Leap Date:
October 6, 1957

Teaser:

Leaping into the television character of 'Future Boy', Sam must find a way to prevent his co-star, Moe Stein, from being committed to a mental institution because of his "wild" theories about traveling in time. Now... where did Sam get the idea for his string theory?

Audio from this episode:

Moe: Quantum Leap... I like that.

TV Guide Synopsis (TVGuide.com):

Sam appears in the '50s as "Future Boy", the sidekick of TV's "Captain Galaxy", who, off-camera, is a troubled eccentric with time-travel dreams of his own.

TV Guide Synopsis (Original):

Sam (Scott Bakula) goes back to the future when he appears in the 50’s as “Future Boy,” the geewhiz kid sidekick of TV’s “Captain Galaxy,” who offcamera is a troubled eccentric with time-travel dreams of his own.

Name of the Person Leaped Into:

Kenny Sharp AKA Future Boy

Broadcast Date:

March 13, 1991 - Wednesday

Synopsis & Reviews:

Future Boy - October 6, 1957

Sam lands in a small space filled with swirling electronic noises and immediately notices his hands are clad in silvery gloves. He raises his hands to feel the mask over his eyes, connected to a thick fabric helmet, complete with antennae on each side of his head. Confusion consumes him before his attention is drawn by an older man seated next to him who instructs him to “Activate the time machine.” This man is similarly garbed to Sam, but his helmet has wings on either side instead of antennae. He continues barking directions to Sam, who helplessly looks around what he now recognizes as a cockpit, and stares at the panel before him with labeled lights, buttons, and switches. The vessel begins to shake and rock back and forth as the electronic noises get faster and louder. Sam pulls back on a lever as the vehicle tilts backward, driving him and his companion against their seats. Shaking his head, not only from the movement but from confusion, Sam says, “Oh boy!”

The vessel continues to shake back and forth as fog surrounds them and the man, who is ostensibly in charge, calls Sam “Future Boy” as he comments on the “cosmic turbulence” and directs Sam to activate the asteroid shields. As Sam hesitates in confusion he’s directed to the “red button on the end.” With a few more missteps on Sam’s part, they land and the man tells Future Boy they should take a look at the future. He opens the hatch to the vessel and boldly steps out and down the stairs. Sam pokes his head out and looks around in confusion, so focused on taking in his surroundings that he misses the steps and falls face first to the ground, wrenching his ankle.

As he falls, a man in a suit reacts in shock and annoyance. A man standing beside him holding cue cards looks on and shakes his head while the older man helps Sam up. Sam and his companion are both dressed head to toe in silver futuristic space travel costumes, and as the other man says they should activate their “shields of invisibility.” Sam now notices that they are in a television studio and sees his host’s image on the monitor. While his cohort continues to speak in character, Sam smiles and waves at himself. This infuriates the director, who angrily points at the cue cards.

Haltingly and woodenly, Sam reads off the cue cards, so bad at this that he proceeds to read the next lines as well, which belong to “Captain Galaxy,” his co-star. Captain Galaxy smoothly speaks over him and delivers the dialogue about his “gyrograph,” which looks and sounds amazingly similar to Al’s handlink, except it is solidly colored in the primary tones of red, blue, and yellow, with a large red spinner on the top of it it. Sam stares in astonishment as Captain Galaxy proclaims that the gyrograph tells him that they are “aboard a futuristic cruise ship in the year... 1987.” Sam overcomes the déjà vu moment as he delivers a line that the pair has “jumped thirty years into the future” to calculate that he is actually in 1957.

Captain Galaxy suggests they explore the spaceship so the “time cadets” can see what the future holds. They continue through the show’s set to encounter two “aliens” discussing a conflict with another society as they laugh about “reducing them to neutrons.” After Sam poorly reads off his line asking Captain Galaxy if this is how the future will be, the lead actor deliberately ignores the cue card detailing that the future could be even worse and that they should be prepared to “blast them before they blast us.” Instead, he berates the scene as “one man’s distorted view of [the future].” While the director frantically flips through his script and angrily whispers, “Oh, my God. You’re doing it again!” Captain Galaxy continues delivering his ad-libbed dialogue presenting the future as hopeful and peaceful. He turns to Sam and asks, “Isn’t that right, Future Boy?” The director forcefully signals “NO” to Sam and points to the cue cards again, but Sam has taken Captain Galaxy’s side and speaks hopefully as well. The director throws his hands in the air and rubs his forehead in frustration as Captain Galaxy opens the “Space Mail” segment.

A small toy rocket on wires “flies” to a landing strip. Sam is delightedly bemused by the practical effect and has to be prompted to retrieve the letter and hand it to Captain Galaxy. Captain Galaxy reads the letter from “Little Davy Chase from Cheyenne, Wyoming,” who wants to know who would win in a fight—Captain Galaxy or Superman? Captain Galaxy responds that he and Superman would never fight each other because they are good friends, but also because violence doesn’t solve a thing. The director continues to shake his head in appalled disbelief over this mutiny. Captain Galaxy delivers the show’s closing, which Sam stumbles through, and the director announces the live broadcast is clear.

