shocked the art world by marrying a homeless girl named Alexandra
Hill.” This stuns Sam, as he stares at the stairs by which
Alexandra departed earlier he asks Al why he’s there. Al
hesitantly tells Sam, “I don’t know, we haven’t run the program that
far yet.”
“Why not?”
Al rocks on his feet and makes noncommittal noises, so Sam presses,
“Because of the vampire? You’re not running the program because
there’s a vampire in the waiting room. Is that it? Is that
what you’re telling me?”
Al gets defensive and says, “You should see this guy Corrington,
Sam. He’s a first-class flesh eater. He’s got all the
classic signs. He’s got the pale complexion, the beady eyes, the
lustful stare.”
Sam interrupts to calmly say, “Al? You just described yourself.”
“Ha-ha! Very funny, Sam. You’re gonna laugh and I’m telling you, you have leaped into a night stalker.”
Sam doesn’t want to let Al spiral any further and demands that Al
repeat after him, “There is no such thing as a vampire. It’s all
in my mind. And I will never, ever bring up the subject
again.” After Al does so, Sam says that maybe they can get on to
figuring out why is there. Al hears Sam mutter, “I’m just glad
you didn’t show up when I was in the coffin.” and whirls on him,
triumphantly pointing with his cigar, “You’re a blood-sucking ghoul
form hell.”
Sam tells Al to go away and not come back until he has found out why
Sam is there. Al’s face shows his dread and fear on going to the
Waiting Room. He sullenly summons the Imaging Chamber door and
comments that he hopes Tina remembered to pick up his turtleneck from
the cleaners. Sam shakes his head as his friend leaves.
A painting of what looks like a stereotypical vampire with the widows
peak hair, high collared red cape, ruffled shirt, and clawlike hands
menacing in just as much a manner as the expression on the individual
captures attention and Alexandra comments that there’s “something so
powerful in his eyes. Don’t you think? It’s hard to believe
he stood in this very room over 300 years ago.” She’s very
excited by it all and thunder rumbles outside. Sam laughs that
he’d probably be happy to know that nothing has changed since he
left. Alexandra assists Sam in changing from the velvet smoking
jacket to a tuxedo jacket. She comments that she hopes he doesn’t
mind that she is wearing the dress. She found the dress in a trunk upstairs and
presumes it belonged to his great-great-grandmother.
Sam takes the opportunity to ask Alexandra about the coffin and why he
was in it, but a deep chiming interrupts them and Alexandra declares,
“They’re here.” She nervously asks Sam if she looks all
right. Sam assures her she looks wonderful. “I want to make
a proper impression. After all, I’m the lady of the castle now,”
says the former homeless girl.
Horst enters, the hat, gloves, and coats of their guests over his
arm. “Company, sir,” he intones, as an elegant couple sweeps into
the room. A debonair dark-haired man in a modern tuxedo strides
confidently with a tall, dark-haired woman in a striking sparkly black
dress on his arm. The man extends a hand for Sam to shake as he
says, “Lord Corrington, it is an honor to finally meet you.”
“Yes, well, hello. Thank you,” Sam awkwardly responds.
The man takes the time to introduce himself as Victor Drake and his
companion as Claudia. Claudia extends her hand and tells Sam
“it’s an honor to join you on this most sacred of nights.” She
stares at Sam as he stammers, “Yes, well, it’s really nice to have you
here, too, with us” before releasing her hand.
Victor says he was surprised “when you responded favorably to my letter
requesting the privilege of joining you on the night of the Blood
Moon. Your name, sir, is legendary among the followers.
Although I never expected to encounter such a vision of beauty upon my
arrival.” His flattering words enrapture Alexandra. Sam
observes the way Victor is studying Alexandra and quickly says, “I’m
sorry. This is my wife, uh, Alexandra.” Victor proceeds to
kiss her hand as Claudia watches intently.
Breathless, Alexandra suggests, “Shall we retire to the dining room?”
Victor replies that would be lovely because, “I’m ravenous.”
Both Victor and Claudia are intent on Alexandra, which Sam observes.
The dining table is set for four, the room here as the coffin room
below, illuminated by pillar candles on stands, shelves, candelabras,
and suspended from chandeliers as well as along the table itself.
Victor, escorting Alexandra, comments on how impressive it is, adding,
“I understand your family has lived here for many years.”
Sam, with Claudia on his arm, replies, “So I’ve heard. I mean, yes, that’s true, of course.”
“Nigel’s great-great-grandfather built the castle. There’s a
portrait of him in the study,” Alexandra helpfully supplies. She
suggests that perhaps the Drakes would like to see it. Victor
replies that he would like that very much.
He and Sam seat the ladies and then Al pops in, calling for Sam.
He gestures to the other room and tells Sam they need to talk for a
minute. Sam excuses himself by saying he needs to check on
dinner. When Alexandra protests that she’s sure Horst has
everything under control, Sam says “it never hurts to
double-check.” He closes the thick draperies behind him and turns
to talk to his Observer.
Al asks how life in the netherworld is, but Sam’s attention is on what
Al is wearing around his neck. Al lifts a cross, but Sam is
asking about something a bit more obvious. Sheepishly, Al says,
“It’s garlic.”
“I know it’s garlic,” replies Sam. “Why is it around your neck? Hmm?”
“No reason,” says Al.
Sam says he thought they had “all this vampire stuff settled.”
Gesturing with his cigar, Al says, “Well you may change your mind after
you find out why you’re here. There’s a 95.2% chance that you’re
here to solve a murder.” Al explains that Alexandra’s body is
found in the forest in a couple of days. He has trouble getting
out that when her body is found “It’s completely... drained of blood.”
Sam presses, “What do you mean drained of blood?”
Al insists, “I mean drained. Emptied. Sucked dry.
Arroya seco, Sam. Admit it. You have leaped into a... a
vampire.” He reflexively fingers the garlic.
“Stop it with the garlic,” snaps Sam. “Al, I cannot believe that
there are guys out there running around in bad tuxedos, biting people
on the neck.” He insists there has to be a logical explanation.
Al wants to know what’s logical about the walking dead. “Why is it difficult for you to admit that I could be right?”
“Because it’s insane, that’s why,” insists Sam. “I’m a scientist. I deal in facts, not fiction.”
“Aha!” proclaims Al. “All right, all right.” Intensely, he says, “Explain the fact that you woke up in a coffin.”
Sam says, “Well, that’s easy to explain.” When Al taunts him to
go ahead and explain it, as Sam processes it, the light bulb goes on
and Sam declares it “A marketing ploy.” He theorizes that as a
painter Corrington “probably lives this bizarre lifestyle to drive up
the price of his work. People love quirky, especially when it
comes to art. Now you gotta admit I’m right there.”
Al seems to concede this but then asks “What about the murder?”
Sam realizes he doesn’t have an answer for that. He asks if Ziggy
has anything else, but she doesn’t. Al explains that Ziggy is
trying to interface with some of the British systems, but it shouldn’t
take much longer. Sam asks Al to have Ziggy check on “Blood
Moon.” Al dutifully keys this into the handlink before it
registers.
“B-Blood- Bl-Blood Moon? What the hell is that, Blood Moon?”
“It’s some kind of a cult ritual thing,” explains Sam. He also
asks Al to have Ziggy run a check on Victor Drake, explaining that he
and his girlfriend are big fans of Corrington’s and are there to
celebrate the Blood Moon ritual. Al asks if Sam thinks Alexandra
is part of the cult, but Sam doesn’t think so. Al doesn’t
understand why she’s hanging out with a guy like Corrington. Sam
theorizes that because she was a street kid, and now she’s all of a
sudden “queen of her own castle. Now who’d wanna give that
up?” He goes on to say that he thinks she really loves Nigel
Corrington.
Al prepares to return to the Project and begs Sam to be careful.
As he leaves he laments, “This Leap is getting weirder by the minute.”
Sam returns to the dinner, where Victor proposes a toast. “To
stab the hearts of mortal men, they spill their blood like rain.
And to the night we offer ours, to demons without shame. To the
Blood Moon.” Claudia and then Alexandra echo, “The Blood Moon,”
with Sam hesitantly finishing, “To the m-moon.” Slowly,
eyeballing each other around the table, everyone drinks.
Sam nervously drops his glass, apologizing and claiming he wasn’t
paying attention as he mops up the spill with his napkin.
Alexandra explains, “I believe my husband is more excited than he dare
admit. He hasn’t been himself all evening.”
“Is that right?” asks Victor. “Nothing serious, I hope.”
“No, no. Just kind of one of those days,” Sam offers as an excuse.
Seriously, Victor remarks, “I trust everything’s been prepared for the
ceremony.” He adds that it must be satisfying to experience “such
a sacred event with such...” Victor turns to regard Alexandra as
he finishes, “such a hauntingly beautiful creature.” Transfixed,
Alexandra softly says, “You flatter me, Mr. Drake.” Claudia, too,
is studying Alexandra and smiles as Victor declares, “I worship you,
Lady Corrington.”
Sam watches this, concerned, as Alexandra explains that she isn’t sure
what to expect, only knowing that “the ritual involves some kind of...
sacrifice.”
“An offering,” volunteers Claudia, “to the beast.” She rises to
her feet as she continues, “It’s quite simple, really.” She
trails her hand along the table as she moves towards Sam. “Within
each of us...” She strokes Sam’s neck. “...there lives a
beast.” She grips his shoulders and squeezes as she adds, “A
power. Some... choose to fear it.” She looks directly at
Sam, and then releases him. “Others, to deny it,” she says,
moving towards Victor. She strokes the side of his head lovingly
as she says, “Then there are others... who seek to embrace it.”
She slides her hands down Victor’s chest and leans close as she says
this. “To feed off it.” Alexandra begins to breathe more
heavily as she listens. Claudia moves towards the young woman
now, saying, “As with everything, there is a price to be paid—“
She cups Alexandra beneath the chin and strokes towards her ear as she
adds, “A sacrifice to be made.” Tears fill Alexandra’s eyes and
Victor’s lips begin moving back and forth as Claudia now places her
hands on Alexandra’s shoulders and neck, playing with her hair.
Alexandra breathlessly says, “We have hours before the moon is high. Shall we move to the study for cognac?”
“Perfect,” declares Claudia, sliding away from Alexandra.
Sam quickly rises. “No. Uh, no,” he says. He suggests they
should clear the table. Victor defers that Sam’s “domestic” can
handle it. Sam retorts that he’d rather do it himself. He
asks Alexandra to give him a hand, but she seems to be under a sort of
spell as she meets Claudia’s eyes, the older woman holding a hand on
her shoulder. She startles when Sam calls her name again, and she
stiffly rises to assist him, her hand going to her throat. He and
Alexandra leave while Claudia and Victor exchange a look.
“Nigel, what’s come over you?” Alexandra asks as they bring dishes into
the kitchen. Sam denies anything, and says he just thought she
needed some fresh air because she seemed distracted.
“It’s the ceremony, you’re having second thoughts, aren’t you?” she asks.
“Well, as a matter of fact, I am,” agrees Sam.
This upsets Alexandra, who fears her husband doesn’t think she’s worthy
because of her past. She says, “Nigel, you’re the only one I care
for. I want to be part of your world.”
“Why?” asks Sam. “You’re so young and you’re so alive. It
has to be terribly lonely for you, living here like this.”
Alexandra doesn’t respond, but embraces him and rests her head against
his chest.
As she clings to him, she says she never knew her mother or
father. “They left me in a boot box on the steps of a small
church when I was only a few hours old. I grew up in a room with
20 other girls just like me—20 lost souls.” She steps away from
Sam. “When I left there, I lived on the streets. Until I
met you, I was sure I would die alone.” She begs Sam not to make
her die alone.