Now that they are off the air, the director lets them both have it. He demands to know why they pulled such a stunt. Captain Galaxy protests the violence in the scripts and the director argues that “Kids love violence.” Captain Galaxy counters that it’s only because they are told to love it. He says they should be teaching children to dream and to see the future for its possibilities. “When you... write me a script like that, I will shout it from the rooftops!” proclaims Captain Galaxy, who strides away. The director demands that Sam talk to Captain Galaxy because if it happens again, he’s fired.

As Sam limps off the set, an assistant calls him “Kenny” and brings him some ice for his ankle. Sam enters the dressing room he shares with his co-star and limps around, heading straight for the mirror to raise his mask and see exactly what he looks like. “I don’t believe this,” Sam says as he clearly sees the absurdity of his costume for the first time. His attention drifts to the collections of clippings attached to the mirrors and walls, and one that is pinned by itself; Sam pulls it down. “STEIN IS MACBETH” the headline proclaims in bold letters, and Sam reads a snippet of the clipping aloud, “Born to play the role, Stein is incandescent as Macbeth. In a towering performance, the actor makes all who came before him pale in comparison.” Sam declares, “Unbelievable.” His co-star, entering the dressing room, agrees that he once thought so, too, a long time ago. He then chides Sam for mentioning “the Scottish play” and bringing on bad luck. Sam admires the Shakespearean roles Stein has held, to which he responds, “Captain Galaxy?” Sam points out he has range.

Once again Stein complains about the scripts, deriding that “Ben Harris writes television.” When Sam asks if he is concerned about losing his job, Stein shrugs and says he won’t be there that much longer anyway. Before Sam can find out where he’ll be going, someone knocks on the dressing room door. Stein opens it to see a nicely dressed woman who calls him, “Dad.” “Irene,” he responds, promptly closing the door again and asking why you can never find a time machine when you need one. Irene continues pounding on the door and Sam is confused as to why Stein won’t let her in. She shouts through the door, “Dad, we need to talk!” and Stein comments on the “peculiar grating tone to her voice,” before throwing a coat over his shoulders and pushing past her. Sam limps out of the dressing room to watch them talking at the far end of the studio as he hears the Imaging Chamber door open and close.

Al jokes about Sam’s attire while a camera is wheeled through his hologram, suggesting Sam is going to a costume party as a baked potato. Sam beckons to the dressing room with his head and limps back inside. Al pops in ahead of him and Sam closes the door so they can talk. The conservative attire Al is wearing catches Sam’s notice and he urgently asks, “What happened?” Al, wearing a black suit, white dress shirt, and sedate black and grey striped tie, is confused by Sam’s question until Sam presses, “Did someone die?” Al explains that he has to make a court appearance because his fourth wife is suing for more alimony and his lawyer suggested the suit. Sam teases him that it’s so Al will look more grown-up and Al retorts that it’s boring. He asks what the FB on Sam’s costume means and cracks up laughing when he finds out it stands for “Future Boy.”

Al informs Sam that he is in St. Louis, October 6, 1957, and is a young actor named Kenny Sharp. He laments that the Sputnik launch was two days ago and Sam missed it. Sam doesn’t care about the trivia; he wants to know why he is there. He’s there to save Moe Stein’s life. Moe, who plays Captain Galaxy, will get killed trying to hop a southbound freight train the next day. Sam decides this should be an easy leap, since he’ll just have to keep Moe away from the train yards, but Al says Ziggy predicts the only way Sam can save Moe is to have him committed to a mental institution.

Sam doesn’t think this makes sense, but Al counters that perhaps Moe is crazy. He points out that Moe is 65 years old and “who in his right mind is gonna start riding the rails at 65?” When Sam points out “You would, if there were a cute girl on board,” Al has to agree that yes, he would. Ziggy says that Moe’s daughter tried to get him committed but Moe ran out of the hearing and that’s how he got killed. Sam states that only an insane person would sit by and let themselves get committed. Al argues that perhaps Moe gets committed for his own protection. Sam and Al continue debating whether Moe might be insane or eccentric; Sam thinks that Irene might be the problem.

Moe returns to the dressing room and laments that everything would have been fine in another 24 hours and asks Sam to take Irene outside and buy her a soda so Moe can escape and promises to let him “read the space mail tomorrow.” Before Sam knows it he is pushed out of the dressing room before Irene, who introduces herself as Mrs. Kiner. Sam makes excuses for Moe and challenges her on having him committed. Irene gives examples of events involving Moe that she believes prove he needs to be committed for his safety as well as those around him. When Sam suggests that someone from Moe’s family should watch him instead of an institution, she tells him it’s impossible because she and her father don’t have a relationship. She hesitates and wonders why she’s telling him this. Sam answers that maybe it’s because he’s listening.