Sam urgently tells her, “I really think we should call off the
ceremony.” She protests that the moon won’t be like this again,
but Sam cuts her off before she can say the length of time, telling
her, “I’m talking about your life.” She doesn’t understand.
Victor interrupts any further explanation, telling Sam he hopes he
isn’t planning on “monopolizing your lovely wife all evening,
Milord.” He apologizes for intruding and says he was hoping to
present Sam with a gift. Alexandra is pleased by this and finds
it wonderful, but Sam regards the suave man with suspicion and unease.
An elegant box is opened to reveal a dagger and sheath nestled in
velvet. Alexandra exclaims over its beauty and asks Victor where
he found it. Victor says he bought it from an old peddler and
that the knife “belonged to Count Bathory himself.” Alexandra
continues to admire the dagger, saying she’s never seen anything like
it and that it must be worth a fortune. “At least,” agrees
Victor. Claudia volunteers, “Victor is a very generous
man.” Victor asks if it pleases Sam.
“Yes, this is a very generous gift, but...I can’t accept it,” says
Sam. Victor insists he must, because he’s sure Sam will find it
very useful in the future. Sam agrees that it has a great deal of
sentimental value for Victor. Victor, as Claudia kisses him,
declares “Value can only be measured by the individual. Don’t you
agree?” Sam and Alexandra stare at the couple as Claudia
continues to nuzzle Victor. Alexandra suddenly grabs at the desk
and knocks a glass to the floor. Sam asks if she’s all right, but
Alexandra excuses herself from the room to freshen up.
Claudia is still kissing and nuzzling Victor, who stares fixedly at Sam
and says, “I can see why you chose her. She’s really quite
vulnerable, isn’t she?”
“We’re all vulnerable in our own way,” responds Sam.
“So we are,” agrees Victor. Since they have hours before the
ritual, Victor asks Sam for a “more secluded location, where we can
prepare,” as Claudia continues to kiss him and sigh. Sam offers
to have Horst take them to rooms upstairs. Victor tells Sam that
won’t be possible since he “took the liberty of excusing him for the
evening.” As Sam hesitates, Claudia says, “Join us. I want
to bathe in your power.”
Victor tells Sam, “I can assure you, Claudia is quite... energetic.” Sam begs off, “Some other time perhaps.”
The couple departs and Sam watches them go. From across the room,
Al says, “Well that proves it. They are definitely
vampires.” Sam demands to know what Al is talking about. Al
shows him a hardcover book, “How to Spot a Vampire by Dr. Laszlo
Fang.” Sam starts laughing, but Al protests, “It’s not
funny. This is the world’s foremost expert on vampires.”
Sam continues to tease him, as Al reads from the book, “Vampires are
not merely blood seekers... They are sexually obsessed, and many of
them possess insatiable carnal urges... beyond the grave. Now
what does that tell you?” Rubbing a hand over his eyes, Sam says,
“It tells me that vampires and holograms have a lot in common.”
“Ha ha ha,” responds Al, “you’re not gonna laugh when I tell you about
the-- the Blood Moon.”
This catches Sam’s attention, and all teasing is laid aside. Al
explains that the Blood Moon is a very sacred night that only happens
once every ten years, when the walking dead honor Count Bathory, who
was one of the first vampires in recorded history. “Legend has it
that he was personally responsible for the ritualistic deaths of 650
virgins. He believed that their blood would rejuvenate him and
give him eternal life.” Sam is dismissive of this, but Al
continues, “Well, they caught this guy, and when they caught him, the
townspeople walled him up inside his own bedroom. And he lived in
there. He stayed alive for three years drinking his own
blood.” Sam mocks him as he asks if Al read all this in the Dr.
Fang book, joking that he needs to read it. Al explains that that
night the moon turned blood red, “And ever since then, it’s been
required for the vampires to offer up a sacrifice in his name.”
Skeptically, Sam says, “And this is what Ziggy thinks happened to Alexandra?”
Al explains that Scotland Yard determined Alexandra’s cause of death to
be acute loss of blood due to a puncture wound in the carotid
artery. He says the murder weapon was found near the body, a
silver dagger.
Sam freezes and stares at Al. He asks, “What?” and Al repeats, “A
silver dagger.” Sam slowly moves to the desk and holds up the
gift from Victor Drake. “Something like this?” Al stares in
shock.
“Are you saying that Corrington sacrificed his own wife?” gasps
Al. Sam doesn’t think so, rationalizing that if it was Corrington
then history would have changed as soon as Sam Leaped in. Al puts
the vampire book down; it disappears as soon as he removes his hands
from it, and he pulls the handlink out. Before he even inputs any
information, he says, “Drake.” Sam wants to know if they have
anything on him yet. Unfortunately, they do not. Al blames
the English frequencies.
Sam paces and talks about how weird the whole Leap is, feeling like he
Leaped into the middle of a Stephen King novel. He complains that
he doesn’t even know what he looks like. Al says this isn’t a
problem and points to the painting over the fireplace. He says,
“That’s the guy in the Waiting Room, that’s you.” Sam declares
this to be impossible because “Alexandra told me that that guy has been
dead for over 300 years.”
“Dead or undead?” asks Al, nervously. Sam turns on him and tells
him not to start with that again. Al protests that Sam has been
there long enough. “You gonna tell me there’s nothing weird going
on here?”
“Weird, yes, living dead, no,” says Sam. Frustrated, he asks Al,
“Now what is it gonna take to convince you of that?” Al just
stares at him.
Torch in hand, Sam is now outside in the cemetery with Al, standing
before a large above ground tomb. As he racks the torch in a
nearby stand, he complains, “This is ridiculous, Al, absolutely
ridiculous. But if this is what it takes to prove that he’s not
undead, then I’m gonna do it.” He braces his hands on the stone
lid of the tomb and hefts it up, sliding it away. Al cheers him
on. The lid falls to the ground and Sam looks inside.