This wins Irene over and she walks with Sam, explaining that Moe was always off touring as an actor, and she only knew him through postcards or collect phone calls. She tells Sam that when she was seventeen years old, she lost her mother, who loved her dad no matter what he put her through. Her mother made her promise to take care of him before she died. Sam challenges her, “By putting him in an institution?” Irene counters that she has her own family now and can’t be responsible for Moe anymore. She points out that Moe didn’t even come home for his wife’s funeral. Al comments, “Gee. That’s kinda low, isn’t it?” Sam suggests that maybe it was too painful for him to return and maybe he felt guilty for not having been there before. Al’s expression changes as Sam says this, knowing Sam’s guilt over his father’s death. Irene protests that Moe still should have come and Sam agrees. He acknowledges her anger but tells her she needs to let go for herself. Al comments that he thinks Sam is getting to her.

They are interrupted by the assistant from earlier, hurrying Sam to get back inside for a live spot. If he isn’t inside in five minutes, Ben will fire him. Al protests that Sam can’t let Irene go. Sam asks her to wait for him, but she refuses and hands an envelope to Sam to give to Moe, informing him that the situation is none of his business and that she wants him to leave her alone. The assistant ushers Sam inside.

In front of a kitchen set, Ben Harris impatiently yells for Mr. Scrub-o. Sam, dressed as a giant soapy scouring pad, is ushered onto the set and maneuvered into position holding a box. Al incredulously comments, “Boy, if only the guys at MIT could see you now,” earning a dirty look from Sam as the director counts down to the start of the spot. Sam awkwardly moves about the stage as two actresses sing and dance around him. He stumbles through the lines of the advertising spot, both off beat and off key. Al watches the train wreck of a spot as the director laments that he should have stayed in radio. As they walk off the set, Al teases Sam that he thinks maybe DeNiro started this way. An irritated Sam wonders why Al isn’t with the “ex-wife who needed some money,” and Al explains that it was postponed a few hours while her Mercedes was in the shop.

Sam asks what’s in the envelope Irene gave him, and Al surmises it’s an order to appear in court tomorrow since Moe didn’t show for a meeting with a court-appointed doctor for an evaluation. As Sam discusses the possibility of proving Moe isn’t crazy by having him meet with Dr. Sandler, Ben and the assistant witness Sam talking excitedly to thin air and they exchange a look with each other.

Later, Sam arrives to Moe’s house, determined to change his image, a challenge given that the front yard is overgrown and littered with various pieces of machinery, electronics, and other detritus. He notices that the screen door is unlocked while the front door is ajar. Sam steps into the house, which is quite cluttered, as he calls for Moe, adding, “Larry... Curley... nyuck nyuck nyuck.” Sam finds a contraption which lights up a lightbulb as he cranks a pencil sharpener. Moe clears his throat to get Sam’s attention and stands in a doorway wearing a soiled white lab coat, black goggles atop his head. He holds wires and has a tool belt on. Sam excuses that he knocked but Moe probably didn’t hear him. Moe acknowledges that he was in the basement and asks if Irene sent him. As Moe peruses a stack of books, Sam explains that he came alone and knows about the following day’s hearing and gives Moe the summons.

Moe protests that no one questioned Einstein’s sanity and Sam suggests that he meet with Dr. Sandler so he can prove he isn’t crazy. Moe once again says he just needs another 24 hours and Sam demands an explanation for this comment. Sam tells Moe that he is going to have to face this because time won’t stand still. This causes Moe to come to a decision; he snaps the book he was looking through closed and tells Sam he wants to show him something.

Sam follows Moe into the basement as the older man describes his love of trains and how he would memorize train schedules. Sam confesses that he did the same thing. Moe explains that he used to pretend he could travel anywhere to any time in his imagination by recalling the schedules but that now he has something better than a train. He whips a cover off of a large contraption, revealing Al, still dressed in the somber suit, standing nearby. Moe informs Sam he has a time-onometer, a time machine. The large device has many electronic components around a chair; it is quite reminiscent of the time machine from the H.G. Wells novel, although suited to the technology of the 1950’s as opposed to the Victorian era. Moe explains that his role as Captain Galaxy sparked an interest in time travel, leading him to research Heisenberg, Planck, and Einstein. Sam hopes Moe means a time machine like on the show, but Moe discounts their show as fantasy and declares, “This is real.” Moe pulls out a piece of string and compares it to time. Although he was previously dismissive of Moe and his time machine, this gets Al’s attention. He connects the dots before Sam. As Moe explains that one end of the string represents birth and the other death, and proceeds to connect the ends, Sam’s jaw drops as Al gasps, “Sam, that’s your theory!” Moe declares that if he can move fast enough along the loop he’ll end up back at the beginning of his life and Al points out that he almost has it. Sam asks Moe what would happen if he balled the string up so that the days touched each other out of sequence. Moe agrees that this would allow him to move back and forth within his lifetime. When Sam suggests that Moe could “quantum leap,” Moe proclaims that he likes that terminology a lot.

Later, Sam and Moe are at a promotional event at Cranston’s Roller Palace. A crowd of children wearing Captain Galaxy headbands are excited to meet their heroes from the Time Patrol show. Ben Harris hypes them up before bringing out Moe and Sam in their Captain Galaxy and Future Boy regalia. After performing the Time Patrol salute, Captain Galaxy takes questions from the children. The first child called on asks what sorts of things will be in the future. Moe suggests that Future Boy should answer so Sam steps up to the mic and lists off cable television, computers in every home, microwave ovens, portable phones, and men on the moon. The next child called on asks Moe if he can really travel back in time. He wants Moe to travel back in time two weeks and lock the gate at his house so his dog won’t escape and get killed. This true and tragic event freezes Moe, so Sam steps forward and explains that while Captain Galaxy *could* go back and do that, they recently traveled to Doggy Heaven and met the boy’s dog who wants him to know that he is happy and “it doesn’t hurt.” Sam then announces free popcorn and soda for two hours, to the skating rink owner’s consternation.

Moe can’t get over the child’s tragedy and tells Sam he should have told him the truth—that he would go back and close the gate. Sam argues that it wouldn’t have been the truth, but Moe says it would have been true by this time the next day. Frustrated, Sam tells him he needs to stop talking about “this time-onomoter stuff.” Moe scoffs that Sam’s caution is because of Irene and the doctor, and Sam agrees, telling Moe he should talk to the doctor and that Sam will go with him.

Irene walks up to the pair and asks if it’s true that Moe will meet with the doctor. Sam runs interference between the father and daughter. Moe only agrees after Sam reminds him he’ll be gone tomorrow anyway. Irene wants to arrange the meeting for that night; Moe refuses to go to Dr. Sandler’s office. Sam suggests dinner at a restaurant, but Moe offers to host it at his house, to which Irene readily agrees.

That night, Moe offers the blessing over the evening’s meal, which Irene, Dr. Sandler, and Sam are all in attendance at. Instead of glasses, mason jars are on the table. Sam talks up Moe’s dinner preparations on such short notice, but realizes the challenge ahead when he lifts the foil off the platter to reveal “A chicken. An upside-down chicken.” Moe declares it an old family recipe. Despite the odd presentation, the dinner is delicious. While Moe drinks milk from his mason jar by holding it with two hands and tipping his head back, Sam does the same, ensuring that he gets the same milk mustache as Moe. Sam is relieved as the doctor praises the moist, tender chicken and accepts Moe’s comment that it’s all in the bird placement as a joke. Irene doesn’t find much humor in it.

Sam suggests coffee and Dr. Sandler agrees. Although Sam gets up to help, Moe and the doctor retreat to the kitchen together, leaving him with Irene. Sam reminds Moe to keep quiet as the kitchen door closes behind him and turns to find that Irene has left the dining room. He hurries to find her in the living room looking at a picture of her as a little girl with a younger Moe and a lovely woman holding calla lilies. She remarks that they had a few good moments and that Moe would always bring her mother calla lilies whenever he returned from the road. She responds to Sam’s hopeful comment that Moe is doing great that she doesn’t think an upside down chicken is great. Sam wants her to hold off on the hearing and get to know her father, but Irene says she already knows him and she can’t spend her life waiting for a phone call to tell her he’s hurt himself. Sam insists that Moe loves her and that if she can move beyond the hurt of her past she knows she loves him, too, and needs to get to know him.

Moe and Dr. Sandler exit the kitchen so that Moe can show off his time machine. Sam cringes in despair as the two men head down to the basement. Moe proudly removes the cover and doesn’t pick up on the doctor’s tone as he inquires where Moe intends to go in “this time-onometer of yours.” While Moe expounds on the possibilities of going backwards or forwards in time, on long or short trips, the doctor asks what he means. Moe explains how one could travel back to watch a missed television program from the other day and turns on the machine. Irene asks him to turn it off. As Moe explains that he’s charging the capacitor, fuses begin blowing and parts of the time machine start to explode and smoke. Sam urges him to turn the machine off as well, but Moe explains that he can’t because it’s now on internal power. Explosions continue and the machine catches fire. As everyone slowly stands up, Dr. Sandler declares that he’s seen enough.