Slowly, Al walks closer to look over his shoulder. A wooden
coffin is inside. Sam says he’ll open it. Al shudders and
steels himself. Sam hesitates, rubbing his face and telling Al,
“When you see his bones in here, I don’t wanna hear anything more about
vampires.” Before Sam can open the coffin, Alexandra screams,
followed by Al. Sam yells Alexandra’s name and runs off. Al
yells, “Gooshie, get me the hell out of here!”
He pops into the kitchen, where Alexandra is hysterically screaming.
Sam runs up to them, embracing Alexandra as Al stares and lets out a
disturbed cry. Alexandra points and Sam turns to see what they
have seen... Vlad, the very good dog, lies dead on the floor with blood
pooling beneath his throat. Sam kneels to examine the body, and
Alexandra runs off sobbing.
“Look at his throat, Al,” says Sam.
Nodding, Al assures Sam, “I see the throat. What’s left of the throat.”
Sam wants to know who could have done something like this, but Al says, “Maybe it wasn’t a who. Maybe it was a what.”
Victor appears, asking if everything is all right, saying he heard a
scream. He turns to see Vlad’s corpse and kneels before the dog,
rising with blood on his fingertips. “How did it happen?” he
asks.
Sam says he was just about ask the same question. Victor says Sam
doesn’t think he had anything to do with it. Sam looks at
Victor’s white vest and Victor follows his gaze to a spatter of dark
blood. Victor closes his jacket and says, “Alexandra must be very
upset. Perhaps I should speak to her.” Sam grabs his arm
and informs him, “She’s my wife. I’ll handle it.” Victor’s
breath makes a hissing sound as he acquiesces, “Of course.” He
tells Sam he’ll await them both in the study and yanks his arm free of
Sam’s grasp.
Sam finds Alexandra standing before a window staring at the
storm. She apologizes for running off, saying she couldn’t bear
to look. Sam sympathizes that it must have been terrible finding
Vlad like that. Alexandra says she doesn’t understand and who
could have done something like that. Sam tells her he doesn’t
know. As she leans her head against his shoulder, Sam says,
“Listen, I-I’ve been thinking about tonight. I think we should call off
the ceremony.” Alexandra wonders if it’s because of what happened
to Vlad. Sam says, “Because of a lot of things.”
She protests, “But it’s so important to you. It’s what you’ve
waited for ever since we met. It’s all you’ve talked about.”
“Well, it’s not as important as you are,” insists Sam.
Touched, Alexandra turns to him and touches his face, telling him that
she doesn’t understand him, that he’s “at once frightening and
exciting. I find myself wanting to run away, yet I’m drawn to you
like no other.” She leans in to kiss him, but Sam says she has to
trust him on this. She asks about the others. Sam says
they’re in the study and he will tell them of their decision. She
insists on accompanying him.
In the study, Claudia paces before the portrait of the Corrington
patriarch, a glass in her hand. Sam and Alexandra enter and she
approaches them. Victor tells Lady Corrington he hopes she is
feeling better. Facing the portrait, Victor says that the moon is
high and they have much to do. Sam informs the couple that he has
decided to call off the ritual. Victor turns to face them,
saying, “This is quite unexpected. Are you sure there’s nothing I
can say to change your mind?” Sam says he’s sure. Victor
says then they should be going. Sam agrees that would be
best.
Victor turns to retrieve two more glasses from the table and asks if
Sam will at least allow him the honor of a final toast. Sam
agrees, considering the circumstances, and he and Alexandra take the
glasses. Claudia asks what they should drink to and Victor
responds, “Destiny.” Sam and Alexandra drink from their glasses,
but Claudia and Victor only hold theirs before their mouths.
After Sam and his wife have drained their glasses he notices this and
his face falls. A moment later, Alexandra touches her chest and
falls to the floor. Sam kneels to check on her and collapses as
well. Victor laughs and draws Claudia into an embrace as he says,
“Well, the Count will be pleased. Instead of one offering, we
shall give him two.” They smile and stare down at their collapsed
hosts.
“You greatly disappoint me, Corrington,” lectures Victor as he paces
before Sam, tied to the dining table with ropes. “I must admit, I
never imagined you the type to fall for a pretty face—especially one
with such a sordid pedigree.”
“You drugged me,” says Sam.
Victor leans into his face and sneers, “You’ll wish you’d stayed
drugged before this night is over. You’ve done a very foolish
thing. The Count will be displeased with your lack of
commitment.” Victor walks to look out the window as Sam asks
where Alexandra is. He says, “She’s tied up at the moment.
Don’t worry. Soon you’ll be together again... for eternity.”
When Sam asks what he wants, Victor says it’s obvious, “I want your
soul, more directly, your blood.” Sam says he can’t be serious,
but Victor says he’s more than serious, “I’m compelled.” Sam
protests that it’s murder. Victor derides this as nonsense,
declaring, “The soul can never die. It can only be...
reinvented.” He stands over Sam again as the thunderstorm
continues.
Claudia enters in a lacy hooded cape. Victor welcomes her.
She leans in, but instead of kissing on the mouth, she kisses his
throat. “The moon is high, my love,” she tells him.
“Yes, it’s time,” he agrees. The pair looks smugly down at
Sam. Victor turns to go but comes back to nuzzle Claudia’s neck
and tell Sam that he envies him. “Soon you’ll know the secrets
beyond the grave.” He departs.
Sam urgently tells Claudia that she has to untie him because Victor’s
going to kill Alexandra and he has to stop him. Claudia says,
“You heard him. He said you were the chosen one—the one that
would take us through the forest. But you’re just like the
others. You’re weak and afraid.”
Sam angrily tells her that this isn’t a gothic novel, but real
life. “Unless you untie me, innocent people are going to
die.” Claudia tells him it’s too late. She sweeps over to
him, trailing her cape as she proclaims, “Tonight will see the evil of
man reborn.” She unties Sam’s cravat as she tells him Victor says
their “fates are preordained.” Sam replies, “I don’t know how to
break this to you, but Victor is insane.” Angered, Claudia
shouts, “Victor is a genius! He is my king. And soon... he
will be yours.” She opens Sam’s collar to expose his throat.
Al appears as Claudia throws her head back, exposing two vampire
fangs. Sam stares in disbelief as Al punches in the handlink,
looking over calmly to see Claudia, and then reacting in shock.
“Oh, my God, Sam!” He holds his cross up at Claudia as Sam cries
out to him. Claudia shushes him, telling Sam she wants him to
hear “the sound of our union.” Sam begs her not to do this.
She says it’s already done and leans over Sam as Al shouts that she’s a
vampire and that Sam should do something. As Claudia prepares to
bite Sam, a thumping sound is heard and she falls over unconscious,
revealing Horst, who has returned to the castle.
Horst asks Sam if he’s all right. Sam, relieved, is grateful
Horst came back. He says he thought he’d gone home for the
evening. Horst explains that he forgot his cap. He unties
Sam, who asks where Alexandra is. Horst doesn’t know and Al can’t
get a fix on her because of the lightning. Sam tells Al to find
her so Al asks Gooshie to center him on Alexandra. Al disappears
and Sam sends Horst to town to get help.
Sam sees Claudia’s unconscious form on the ground and he kneels down,
proclaiming, “You’re not real. And I’ll prove it.” He
touches her vampire fangs to discover that they are an insert nestled
behind her real teeth. “They’re fake,” he celebrates as Al
returns. He taunts Al with the bridge he holds, “Your vampires
are fake unless they got a dental plan in hell.”
Al tells Sam that Victor has Alexandra staked up on the roof and is preparing to “start the service.”
Alexandra is strapped to a table as Victor holds the Count Bathory
knife to the light and states, “It’s just as it was in the beginning,
when Bathory ruled the night. I’ve awaited this moment my entire
life—to bridge the gap between the living and the dead, to fly with
fallen angels and to soar into the night.” He bares Alexandra’s
throat and wields the knife. “And you—oh, you shall be my
wings.” He presses his fingers along her artery as she cries out
in fear. “So delicate, so fragile,” says Victor. He presses
the tip of the dagger against her neck. “And soon you will be...
with the master.”
Sam arrives on the roof and calls Victor’s name. He tells him, “I
know you want to believe that this is all real, but we both know the
truth.” He holds up Claudia’s fake vampire teeth.
Victor’s own vampire teeth are exposed as he says, “You killed her.”
“No, but I’ll kill you if I have to,” Sam assures him.
Victor says, “You still don’t understand, do you? You can’t change this. Why do you reject your own destiny?”
Sam says because it’s wrong. He tells Victor to let Alexandra go.
Victor agrees, “She shall be released. We shall all be
released.” He moves to stand at the head of the platform
Alexandra is strapped to and raises the dagger over his head. As
he prepares to plunge it downward, he is struck by lightning and falls
backwards over the parapet. Sam embraces Alexandra while Al goes
to look over the edge. Victor lies dead in the tomb Sam opened
earlier.
In the study, the authorities conclude their questioning, telling Sam,
“The young lady has indeed confirmed your version of the story, and uh,
seeing as you and your family have lived here for many years, I really
don’t see much point in bringing you in at the present
time.”
Sam asks if they would mind waiting a few minutes so he can talk to his
wife. The detective agrees. When Sam is alone with
Alexandra, he turns to Al and asks, “I don’t think she should be here
when Corrington gets back, do you?”
“No, of course not,” concurs Al.
Sam strides to Alexandra, drawing her out of the reflective reverie
she’s in. He kneels and tells her that he’s been thinking.
“I think you should leave here. You don’t belong here.”
Alexandra begins to weep. Sam repeats, “You don’t belong
here. And what happened tonight should convince you of
that.” After a moment, she nods and embraces Sam.
“Where shall I go?” she asks.
Sam retrieves the Count Bathory box and hands it to her, telling her,
“I want you to take this, and sell it. You should get a lot of
money for it. And I want you to go as far away as you can from
here. You hear me? Please.”
Alexandra cries and nods. She rises and Sam urges her to
go. “The police are waiting to take you to town. Go.”
She pauses in the doorway and says, “I don’t think I’ll ever understand
any of this, but I’ll love you for all eternity.” Weeping, she
leaves.
Al gently says, “Don’t feel bad, Sam. You didn’t have any
choice. You couldn’t leave her with that – that that.” He
gestures to the portrait.
Sam looks up at the painting and nods. Al assures him, “Ziggy
says she’s fine. She’s – she’s just fine.” Sam is concerned
that she ends up on the street again. Al says she does, but she
becomes a missionary.
Sam laughs. Al asks, “Ha-ha, what?”
“You gotta be feeling a little silly right now, huh?” taunts Sam.
“You know, with your garlic and your cross and all that stuff,
considering how everything turned out.”
Sarcastically laughing, Al says, “I was wondering how long it would
take you before you’d try and rub my nose in that.”
Sam says, “I don’t wanna be an I-told-you-so.” Al raises his
hands and confesses, “No. I just got a little – a little carried
away.”
“A little carried away? Al!” Incredulous, Sam points out
that Al was scared to death. Crossing to a table, Sam says, “I
just hope that this proves to you, once and for all, that there are no
such things as vampires.” Al’s back is to Sam as he’s examining
the room. Sam looks up at the portrait and then lifts a platter
to “finally find out what I look like.”
There is no reflection but the firelight. Sam looks over his
shoulder and holds the platter before him again. No
reflection. Sam stares in disbelief and calls for Al as he Leaps.
He finds himself clinging to the hood of a speeding car, wearing a red
hooded mask and cape, as the driver takes part in a drag race.
Hanging on for dear life, Sam cries out an extended “Ohhhhhhhhhh
booooy!!!!!”
Synopsis by Jennifer L. Rowland
Personal
Review by Eleiece <aka> Sherdran:
"Blood Moon" is so campy with its "is-he-or-isn't-he-a-vampire" theme
that it's hysterically funny. In my opinion, "Blood Moon" is one of the
funniest, if not THE funniest, episode of Quantum Leap, bar none. I can
only marvel at how Scott kept a straight face with some of the lines he
had to deliver, not to mention the one-liners that Dean delivered with
such gleeful abandon (I'd be willing to bet that Dean's line about Tina
picking up his turtleneck at the cleaners was an impromptu addition by
him.) I'll bet the entire cast and crew had an absolute blast making
this episode.
"Blood
Moon" may be so campy it makes your teeth hurt or cause your
eyes to 'stick' when you roll them once too often while watching it,
but in my opinion, there's not a darned thing wrong with this episode!
Music:
"Bite Me -
Blood Moon", a suite from this episode, appeared on the official Soundtrackalbum as track #11.
Ziggy was having trouble interfacing with the British systems; Al said
it was
the English frequencies. According to Al, "This place hasn't been the
same
since the blitz."
Lightning
and other electrical interferences can effect Ziggy transmitting Al's
image from the Project in the future.
Sam Trivia:
Sam's Outfits Worn in the Episode:
Dark sable velvet smoking jacket with black velvet collar and lapels,
later replaced with the black cut-away dinner jacket; black dress
trousers, white shirt with a white lace jabot at the throat and fluted
cuffs; a white waistcoat and black suspenders/braces; black shoes.
Black jacket with a white
'string' pattern and black trousers; black
& white shirt in a large hound's-tooth pattern; an
inverted-point triangle pin worn at the throat of the shirt; later, he
wore a crucifix as well as a head of garlic on a string around his
neck. He also carried a cigar in this episode.
We do not see the Leapee in the mirror in this episode. Corrington did
appear at the end of "Dr. Ruth" as he Leaps
into the Waiting Room!
A review with clips from "Blood Moon."
A
"blood moon" is a total lunar
eclipse. In a total lunar eclipse, the moon is completely covered by
the
earth's shadow. What makes it turn orange/red is due to the light bent
from the sun filtered by the earth's atmosphere.
"How to Spot a
Vampire" by
Laszlo Fang is not a real book.
Lord
Corrington’s dog "Vlad" is named for Vlad the Impaler (Count Dracula).
Actor
Bela Lugosi's personification of Dracula (the most famous and
enduring) was born in Lugos, Hungary, on October 20, 1882. Lugosi died
of a heart attack on August 15, 1956. He was buried in his Dracula cape.
Claudia
is the name of a child in the book "Interview with the Vampire" who is
turned into a vampire.
The
blitz - The blitz on London during WWII began in full force on
September 7, 1940 and continued for 57 consecutive nights.
Ian
Buchanan as Victor Drake
Deborah Maria Moore as Claudia
Shae D’lyn as Lady Alexandra
Hill Corrington
Rod Loomis as Horst
Garth Wilton as Detective
Robert MacKenzie
as Nigel Corrington (Only seen in the Leap-out sequence from "Dr. Ruth")
Ian Buchanan as
Victor Drake:
Buchanan was born June 16, 1957 in Hamilton, Scotland. He worked at a
local hotel as a bellhop while still a teenager. By the time he turned
14 his parents, both of whom fought alcoholism, died suddenly. He and
his five siblings were left alone and his dreams of moving to the U.S.
were put on hold. Buchanan went on to work as a bartender and
restaurant manager in Scotland. While vacationing in Spain, his
exceptional good looks captured the attention of a photographer. He
agreed to a photo session that went so well he quickly found regular
modeling work. He moved to London where he soon became an international
fashion model. When the prestigious Ford Agency signed Buchanan in the
1980s, he relocated to New York City. Buchanan studied acting at New
York's Lee Strasberg Theatre Institute. He was also coached by notable
playwright and actress Marcia Haufrecht. His hard work paid off when he
was offered the role of heartthrob Duke Lavery on General Hospital
(1963) in 1986 who most notably sizzled with co-star Finola Hughes. The
role became Buchanan's launchpad to other television opportunities.
When he left the soap in 1989, he appeared on prime-time in It's Garry
Shandling's Show. (1986) from 1988-1990. In 1990, he
played a wealthy Playboy-style magazine publisher who murders his
partner in Columbo Cries Wolf (1990). Buchanan returned to daytime
television in 1993 as the mysterious psychologist Dr. James Warwick on
The Bold and the Beautiful (1987). He was the first ever actor on the
show to receive a Daytime Emmy Award in 1997 and stayed with the show
until 1999, returning on several occasions from 2004 to 2011. A string
of guest-starring roles on various TV shows followed as well as some
film work including playing Jodie Foster's Realtor on Panic Room
(2002). Buchanan has since appeared on various soap operas: on the
"General Hospital" spin-off Port Charles (1997) from 2002-2003, and as
a vampire in the 1993 Halloween episode of Quantum Leap (1989), he
played the devious fertility specialist Dr. Greg Madden on All My
Children (1970) who had performed Erica Kane's (Susan Lucci)
controversial abortion in the 1970s and had a short run as Ian
McAllister on Days of Our Lives (1965) in 2012. Not long after Buchanan
returned to "General Hospital" after a 23 year long absence where he
was reunited with Finola Hughes. The recurring spot
as the cringeworthy yet humorous Dick
Tremayne on Twin Peaks (1990) was a memorable highlight as seen in this
clip below:
Deborah Maria Moore as Claudia:
Deborah Moore was born on October 27, 1963 in Marylebone, London,
England, UK. She is an actress, known for Die Another Day (2002),
Chaplin (1992) and Into the Sun (1991). She was previously married to
Jeremy Green. Her father, Roger Moore, was best known as "James Bond"
from 007 films. She had a minor role in Die Another Day (2002), a Bond
film starring Pierce Brosnan in a role her father played in years
before. Also had a minor role in Goldeneye (1989) - a UK TV-film about
Ian Fleming, creator of James Bond.
Shae D’lyn as Lady Alexandra
Hill Corrington:
In her twenty years on stage and in film Shae D'lyn has been blessed to
play challenging roles opposite many outstanding actors: most recently
in "Can You Ever Forgive Me?" as Nell opposite Melissa McCarthy and
Richard E. Grant, "Gypsy" as Margaret opposite Naomi Watts, "Orange is
the New Black" as Mary-Bethany opposite Taylor Schilling, Woody Allen's
"Cafe Society" as Carlotta, on "Boardwalk Empire" as Carolyn Rothstein
opposite Kelly Macdonald, in "The Pretty One" opposite Zoe Kazan and
John Carroll Lynch, in "Secrets" opposite Julie Harris and Thomas
Gibson, in Arthur Miller's "American Clock" opposite Mary McDonnell and
Loren Dean, and in "Vegas Vacation" opposite Chevy Chase and Randy
Quaid. Her dramatic and comic roles on television and web series
include "Alpha House," "Ellen," "Law and Order," "Quantum Leap," "That
Seventies Show," and four years starring as Jane on ABC's "Dharma and
Greg." Shae starred as Baby Doll in the New York theatrical premiere of
Tennessee William's "Tiger Tail" receiving a notable review by The New
York Times. Her character interpretations have given her the
opportunity to create many original roles such as Theresa in the US
premiere of "The Crackwalker," and Maddy in the world premiere of
"Maddy Far Away." Shae spent four years working almost exclusively in
the classics receiving a Best Actress award for Adrianna in "The Comedy
of Errors" at Boston's Leland Center, and starring as Iphigenia,
Electra, Desdemona, and over thirty theatrical productions in Boston,
Los Angeles, and New York. Shae attended The University of Virginia
where she played Adelaide in "Guys and Dolls," and Sally Bowles in
"Cabaret," and went on to complete Circle in the Square's Professional
Two Year Training Program where she studied under such renowned
teachers as Terese Hayden, Alan Langdon, and many more. Shae then went
on to study with Mary McDonnell, Jeffrey Tambor, and the great, Harry
Mastrogeorge whose brilliant approach she attempts to share with as
many actors as she can. She also directs and produces theater, film,
and television productions and has completed two feature screenplays, a
play and a television pilot. Her feature, Canary, is in preproduction.
She founded a production company Shot in the Dark Films and the
Independent Artists' Cooperative in Los Angeles, New York, Vancouver,
and Toronto with over 600 members. Her film "Morir Para Ser Libre" was
featured in the Boston Film Festival, "Contragolpe" won the Coco de Oro
festival, and her documentary "El Coro en Japon" was featured on public
television in Puerto Rico. Descarga.com chose Shot in the Dark's
hour-long salsa DVD as the Editor's Pick Best Video of 2007. Her
feature-length documentary "Los Vandalos" about the struggle between
the power structure and graffiti artists fighting to have a personal
voice, is heading toward its premier at the Latino Film Festival of Los
Angeles. Her film work can be seen at http://shotinthedarkfilms.com.
Listen
to The Quantum Leap Podcast interview with Shae D'lyn here:
Rod Loomis as Horst:
Rod Loomis was born on April 21, 1941 in St. Albans, Vermont, USA. He
is an actor, known for Bill & Ted's Excellent Adventure (1989),
Body Double (1984) and The Beastmaster (1982). He has been married to
Sandra Carol Freeman since August 21, 1981.
Garth Wilton as Detective: Garth Wilton is known for Titanic (1997),
Quantum Leap (1989) and A Fine Mess (1986).
Robert
MacKenzie
as Nigel Corrington (as seen in Dr. Ruth):
Was in Star Trek: Deep Space Nine (1993) as: ‘Trazko’ in: Necessary
Evil (ep # 2.8) November 13, 1993. He also was in 7 TV guest
appearances and 9 movies. Worked on the Visual Effects for Hulk (2003)
as concept/storyboard artist.
Say What?
An actual blood
moon occurred May 25, 1975. This episode takes place in March.
Sam's leap-in voice over: "Leaping in and out of new situations has
taught me to be prepared for the unusual. But I suddenly had the
feeling that I'd left unusual and landed smack dab in the middle of
bizarre."
Victor Drake's toast: "To stab the hearts of mortal men,
they spill
their blood like rain. And tonight we offer ours to demons without
shame."
Best
Lines:
Al: "Well you should see this guy,
Corrington, Sam. He's a first-class flesh eater! He's got all the
classic signs. He's got the pale complexion, the beady eyes, the...the
lustful stare..."
Sam: "Al...you just described yourself."
Sam to Al: "It tells me that vampires and holograms have a lot in
common."
Sam to Al: "Your vampires are a fake unless they've got a dental plan
in Hell."
[Sam turns slowly to look at the
mounted goat's head hanging on the
wall and sees smoke coming out of the goat's nostrils. A moment later
Al walks through the wall (and the goat head) and sees Sam's
expression/ reaction.]
Al: "What's the matter?
[He turns and sees the goat head, screams and runs into the main room.
Sam follows him.]
Sam: "Are you trying to give me a heart attack?"
Al: "Give you a heart attack?! I'm having a heart attack!"
Sam: "Alright. Okay. Let me ask you this question. Is it Halloween?"
Al: "What?"
Sam: "Is it Halloween tonight?"
Al: "Not unless they moved it to March."
Sam: "Um... "
[Sam turns away from Al. Al recovers then follows him.]
Al: "Oh, um...Sam. Sam, have you...uh...have you looked in a mirror
yet?"
Sam: "Uh...no, I haven't. [He looks around.] No. I haven't seen any
around. Why?"
Al: "Ah. [He repeats Sam's words] 'I haven't seen
any mirrors around.' Well, that's not surprising."
Sam: "Well what does that mean? What does it mean?"
Al: "I think you've leaped into a..."
Sam: "A what?"
Al: "A vampire."
Sam (laughing): "A vampire?"
Al: "I know it sounds strange, but you should see the guy in the
Waiting Room. He looks like a cross between Bela Logosi and a sick
corpse. He's got all the
markings of the undead."
Sam: "And you've got all the markings of the brain dead! Now, what does
Ziggy have?"
Al: "Well it's March, 1975."
Sam: "Yeah."
Al: "And you're just outside of London. Oh, Sam, you've leaped out of
the country."
Sam: "I figured that out already. Now what else?"
Al: "Your name is Nigel Corring..ton. You're London's most eccentric
and expensive artist, and your family's lived in this castle for five
generations. And you just
shocked the art world by marrying a homeless girl named Alexandra Hill."
Sam: "A homeless girl?"
Al: "Yeah."
Sam: "Why am I here, Al?"
Al: "Well..uh..dunno. We haven't..run the program that far yet."
Sam: "Why not?"
[Al waffles at the question.]
Sam: "Because of the vampire? You're not running the program because
there's a vampire in the Waiting Room. Isn't that it? That's what
you're telling me?"
Al: "Well you should see this guy, Corrington, Sam. He's a first-class
flesh eater! He's got all the classic signs. He's got the pale
complexion, the beady eyes, the.. lustful stare.."
Sam: "Al...you just described yourself."
Al: "Ha, ha! Very funny, Sam. Yeah, you're gonna laugh. But, I'm
telling you that you've leaped into a night stalker!"
Sam: "Alright! Alright! Now that's enough! Now I want you to repeat
after me: There's no such thing as a vampire."
Al: "Oh come on, Sam..."
Sam: "Say it!"
Al: "There's no such thing as a vampire."
Sam: "Okay. It's all in my mind. (pause) Go on."
Al: "It's all in my mind."
Sam: "An I will never, ever bring up the subject again."
Al: "Sam..."
Sam: "Al!"
Al: "I'll never, ever bring up the subject again."
Sam: "Okay. Now maybe we can get on with figuring out why I'm here.
Okay?
[He drops his voice slightly.]
"I'm just glad you didn't show up when I was in the coffin."
[Al catches what he says and jumps on it. Sam rolls his eyes.]
Al: "Aha! Aha! You see? That's it! You're...you're a blood-sucking
ghoul from Hell!"
Sam: "Go...go away! And don't come back until you find out why I'm
here. (pause) Go on!"
[Al opens the Imaging Chamber door and steps inside.]
Al: "Well...I just hope Tina remembered to pick up
my turtleneck from the cleaners."
[The Imaging Chamber door closes.]
Awards:
This episode received an Emmy nomination for Outstanding Individual
Achievement in Art Direction for a Series in 1993.
Production Credits:
Theme by: Mike Post
Musical Score By: Velton Ray Bunch Co-Executive Producer:Deborah Pratt Co-Executive Producer:Chas. Floyd Johnson
Supervising Producers:Richard C. Okie, Harker Wade Supervising Producer:Tommy Thompson Producer: Robin Jill Bernheim Created by: Donald P. Bellisario Written by:Tommy
Thompson Directed by:Alan
J. Levi
Executive Producer: Donald P. Bellisario
Associate Producers:Julie Bellisario,Scott Ejercito
Coordinating Producer: David Bellisario Director of Photography:Robert Primes, A.S.C. Production Designer: Cameron Birnie Edited by:Randy D. Wiles Unit Production Manager: Ron Grow
First Assistant Director:R. John Slosser Second Assistant Director: Brian Faul
Casting by: Ellen Lubin Sanitsky, C.S.A.
Set Director: Robert L. Zilliox
Costume Designer:Jacqueline Saint Anne Costume Supervisors:Jill Sheridan, Alice Daniels Art Director: Ellen Dambros-Williams
Sound Mixer: Barry D. Thomas
Stunt Coordinator: Diamond Farnsworth
Make-up: Jeremy Swan
Hairstylist: Andrea Mizushima
Sound Editor: Greg Schorer
Music Editor: Bruce Frazier
Special Visual Effects: Roger Dorney, Denny Kelly
Panaflex ® Camera and Lenses by:
Panavision ®
This
motion picture is protected under laws of the United States and other
countries. Unauthorized duplication, distribution or exhibition may
result in civil liability and criminal prosecution.
Some
of the characters portrayed in this motion picture are based upon
actual persons. Although some of those events have been fictionalized
for dramatic purposes, otherwise the characters and events depicted in
this photoplay are fictitious. Any similarity to actual persons living
or dead is purely coincidental.
Bellisarius Productions and Universal Television, an MCA Company
Podcasts:
Stock up on garlic, because it’s time for Blood
Moon!
Join hosts Allison Pregler, Matt Dale and Christopher DeFilippis as
they sink their teeth into Sam’s Leap as a vampire in what is widely
considered to be the worst QL episode ever. But does Blood Moon get a
bad rap?
Listen
to The Quantum Leap Podcast on this episode here:
We’re also proud to present
you with an encore presentation of our
interview with Shae D’Lyn, who plays the Lady Corrington in this
episode. Shae talks with Albie about her time on the set and what she’s
been doing since starring in this infamous episode.
It’s a deep dive into the bizarre juxtaposition of vampire lore and
Leaping logistics that you don’t want to miss!
Let
us know what you think… Leave us a voicemail by calling (707)847-6682.
Send in your thoughts, theories and feedback, Send MP3s & Email to
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