The next morning, Sam paces before Moe’s house as the Imaging Chamber door opens. He turns to see Al, now wearing a bold gold shirt with black collar and brightly patterned sleeves. When Sam jokes, “At least she didn’t take the shirt off your back,” Al demurs that she dropped her demands. Sam asks Al how he managed that and Al euphemizes that they “examined each other’s briefs and decided to call it even.” He asks Sam how the meeting with the doctor went. After Sam explains that Moe almost blew them all up, Al reminds Sam that maybe it would be safer if he was put away. Sam argues that Moe is like he was when he started Quantum Leap, that the government tried to shut him down because they thought he was crazy. Sam points out that he and Al wouldn’t let them because they believed in his work. Al disagrees and says that Moe’s time machine is loony. Sam doesn’t think that matters because Moe believes in his work just as much as he and Al did, “he’s just forty years ahead of his time.”

Al reiterates that Moe is going to get killed by a freight train so Sam needs to have him committed, but Sam argues that he has a plan. Moe comes outside, wearing a silver pyramid hat, excited that the damage to the machine was only superficial. Sam argues with Moe about wearing the hat and protests when Moe tells him he wants Sam to serve as his lawyer.

In the judge’s office, Dr. Sandler finishes his testimony with his opinion that Moe would be best served in a mental institution. The judge questions Irene if she believes her father needs psychiatric care and she responds with examples of his irrational and erratic behavior, finishing with the time machine he’s built in his basement. Sam tries to defend Moe but is cut off abruptly and sarcastically by the judge. When it’s Sam’s turn, Moe offers him the pyramid hat, which Sam declines. Sam begins by reminding Irene of her promise to her mother to take care of her father. He points out that Moe’s time machine is an experiment and he shouldn’t be called crazy any more than Columbus, the Wright Brothers, or Neil Diamond. Al quickly corrects him that it’s Neil Armstrong, but since this is 1957, neither name is recognized by the others. Sam reiterates that Moe is not insane. Irene challenges him to say whether Moe can really travel in time. Time traveler Sam isn’t sure how to answer this, but the station assistant arrives with two mail sacks and hurries back out to the car for more. Taking a page from A MIRACLE ON 34TH STREET, Sam proceeds to explain, “A man is judged to be insane if he behaves outside the norms of society.” He goes on to detail that society is the people and, as he dumps the mail onto the judge’s desk, that the fan letters come from people who believe that Captain Galaxy, Moe Stein, can travel in time. Therefore all those people are crazy or Moe Stein is sane. Sam uses the Sputnik launch as an example of something that would have seemed crazy a dozen years ago. He defends Moe as a dreamer and that he shouldn’t be punished for that.

The judge addresses Moe and Irene as he renders his decision. Finding Moe to pose a threat to himself and others, he decides that Moe should be placed in St. Timothy’s psychiatric hospital for six months, effective immediately. Moe rises to his feet and says he needs a few hours, telling Irene that he’s doing this for her. Dr. Sandler prepares to escort Moe but Moe pulls away, climbing towards the window and jumping headfirst through it, promptly running off.

Sam assumes Moe is running to the train yard but Al explains that Moe is going home. The judge prepares to call the police but Sam convinces Irene to go with him to talk to Moe.

When they arrive at Moe’s house, the time machine can be heard from outside. Irene fears that Moe is going to kill himself. As they rush into the house, Al worriedly calls for Sam to hurry before Moe electrocutes himself. Smoke surrounds Moe as he sits in the machine, activating it and telling Irene he’s going to fix everything and that he loves her. Sam and Irene duck behind equipment as Moe pulls a lever and the machine’s throbbing sounds get stronger. As the motor speeds up, Moe illuminates blue and electrical sparks begin swirling around him before the engine winds down and the machine dies. Moe tries to restart the machine as Irene weeps.

A stunned Moe can’t believe it didn’t work. Irene slowly approaches as Moe explains that he wanted to change things and make it up to her. He tells Irene he wanted to give her mother some calla lilies. Moe pulls the Macbeth clipping from his pocket and explains that the review was written when Irene’s mother was pregnant with her. Moe had just been about to give up on the business and the review triggered an avalanche of offers of national tours and revivals. “The next thing I knew, 30 years had gone by. Well, I want those 30 years back!” cries Moe.

Irene understands that this is why Moe built the machine. Moe agrees, saying that if he could change that one moment then he could change it all and been the father and husband he never was. Moe laments, “We could have been a family.” Touched, Irene tells him that they are a family and that they have lots of time to make up for all those things. Moe gives her the calla lilies and they embrace as they tell each other they love each other. Sam and Al fondly watch the father and daughter reunite.

The next day, Moe wraps up the Time Patrol episode, explaining that Captain Galaxy is going away for a while. Al tells Sam that Moe goes back to live with Irene, and spends the rest of his life entertaining neighborhood children. Moe takes one last letter, which is from “little Sam Beckett in Elk Ridge, Indiana.” Sam and Al stare in shock as Moe reads the letter, in which Sam asks Captain Galaxy to explain his theory of time travel. Captain Galaxy proceeds to explain the string theory. Al points in disbelief and is about to speak as Sam Leaps.

Sam falls from the Leap onto the stage of a nightclub. Surrounded by screaming women around the stage, Sam, dressed as a sexy shirtless Zorro, is kissed while Chippendale’s dancers in red speedos gyrate behind him. Completely shocked and confused, Sam manages to say, “Oh boy!” Synopsis by Jennifer L. Rowland

Personal Review by Rebekka E:

I think this is one of the best episodes, because somebody else almost leaps in it. The string theory is taught to young Sam through this episode but it is also taught by Sam, too.

Personal Review by Brian Greene:

Certainly a favorite episode for me! It has the right balance of comedy and heart. Richard Herd brings his character forward and makes you want to cook your own upside-down chicken! A very relatable character and the story here flows so well. Having met Richard personally twice, this adds even more enjoyment of this episode. Fans call this a classic, and I couldn't agree more!

Project Trivia:

Moe almost has Sam’s string theory completed. 

Moe's gyroscope controller looks very much like the gummi bear hand link.

Sam Trivia:

He knows the names of the 3 stooges. 

Sam wrote to Captain Galaxy when he was a young boy. 

Sam looked in the mirror twice in this episode.

Al Trivia:

Al was going to appear in court against his ex-wife.

Al went through 2 cigars.

Al appears 5 times and uses the imaging chamber door twice.

Al's Women:

During his alimony hearing, Al seduces his 4th wife.

Al’s Outfits Worn in the Episode:

He first wears a black suit with a white shirt and striped white, gray, and black tie.

A green, red, and checkered black and yellow shirt, and sleeves with yellow in the middle and a gold leopard print tie. Also featuring two sunglasses pins.

Miscellaneous Trivia:

Scott Bakula injured his foot in the production of "Runaway" and a few lines were added to this episode to explain his limp as he stumbles out of the space vehicle at the beginning of the episode.

The sci-fi time-travel show Sliders reused the Future Boy costume!

The costumes by Jean-Pierre Dorleac:

There were talks of creating a spinoff series with Moe Stein and his daughter in Milwaukee, according to Richard Herd.

Captain Z-Ro was a real show! Check out the info on it here.

Multiple references to the "Back to the Future" trilogy can be found in this episode including Moe's line, "See you in the future," the goggles and white coat Moe wears, and "Future Boy" is what young Doc calls Marty in 1955!

Kiss With History:

The Sputnik satellite, mentioned in this episode, launched two days later.

Guest Cast Notes:

Richard Herd as Moe Stein / Captain Galaxy: Born on September 26, 1932 in Boston, Massachusetts, he was the son of Katherine (Lydon) and Richard Herd, a railroad engineer and WWII vet, who died when the boy was quite young. The younger Herd suffered from bone marrow cancer which affected the growth of his legs as a child. As a result, he was educated at the Industrial School for Crippled Children during his formative years. Luckily, loving care and several operations saved his legs from deformity. Making a highly inauspicious film debut in the minor role of a coach in the film, Hercules in New York (1970), which was the showcase debut for the massively-muscled Arnold Schwarzenegger, Richard didn't settle in Hollywood, until the mid 1970s, after replacing actor Richard Long (who died before filming began) in the role of Watergate figure James McCord in All the President's Men (1976). Although Richard made a handful of other movies throughout the rest of the decade (I Never Promised You a Rose Garden (1977), F.I.S.T. (1978), The China Syndrome (1979), The Onion Field (1979)), he appeared with much more frequency on TV, playing stern, authoritarian types on episodes of Kojak (1973), The Rockford Files (1974), The Streets of San Francisco (1972) (starring the similar-looking Karl Malden), Rafferty (1977), Eight Is Enough (1977) and Starsky and Hutch (1975), as well as in the TV movies Pueblo (1973), Captains and the Kings (1976), The Hunted Lady (1977), Dr. Scorpion (1978), Kate Bliss and the Ticker Tape Kid (1978), Terror Out of the Sky (1978), Marciano (1979) and, most notably, Ike: The War Years (1979), in which he portrayed General Omar Bradley.

Quantum Leap Podcast - Richard Herd Interview

Never finding the one support role that might have made him a character star, Richard nevertheless was featured impressively on all three mediums for over four decades. On stage, he appeared in a pre-Broadway tryout of "On the Waterfront" and played, to great applause, in productions of "Other People's Money" and "The Big Knife". His finest hour on stage, however, would come with his portrayal of the epic film producer in the one-man show "Cecil B. DeMille Presents", which he has toured throughout the country. On TV, Richard has guested on most of the popular TV programs of late, including Desperate Housewives (2004) and CSI: Miami (2002) and is probably best remembered for his recurring roles as "Admiral Noyce" on SeaQuest 2032 (1993), as Jason Alexander's boss "Wilhelm" in the sitcom classic, Seinfeld (1989), and as "Admiral Owen Paris" in Star Trek: Voyager (1995). A few of his lightweight cinematic crowd-pleasers include Private Benjamin (1980), Deal of the Century (1983), Planes, Trains & Automobiles (1987) and Sgt. Bilko (1996). More recently, he also had a memorable bit in the Oscar-winning horror film Get Out (2017). Married briefly at the age of 19, Richard remarried and had two children (Richard Jr. and Erica) by his second wife. That marriage also ended in divorce, but his third (in 1980), to actress Patricia Herd (Patricia Crowder Ruskin), lasted. Patricia has a daughter from an earlier marriage. Making his final film appearances in the Clint Eastwood vehicle The Mule (2018) and the baseball biopic The Silent Natural (2019), Richard was diagnosed with cancer and died on May 26, 2020, at age 87.

Real prop photo of Time cadet headband

Captain Galaxy & Future Boy Costume Designs

Debra Sticklin as Irene Kiner: Debra Stricklin is known for Quantum Leap (1989), How to Make an American Quilt (1995) and The Equalizer (1985). She guest starred in two unrelated television series featuring a regular character named Sam Beckett: China Beach (1988) and Quantum Leap (1989).

George Wyner as Ben Harris: A native of Boston and graduate of Syracuse University, George has worked extensively in TV and film since 1972. Notable film work includes the Coen Brothers' best-picture nominee A Serious Man (2009) as Rabbi Nachtner, Mel Brooks' Spaceballs (1987) as Colonel Sandurz, and his To Be or Not to Be (1983). Among other dozens of film credits are the classic Fletch (1985) and Fletch Lives (1989), The Devil's Advocate (1997), and Trouble with the Curve (2012). George has guest starred on over 150 TV shows, and has been a series regular on nine. He is perhaps best known for his six seasons as Deputy D.A. Irwin Bernstein on Hill Street Blues (1981). Appeared on The Rockford Files (1974) four times, in four different roles, between 1975 and 1977. Distantly related to Arnold Schwarzenegger, who is also a close friend. First major title role was in The Odd Couple (1968) in 1971. Appeared in the final episodes of All in the Family (1971) and Soap (1977). Has played rabbis in many movies and TV shows, including Do Unto Others (1999), Circumdecision (2008), I Don't (2007), A Serious Man (2009), Chapter 3: A Prostate Enlarges (2018), Three Dots (2018), and The Circumcision (2021).



Alan Fudge as Dr. Richard Sandler: Wichita, Kansas-born Alan Fudge was an American actor with scores of television credits, including, notably Man from Atlantis (1977), Eischied (1979), Paper Dolls (1984), and Bodies of Evidence (1992). He made guest appearances on such shows as Banacek, Kojak, Marcus Welby, M.D., Little House on the Prairie, The Streets of San Francisco, Hawaii Five-O, M*A*S*H, Starsky and Hutch, Charlie's Angels, Wonder Woman, Lou Grant, Knots Landing, Magnum, P.I., Cagney & Lacey, The A-Team, St. Elsewhere, Highway to Heaven, Dallas, MacGyver, Dynasty, Matlock, Falcon Crest, L.A. Law, The Wonder Years, Murder, She Wrote, Northern Exposure, Home Improvement, Beverly Hills, 90210, Baywatch, Dawson's Creek, and 7th Heaven. Died on October 10, 2011 in Los Angeles, California, USA.

David Sage as Judge: David Sage is known for The Birdcage (1996), Star Trek: The Next Generation (1987) and Quantum Leap (1989).

Nicholas Shaffer as Roger: Nicholas Shaffer was born on March 15, 1951 in the USA. He is an actor, known for Intolerable Cruelty (2003), Quantum Leap (1989) and LAX (2004).

Jason Kincaid as Caped Futurite: Jason Kincaid was born on March 8, 1952. Former Stage name was Lou Manor 1968-1974. Best known for playing Sam Brady on All My Children 1982-84, Tom Hughes on As The World Turns 1984, ER Doctor on Nightside 1980, Rudy's Senate aide Cantone on Rich Man Poor Man Book 2 1977, Norman Lansworth on the James Stewart Show 1971. Earned a BA in 1999, and MA in 2002. Since 2000 he has been a university professor.

John Christian Grahs as Small Boy: John Christian Graas was born on October 10, 1982 in Los Angeles County, California, USA. He is an actor, known for Kindergarten Cop (1990), It's Christmastime Again, Charlie Brown (1992) and The Sunchaser (1996).

Jesse Switzer as Kid: Jesse Switzer is known for Quantum Leap (1989), Jonathan Stone: Threat of Innocence (1994) and Children of the Dark (1994).

Matt Marfogolia as Kenny Sharp (Mirror image): Matt Marfoglia is known for Quantum Leap (1989) and Head of the Class (1986).

Guests who appeared in other Quantum Leap Episodes:

Richard Herd also appeared in the series finale, "Mirror Image", as Seymour "Ziggy" Ziganovich.

Say What?

Al's reflection can be seen in the dressing room mirror when he is laughing at Sam's character name, Future Boy.

There is a cue card shown during the filming of the Mr. Scrubbo commercial, but Sam never reads the words, "Thats why..."

Screen Used Props:

Captain Galaxy's Hat from "Future Boy" & Homemade Handlink
Screen used on the television show
Hat images from Matt Dale

Quotable Quotes:

It’s a time machine!
Are you sure it doesn’t make cappuccino?
-- Moe and Al, "Future Boy"

I'm dressed like a giant TV dinner, talking to a hologram!  Now what does that make me?
Eccentric.
-- Sam and Al, "Future Boy"

Let's say it's Friday at 8 o'clock, and you want to go back to Wednesday at 10, because you missed your favorite television program...
-- Moe, describing the timonometer, "Future Boy"

Before we sign off, we have time for one last letter ...  Today's letter is from little Sam Beckett of Elk Ridge, Indiana, Sam writes: "Dear Captain Galaxy, could you please explain your theory of time travel to us ...
--  Captain Galaxy, "Future Boy"

According to my gyrograph, we are aboard a futuristic cruise ship in the year *1987*!
-- Captain Galaxy, "Future Boy"

How come you can never find a time machine around when you need one?
-- Moe, "Future Boy"

Don't tell me, let me guess -- you've been invited to a costume party and you're going as a baked potato.
-- Al, "Future Boy"

Boy, if only the guys at MIT could see you now.
-- Al to Sam, who is dressed as a scouring pad, "Future Boy"

Look, time is like a piece of string.  One end of the string is birth, the other is death.  You put them together, and life is a loop.
Sam, that's your theory!
If I can travel fast enough along the loop, I will eventually end up back at the beginning of my life.
He's almost got it!
-- Moe and Al, "Future Boy"

Let's say we examined each others' briefs and decided to call it even.
-- Al, "Future Boy"

Looks like Ziggy had a sloppy floppy on this one.
-- Al, "Future Boy"

Moe...Moe...Moe...Larry?...Curly?  nyuk nyuk nyuk.
-- Sam, "Future Boy"

Activate the time machine.  Stand by the time accelerator.
-- Captain Galaxy, "Future Boy"

Shakespeare wrote dialog, Ben Harris writes television.
-- Moe, "Future Boy"

Don't be ridiculous, kids love violence.
-- Ben Harris, TV writer, "Future Boy"

I should have stayed in radio.
-- Ben Harris, watching Mr. Scrubbo, "Future Boy"

Quantum leap?
Quantum leap ... I like that, I like that a lot.
-- Sam and Moe, "Future Boy"

Boy, if only the guys at MIT could see you now.
-- Al (to Sam dressed up as Mr Scrubbo), "Future Boy"

Your honor, Moe Stein is a dreamer.  Are we going to punish people for that?  Because if we are, we're gonna' need a much bigger room than this.
-- Sam, "Future Boy"

Sam, hurry up before he turns himself into a french fry!
-- Al, "Future Boy"

It's a chicken... an upside down chicken.
-- Sam, "Future Boy"

Best Scene:

The Mr. Scrubo commercial.

Production Credits:

Theme by: Mike Post
Music by: Velton Ray Bunch
Co-Executive Producer: Deborah Pratt
Co-Executive Producer: Michael Zinberg
Supervising Producers: Harker Wade
Co-producers: Paul Brown, Jeff Gourson
Produced by: Chris Ruppenthal
Created by: Donald P. Bellisario
Written by: Tommy Thompson
Directed by: Michael Switzer

Executive Producer: Donald P. Bellisario
Associate Producer: James S. Giritlian
Executive Story Editor: Tommy Thompson
Director of Photography: Michael Watkins, A.S.C.
Production Designer: Cameron Birnie
Edited by: Robert E. Pew
Unit Production Manager: Ron Grow
First Assistant Director: Paul Sirmons
Second Assistant Director: Rob Mendel
Casting by: Ellen Lubin Sanitsky
Set Director: Robert L. Zilliox
Costume Designer: Jean-Pierre Dorleac
Costume Supervisors: David Rawley & Donna Roberts-Orme
Sound Mixer: Mark Hopkins McNabb
Stunt Coordinator: Diamond Farnsworth
Sound Editor: Paul Clay
Music Editor: Donald Woods

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.

Copyright © 1991 by Universal City Studios Inc. All Rights Reserved.

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, an MCA Company

Podcasts:

Grab your pyramid hats, time cadets! It’s time for another thrilling adventure with Captain Galaxy and Future Boy!

Holy smokin’ retro rockets! It’s a Future Boy extravaganza as special guest and episode writer Tommy Thompson joins Quantum Leap Podcast hosts Allison Pregler, Christopher DeFilippis and Matt Dale on a journey back through time — to relate some amazing behind-the-scenes anecdotes about the making of this season three classic.

Listen to The Quantum Leap Podcast on this episode here: