Leap Date:
May 10, 1958

Teaser:

As a cab driver in New York trying to earn his medallion in a high-stakes contest, Sam literally runs over a woman named Angela who claims to be an angel. She can see Al, who doesn't get along very well with her, and says she is there to help Sam in his mission! Sam's mission, however, is to keep from getting himself killed while still earning the medallion.

Audio from this episode:

Angela: I thought if I ignored him,
he would go away.

Synopsis & Review:

The Leap effect releases Sam behind the wheel of a yellow cab in motion; horns honking around him, he notices pedestrians walking far ahead of him on the otherwise empty street. He adjusts the glasses he realizes he wears on his face and checks out his reflection in the side mirror. He is a young man with dark eyes and dark hair. Trying to figure out more about his new host, Sam continues to look in the mirror until a honking horn returns his attention to the empty road, the only traffic on it still the pedestrians far ahead.

A sudden blur of grey as someone dashes directly in front of the cab causes Sam to gasp and slam on the brakes. Too late! Despair crosses Sam’s face as he realizes he has just struck and run over the pedestrian who came out of nowhere. He gulps out a guilty, “Oh Boy!”

Sam slowly gets out of the cab as his inner thoughts reflect on how his Leaping around in time has caused him to “[run] into many people, but never over one.” He kneels and lifts a cloche hat with a fabric band and a white silk flower from the pavement. He looks back at the curb behind him in bewilderment as to where the person he now knows to be a woman came from. Rounding the cab his jaw drops in horror as he sees two stocking clad legs wearing high heeled shoes extending from beneath his vehicle. Kneeling and peering under his cab, his panic increases as Sam, looking increasingly sick to his stomach, repeats, “Oh, no! Oh God!” before pulling the large woman out from under the car.

The unconscious woman is lovely, with dark hair spread out around her head on the concrete. She wears a cheap-looking fur coat over a layered grey silk dress, and her makeup consists of dark eyeshadow and red lipstick. She seems very peaceful. Sam presses his fingers to her neck to feel for a pulse and then rests his head on her chest. There’s no pulse, so he pounds on her chest in a precordial thump. Still hearing nothing he thumps her chest again with his fist. When he still hears nothing he goes to perform the lifesaving action a third time, but the woman’s eyes pop open and she grabs his wrist, delivering a punch of her own to his jaw!

Sam’s eyes roll and he sways before falling over. Sitting up to her elbows, the woman lets loose in a tirade of Spanish, ending with “Are you crazy? What are you doing to me?”

Utterly bewildered, Sam stares in disbelief and explains that he was trying to save her life, that he thought she was dead. She berates him for running her over and challenges him with asking if he wants to back over her a few more times. Sam apologizes and says he thought she was dead.

“Dead?” she asks, looking upwards and laughing. “Did you hear that? That’s a good one!” She dismisses Sam’s apologies. When he tells her she shouldn’t move she retorts that he shouldn’t drive. He wants to call an ambulance. “For you if you’re not gonna help me up!” the irate woman says.

Sam helps her up, a laborious process, and continues to be amazed that she’s fine without even a scratch on her even though he ran over her. He continues to apologize and she offers him some advice that gives Sam pause. “You should be looking ahead and not at yourself.”

Putting a hand to her head, the woman laments that this was not the way she and Sam were supposed to meet. Still trying to make sense of what’s going on, Sam asks her name. “Angelita Carmen Guadalupe Cecelia Jimenez. But for you, Angela.” Sam retrieves her hat and purse, taking the opportunity to read the side of the cab that declares fare rates starting at 25-cents and that the taxi belongs to the O’Connor Cab Company fleet. He is surprised to discover the purse’s only contents are makeup. Angela responds, “When a girl has her lipstick, what more does she need?” Sam shoots back, “To see a doctor!” To prove she’s fine, Angela declares she can still dance the Charleston—and does so, ending with a flourish.

The radio in the cab stutters to life, with a female voice calling for “Max.” Sam excuses himself and slowly returns to the cab, still flummoxed by what’s going on. Picking up the radio, he hesitantly says, “Hello?” The voice responds that she hopes he’s coming back because Lenny’s waiting for him. “Lenny?” asks Sam. When the voice sarcastically answers, “Your father,” Sam covers by quickly saying, “That Lenny.”

His eyes travel to take in the City of New York Taxi Cab Operator’s Permit for his host. He learns that he is now one Max Greenman, who lives at 24 E. 30th Street in Brooklyn. Brown eyes, 170 pounds, 5’9” tall, with brown hair, and he is 22 years old. The permit expires in January of 1959, and the small calendar mounted below it lets him know the present date—it’s May 10, 1958. As he gathers this information, the voice advises him he’d better get back before the night shift or Frank will disqualify him from the contest for working more than a double shift. Looking back at Angela standing on the sidewalk opposite, Sam says, “OK,” and disconnects the radio call.

Sam offers to give Angela a ride to her home or work on his way back to the garage. She says she doesn’t have one. When Sam asks if she has a place to sleep, she gets highly offended and then chokes on a bug that flies away. Sam tries asking her in Spanish and then again in English, to which Angela declares that it’s nice out and the stars make a good shelter. She and Sam regard each other smiling.

The New York City streets bustle with traffic and as Sam drives his cab through it, he is struck on the back of the head by Angela’s fan as she declares that he drives too fast. Once more, Sam tells her that she is lucky to be alive, and again she finds this funny and laughs. Up ahead the Imaging Chamber door opens and Al, wearing black slacks, a black-and-white patterned shirt, red and black tie paired with a red jacket, red fedora, and red shoes, steps out, his eyes on the handlink. Sam slams on the brakes as he drives right into his friend’s hologram. Amid the shriek of brakes, Angela bursts out in Spanish.

As he walks through the hood into the car to “sit” next to Sam, Al quips, “Oh, I brake for holograms, huh?” Angela complains about the sudden stop and Sam claims he was just testing the brakes. “With my head?!” she counters. While she continues to gripe, Al apologizes for being late, saying he had trouble pinpointing Sam’s location. He and Angela simultaneously ask Sam if he’s lost. Al looks back at her in confusion for a moment. Sam feigns having trouble remembering the address to the garage. Al tells Sam to look in the glovebox; immediately Angela directs Sam to try the ashtray. Irritated, Al tells Sam not to listen to her, that cabbies always keep their business cards in the glovebox. Not even a second later Angela says, “No, the ashtray.” Sam indeed finds business cards in the ashtray. While Angela declares that Sam should listen to her, Al asks “Who is this?” Angela talks over Al with directions to the garage, directing Sam to the right while Al says he is sure it is on the left. Once again, Angela is right and Al was wrong.

Inside the garage, cab drivers are counting their fares and settling up bets. One of the older men, who successfully collected on a bet, is asked by the manager why he is still there. “Waiting on Max,” he answers. It’s Lenny, Max Greenman’s father. The owner declares that Max had better get back soon or he’ll be disqualified for doing a triple shift. Lenny states that his son is going to win the contest, since he is only $50 away from the $15,000 amount, and “then the medallion is his.” They banter back and forth before the owner, Frankie, beckons to one of the drivers—Tony—to join him in his office. The other drivers hum a funeral march and declare that “Junior’s gonna fire him again.”

Sam pulls into the garage and Lenny wonders who he has in the backseat. Clearly it isn’t typical for a cabbie to return to the garage with a passenger! Al advises Sam to not forget his trip sheet on the clipboard in the front seat. It has the information on all of the fares for the day. While Sam familiarizes himself with it, Angela raps on the back door with her fan for Sam to open the door for her. Affronted, Al retorts that he didn’t know she had a broken arm. Lenny approaches and Al quickly informs Sam that this is Max’s father, Lenny, and that Sam should call him Pop. Sam introduces Angela and Lenny. Lenny excitedly asks Sam how much he made. Since Al wants to talk to Sam off to the side, he gives the excuse that he needs to total his trip sheet.

Al begins to pull up information on the handlink, but Sam already knows who, where, and when he is and cuts Al off. Offended, Al says Sam doesn’t need him around and he probably already knows why he’s there. Sam says he does, and points to Angela as he says he’s there for her. His reasoning is that is why he ran over her. “You mean, with your cab?!” exclaims Al. Sam defends himself that it was an accident. Al says he didn’t think Sam did it on purpose, “although considering her attitude...” Al posits that Angela threw herself in front of the cab intentionally as part of a fraud scheme to get insurance money. Sam tells him that she’s homeless and asks him to run a check on Angelita Carmen Guadalupe Cecelia Jimenez. Al rolls his eyes but complies, not surprised at all when Ziggy comes up with “nada.” He continues to explain that Sam isn’t there to find her a home and lists all the places she should be, including a mental institution, when Angela returns from the break room and shakes her fan at Sam, telling him he shouldn’t be tempted to listen to “that devil” who doesn’t know what he’s talking about. Sam pretends to look around asking what devil she’s talking about. She looks directly at Al and states, “The one in the horrible red suit.” Both Sam and Al whirl around to see her and she smiles at them as she makes eye contact with each of them.

Both Sam and Al are perplexed by this development. Sam inquires if she can see Al and she rejoins that he’s “hard to miss in that monkey suit.”

“Hey!” protests Al. He pops back that she isn’t “decked out for the cover of Vogue.” Angela tugs at her coat and says in a bittersweet tone that her outfit was “the craziest” in her day. Sam wants to know why, if she could see Al all the time, she didn’t say anything. Angela answers that she thought he would go away if she ignored him. Irritated, Al says she is getting on his nerves. Angela tells Sam that Al gets on her “jeebie beebies.” Sam corrects her with “It’s ‘he gives me the heebie jeebies,’” and she triumphantly informs Al, “You see, you make us both sick.”

Sam and Al differ on whether this development is incredible or not. Al lists off all the entities they know can see him, and Angela happily adds, “And don’t forget about angels.” As she affirms that she is, in fact, an angel, Al declares the case closed that Angela is insane. Not backing down, Angela demands, “And what about you? You walk through cabs, you appear out of nowhere.” Al explains that he is a hologram from the future, to which Angela outrageously exclaims, “And I’m crazy?!”

Sam realizes she’s serious about being an angel. Warmly smiling at him, Angela says she let him know she was an angel when she told him her name. “Angela” means angel in Spanish. Angela says she was born “Angelita,” or little angel, self-deprecatingly adding, “But as you can see, I grew up.” Scoffing, Al says, “Yeah, they must serve plenty of sweets in heaven.” Sharply, Angela shoots back, “You’re never gonna get there, so you’re never gonna know.” This concerns Al, who spins to face her demanding, “What do you mean? Why not?” Smugly, she retorts, “There’s a dress code.”

Breaking up their bickering, Sam excuses himself and draws Al aside. Al can’t believe Sam might actually believe her story of being an angel, but Sam explains that he ran over her with the cab and she’s alive. They agree that whatever she is, she needs help. But Sam is there for Max. The next night, Max will get shot in a robbery and be left comatose for the rest of his life. Al explains that all Max needed was $50 to get his own medallion. Sam doesn’t know what this means, so Al points to the medallion affixed to the hood of the cab. He explains that every cab in New York has a license like that, limited in number, and in 1958 they were going for $20,000 each. The owner of the company, Frank, Jr. set up a contest to give away a medallion to the first cabbie to earn $15,000 for the company in a year. Even though this is a good price, it’s an almost impossible goal because of the requirement to split the fares 50/50 with the company.

Sam does a quick tally of his trip sheet and sees that Max made $50 that day. Al punches the figure into the handlink and updates Sam that Max’s total is now $14,976. Sam excitedly realizes he only needs to make $25, but Al reminds him he has to split the fares 50/50 with the company so he really needs to make $50 by the deadline of tomorrow night. However, if Sam drives tomorrow night he’ll get robbed and shot. Sadly, Al agrees that he’ll have to drive during the night, because the offer runs out at midnight the next night.

They are distracted by a boisterous “Yoo-hoo!” as Angela leads a delighted Lenny from the break room and enthusiastically announces, “You’re never gonna believe who invited me to dinner!” Al is less than enthused by this news.

In the Greenman apartment, Lenny feels badly that Angela hasn’t eaten anything while they’ve been enjoying the meal. With an air of melancholy, she explains that she can’t eat, in fact doesn’t eat because she’s an angel. Lenny flirtatiously agrees with her that she’s an angel and asks how she and Max met. Laughing, Angela details that Sam ran over her on 34th Street. Lenny finds this hilarious, not realizing that she is serious. He proposes a toast, “Here’s to new friends, and here’s to my son, who’s going to get what I never could and be his own man tomorrow night.” They toast and Sam begins clearing the dishes, while Lenny and Angela chat at the table. Al is waiting for him in the kitchen.

Sam asks if they’ve found anything yet on Angela. Al informs him that Ziggy is drawing a complete blank, as if she never existed—but that doesn’t mean she’s an angel. Sam isn’t ready to discount the possibility, but Al says if she was an angel, “she really blew it the first time when she let Max get shot, ha!” Sam ponders the possibility that he was sent here to fix her mistake. Al declares, “If that’s the case then there’s a whole flock of guardian angels out there and they’re all slacking off on the job.” He laughs that that would make him and Sam “God’s clean-up crew.” Frustrated, Al doesn’t want to think about angels anymore and directs Sam that he should think about not getting shot.

According to Ziggy, Sam will get shot at 11:32 PM at 43rd and Broadway. Sam proclaims that he won’t be anywhere near 43rd and Broadway at 11:32 PM and besides he’ll have two guardian angels looking out for him. Al goes back to the Project to try to find more on Angela as Lenny putters about the kitchen fixing himself a drink.

Lenny chuckles and tells Sam how nice it is to hear a woman’s laugh in the house again. In the background, they hear music coming from the piano. Angela is at the piano, playing and singing “Someone to Watch Over Me.” Lenny sits and listens with tears in his eyes and looks at a portrait of a lovely dark-haired woman in turn of the century dress. Sam stands in the background observing. Angela says that she found the music in the piano bench and thought Lenny might like to hear the song again. Lenny thanks her, takes the portrait and leaves the room.

Sam is amazed that she knew that was their song. Angela explains that before she came there she learned many things about him and his family. She adds that she knows many things, like his father needs him now. Sam enters Lenny’s bedroom as Lenny finishes his drink while staring at the portrait. Lenny is embarrassed by his tears, but Sam tells him it’s okay. They talk about Max’s mother and how beautiful she was; the photo was taken in Atlantic City when she was 18. Lenny misses her and smiles that his son is all he has left and he knows Max won’t let him down tomorrow.

Sam returns to the living room where Angela sits looking at a book on the sofa and refuses Sam’s offer to bring her somewhere. He relents but tells her they are finding her a permanent place to live tomorrow.

The next day, Angela rides alongside Sam in the cab and gets very excited as they pass a theatre where West Side Story is playing, because it’s about Puerto Ricans in New York and Puerto Ricans are in the cast. She proudly informs Sam she has tickets for front row center. Knowing she has no money and no home, Sam wonders how she got them. Looking skywards, Angela says she has connections.

Al pops into the backseat and Angela laments, “Aw, just when we were having fun.” Al gives her a dirty look as Sam asks what’s up. Al says they ran checks way way back and found a singer named Angelita in Spanish Harlem back in the 1920’s. The problem is, she died in 1928. Sam stares at her and she happily says, “Oh boy!”

Still staring at her, Sam wonders how she can be dead. Al is certain there must be a logical explanation, and Angela reiterates, “I am an angel.” While Al demands to know if she’s an angel where she keeps her halo, she shoots back, “You’re the devil but I don’t see no horns.” Sam declares a point to Angela as Al’s face falls. Al then insults her weight, and Angela declares she got hungry in limbo, and cracks herself up. Sam suggests that he always thought angels were like “that guy in It’s a Wonderful Life.” This irritates Angela who cries out that “Clarence ruined this job for all the rest of us.” An annoyed Al suggests that Clarence would be better since he wouldn’t be as loud, and Angela shouts, “I’m not loud, I’m just Puerto Rican!”

Sam asks how she became an angel. Angela explains that she used to be known as a Puerto Rican Fanny Brice. One day she went to an audition for a big Broadway show, but when she went to hit a big high note she “went esplat” from falling fifteen feet into the pits. Al bursts out laughing and taunts her that she probably shook the theatre down. Angry, Angela snaps, “That’s not funny. You see if I laugh when you die.” Angela explains that her job as an angel was assigned because she had too big of an ego during life; she is meant to learn how to help other people. Al makes another sarcastic remark to her and she pronounces, “You better watch it, chico, I know the Boss.” Al looks a bit concerned.

Sam asks what she is there to help him with, but Angela explains that she is not told what she is supposed to do; she only knows that something bad is going to happen to Sam in the next day. When Sam asks how she knows that, she responds that she is his guardian angel. Skeptical, Al thinks she was eavesdropping on them. Angela goes on to explain that after she helps Sam, she moves on to her next assignment and “in this time no one will remember that I was ever here.” Sam finds all of this feasible. Al is beyond fed up and informs Sam that if he wants to talk to him to meet him outside alone. Angela is relieved that Al is gone since “I thought he would never go away.”

Sam pulls into an alleyway, where Al is waiting beside a building smoking his cigar. Al can’t believe Sam is buying Angela’s story. Sam lists off all the aspects of Angela that don’t make sense, including that she doesn’t eat. Al once again makes a crack about her weight. Sam argues that Angela got run over and doesn’t have a scratch on her. Al finishes by declaring that angels don’t exist. Sam counters with the fact that holograms didn’t exist until twenty years ago. Their arguments are brought short as Angela begins soulfully singing “Somewhere” from West Side Story. Even Al can’t remain unmoved by her singing as Sam points out she sounds like an angel. He acknowledges she sings like an angel, but doesn’t want to accept that she is one. Having set aside his annoyance he reminds Sam that he has to get Max his medallion tonight but agrees to help Sam find Angela a place to live the next day.

Night falls and Sam is carrying a businessman and his son to Fifth Avenue, who don’t mind sharing a ride with Angela. Angela comments that the street has changed a lot in thirty years; since she doesn’t look old enough to have this opinion, Sam coughs to cover up and asks the businessman where he’s going. When the man says he’s going to a brokers’ meeting of New York realtors, Sam comments that there’s going to be a lot of money made in real estate in the future. This piques the boy’s interest who asks “Where?” Sam predicts a lot of taller buildings all around the area and a big glass tower next to Tiffany’s. As the doorman opens the door, the businessman tells his son, “Come on, Donald.” Sam is stunned to hear the businessman addressed as “Mr. Trump.” He realizes he just described Trump Tower to a young Donald Trump.

Later in the evening, Angela counts Sam’s fares and they realize he is $10 away from making the $50, which he can easily do in the next two and a half hours. She is annoyed when Al shows up, but he isn’t interested in bickering. The robbery is going to happen any minute. Sam argues that it is only 9:32 PM. It turns out that Ziggy forgot to calculate Eastern Standard Time. Sam points out that he’s nowhere near 43rd and Broadway. Al theorizes that maybe the crooks came looking for him. A vehicle passes him and turns its lights out. Al directs Sam to take a right and a left. Angela protests that it’s a dead end. Al argues that it isn’t and he’ll prove it by meeting them down there. As Sam pulls up to join him, Al angrily realizes that Angela was right again. She points out “It’s not called a dead end for nothing.”

Sam and Al urge Angela to get out of the cab and hide with the money. They watch the vehicle drives away, and realize they overreacted. A moment later a man clad all in black leans into the passenger window, his shaky hand pointing a gun at Sam. His voice equally as shaky, the robber directs Sam to turn the engine off and get out of the cab. Al advises Sam to listen because the guy looks nervous. Sam complies and the man orders him to turn around and raise his hands. Al encourages Sam to listen as the robber tells him to put his money on the hood. Sam pulls the small amount of cash from his pocket and the robber demands to know where the money box is. Angela comes out from behind the boxes and announces that “It’s right here.” She walks towards the gunman, who gets more nervous as Sam repeatedly urges her to leave the money on the hood. As she continues to approach, he fires and she falls to the ground, dropping the money box. The robber snatches it and runs off.

Concerned, Al asks where she got shot as Sam kneels and begins checking Angela. As he probes her side searching for a bullet wound she begins giggling. After Sam asks if she’s okay, she says, “Sure, if you stop tickling me.” An astounded Sam says they saw her get hit. As he helps her up, she explains she can’t be killed if she’s already dead. Sam notices the bullet holes in her coat, one in the front and one in the back, but nothing in her. Al is convinced that she spun and the bullet only hit her coat. Angela challenges Al that he doesn’t know a miracle when he sees one.

Sam decides all that matters is that she isn’t hurt. Al celebrates that Sam changed history and Max doesn’t get shot, but a frustrated Sam points out that Max doesn’t get his medallion, either. Al agrees that Sam still has to help him do that.

Sam returns to the cab company, and Frank, Jr. sympathizes with him over the robbery and him losing his money. He tells Sam at least he’s still alive. Sam explains that he had all the money until he got robbed and requests an extension of the deadline for one more day. Frank tells him he’s glad he didn’t have to give the medallion away because he could sell it for $20,000 tomorrow. He claims he’s sorry to see Sam/Max lose it in this way. Al doesn’t believe Frank’s proclamations of sympathy and tells Sam to ask about company loyalty since Lenny worked there with Frank’s father over 42 years ago. Frank wants to know what his father has to do with it. Al interjects that Frank, Sr. gave him the company. Sam requests some consideration for his family’s loyalty. Frank says he lets Lenny hang out; Sam challenges the company’s forcing Lenny into retirement. When Sam again brings up Frank’s father, the owner gets irate and declares it is his business and he’ll run it, carrying on in his family’s tradition. He makes a crack about Sam/Max living up to his family tradition by losing out. Sam defends Lenny and responds to Frank’s declaration that Max and Lenny were big talkers who were meant to always work for someone else by reminding him he’s “had your whole life handed to you.” A seething Frank fires Max.

Sam comes home to a banner Lenny’s made for the “Greenman Cab Company” and Lenny sets a cake down before excitedly embracing him. Lenny slowly realizes something is wrong. When Sam confesses that he didn’t make it, Lenny asks, “How could you miss?” Sam explains that he was robbed and they took all his money. Lenny says they’ll talk to Frank and Sam has to tell him that Frank fired him. Slowly, Lenny leaves the room. Al sadly looks down at the handlink.

In his bedroom, Lenny picks up a gun and puts it in his pocket while he leaves some papers on the dresser. Meanwhile, in the front room, Angela, Al, and Sam are sadly standing around thinking about the events of the night. They hear a door close and Sam calls for Lenny. He goes to the bedroom and finds it empty. Al pops in as Sam finds the life insurance policy and box of bullets. Angela is convinced that Lenny is going to commit suicide, but Al explains that Lenny would know the life insurance policy would exclude suicide and Max wouldn’t get a nickel.

Sam wonders where he went and snaps at Al to tell him where. Angela is positive that Lenny is going to kill himself. Al argues that Lenny is going to kill Frank. Angela counters that she has seen this too many times and she is positive that he is going to go by the river to commit suicide so that the gun falls in the water. Al denies this and asks Sam, “Who are you going to listen to? After all these years?” Sam says, “Okay let’s go!”

Frank, Jr. tells the dispatcher goodnight and leaves the garage as Lenny enters. Lenny shoves him and pulls the gun on him. The dispatcher quickly calls the police.

Sam and Angela arrive shortly after the police. Al, who is already there, proclaims, “See, I told you I was right!” Angela rejoins that “there’s always a first time!” Sam leaves Al and Angela and approaches the drivers gathered outside. Tony laments that Lenny is going to kill Frank and it’s all his fault, and then looks over Sam’s shoulder and suddenly gasps, leaning back. Sam looks back to see Angela smiling and fanning herself. Sam moves towards one of the policemen and says he is Lenny’s son and he can talk him out of this. The policeman gives him two minutes.

Frank is sitting at his desk while Lenny holds a gun on him. He taunts Lenny that even if he gave him the medallion Lenny is going to jail. Lenny says he doesn’t care. As Sam nears the door Al yells that Lenny is holding a gun on Frank. While Lenny opens the door, Frank slides a drawer open to reveal a pearl-handled revolver. He advises Sam/Max to get his Dad out of there because he’s acting crazy. Sam tries to talk Lenny out of it, but Lenny says he has nothing left—that he’s doing this for Max. Sam tells Lenny he needs him to be his partner. Lenny reminds him that he lost the money. Sam knows how to get the medallion, but he needs Lenny to trust him and give him the gun. Lenny hands over the gun, but Frank grabs the pearl-handled gun from his desk drawer. Al shouts a warning and Sam drives Lenny to the ground as Frank fires, smashing the glass of his office door. Sam kicks the desk into Frank, knocking him down, then scrambles up and takes the gun. The police storm in as Sam stands up with Frank’s gun in his hand. They order him to put the gun down, and Al advises him to comply “slowly.” Even though the police can’t see him, Al smiles disarmingly at them.

Outside, Frank tells his side of the story to the police, declaring that Lenny and Max must have gotten mad because he didn’t give them the medallion, and that it’s not his fault he got robbed. Simultaneously, Al and Angela shout, “This guy, he’s a liar!” They look at her. Sam accuses Frank of sending someone else to rob him. He calls Tony over and reminds him “You said this whole thing was your fault. You robbed me!” Sam gestures at Angela and tells Tony he thought he shot her, and that’s why he looked like he saw a ghost when he saw her. Angela helpfully explains that she’s not a ghost but an angel, which causes Al to smack a hand against his forehead. Sam points out that Tony used Frank’s gun in the robbery. Disdainfully, Frank asks the police if they’re going to listen to Sam. The policeman says yes, and brings Frank and Tony inside to talk further.

Lenny is getting cuffed. Sam asks what happens to Lenny. Al informs him that Lenny gets probation after Frank is charged for being an accessory to the robbery. Sam asks if Frank is going to prison, and is upset to find out that Frank also gets probation. Al quickly explains that it’s only after a plea bargain and the judge forces him to surrender the medallion to Max. Lenny and Max then form the Greenman Cab Company; they can only afford one taxi but that’s all they ever wanted anyway. Lenny apologizes and Sam tells him he has a feeling everything is going to work out just fine. He asks where Angela is and Lenny said he thinks she headed down the alley.

Sam goes to find her. Sighing, Al follows. Angela is walking out of the alley and tells Sam it’s her time to leave. She has tears in her eyes. Al snarkily asks if this is “the part where nobody is going to remember you were ever here?” She explains not him, but that the people in this time will forget her, but she will always remember Sam. When Sam questions her use of his real name, she asks, “Who do you think I was sent here to really look after?” She laughs through her tears and kisses Sam’s cheek, then smiles at Al and walks away. Al asks Sam if he’s really going to let her go. Sam, with a bright red lipstick kiss on his cheek turns to Al and asks, “Who?” As a shocked Al says, “Who?” Angelita!” and points at her, Angela turns again and smiles and waves. Sam asks if he knows her. Al accuses Sam of fooling around and informs him that he’s talking about “Angelita, the angel.” Sam declares there’s no such thing as angels and then Leaps, leaving a shocked Al in his wake.

He arrives in a hospital room where a patient flatlines. The nurse tells him the patient is gone, and the patient’s husband assaults Sam, who chokes out an “Oh Boy!” Synopsis by Jennifer L. Rowland

Music:

Chopin's Funeral March is hummed by the men at the Taxi company

"Someone To Watch Over Me" by George Gershwin (covered by Liz Torres)

"Somewhere" by Stephen Sondheim from "West Side Story" (covered by Liz Torres)

Miscellaneous Trivia:

The title of this episode is a reference to the movie "It's A Wonderful Life."

Sam runs over Angelita on 34th Street. This is a reference to the movie "Miracle on 34th Street."

In the QL universe, angels don't eat, sleep, and they wear the clothes they died in. Angels can see Sam and Al for who they really are.

The person who opens the taxi door and says "Hello, Mr. Trump." is Ed Wasser credited as Young Executive. Thanks to Robert Knight for the answer.

The makeup person for Angelita was the same person for Judy Garland.

This episode is Writer/Producer Paul Brown's first outing as Director.

This episode has a Novel
sequel featuring Angelita Carmen Guadalupe Cecilia Jiminez!

Bloopers:

Kiss With History:

Sam, as a cab driver, transports Donald Trump and his father. Sam inadvertently introduces the idea of Trump Tower.

Watch a parody of Scott Bakula as Sam leaping back into this scene on "The Late Show with Stephen Colbert":

Liz Torres as Angelita Carmen Guadalupe Cecilia Jiminez
Jerry Adler as Lenny Greenman
Peter Iacangelo as Frank O’Connor
Robin Frates as Elizabeth
Jack. R. Orend as Tony
Milt Kigan as Lucky
Douglas MacHugh as Moe
Vaughn Armstrong as Father
Frank Girardeau as Sergeant McCann
Ed Wasser as Young Executive
Justin Thompson as Donald Trump
Ross Partridge as Max Greenman

Guest Cast Notes:

Liz Torres as Angelita Carmen Guadalupe Cecilia Jiminez: Spunky actress, singer and comedienne all rolled up into one, Puerto Rican-American Liz Torres was born on September 27, 1947, a native of the Bronx. She began her stand-up/singing career as a regular performing in various small NYC niteries. It wasn't until she received an invite to appear on The Tonight Show Starring Johnny Carson (1962) that her comic career started blooming on TV and in film. Liz has been a broadly familiar ethnic face on the sitcom circuit, having had regular or recurring parts in numerous series. In addition to regular roles on 70s TV variety shows for Melba Moore, Clifton Davis and Ben Vereen, she replaced the late Barbara Colby in the Mary Tyler Moore spinoff Phyllis (1975) starring Cloris Leachman following Colby's tragic murder. A year later she joined the All in the Family (1971) cast for a season. Liz co-starred in a number of short-lived series such as Checking In (1981), The New Odd Couple (1982) and City (1990) before hitting paydirt and scoring multiple Emmy and Golden Globe nominations for her prime role of Mahalia on The John Larroquette Show (1993). She has continued to make the guest rounds on such popular series as Ally McBeal (1997), The Nanny (1993), Quantum Leap (1989), The Wonder Years (1988) and L.A. Law (1986), often providing some necessary comedy relief amid the drama, and she is a veteran of many mini-movies, both comedic and dramatic. On Broadway, Torres replaced Tony-winning Rita Moreno as men's bathhouse entertainer Googie Gomez in the wacky comedy "The Ritz" and portrayed the bizarre character of Bunny in "House of Blue Leaves." The musical part of her has recorded for RCA and appeared in a number of stage roles that have ranged from Aldonza/Dulcinea in "Man of La Mancha" to lightweight roles in "Bye Bye Birdie" and "See Saw." She has provided amusing vignettes in such film comedies as The Odd Couple II (1998) starring the late Jack Lemmon and Walter Matthau, Sunset (1988) with Bruce Willis and Permanent Midnight (1998) showcasing Ben Stiller. Although comedy has been Liz's primary career outlet, her millennium film credits have leaned toward heavier material with featured parts in the romantic drama Gabriela (2001), the urban drama King Rikki (2002), the social drama Taylor (2005) and the dramedy West of Brooklyn (2008). Outside the recurring roles on the law series First Monday (2002) and the Latino family drama American Family (2002), TV has proven a different story where she is best remembered for her series role as "Miss Patty" in the long-running sitcom Gilmore Girls (2000), and made numerous amusing appearances on such regular comedies as "The Fighting Fitzgeralds," "The Brothers Garcia," "Ugly Betty," "Desperate Housewives," "Devious Maids" and the Cuban-American sitcom "One Day at a Time."

Jerry Adler as Lenny Greenman: Jerry Adler was born on February 4, 1929 in Brooklyn, New York City, New York, USA. He is an actor and director, known for Manhattan Murder Mystery (1993), In Her Shoes (2005) and Prime (2005). He has been married to Joan Laxman since July 3, 1994. He was previously married to Cathy Rice and Dolores Parker.

Peter Iacangelo as Frank O’Connor: Peter Iacangelo was born on August 13, 1948 in Brooklyn, New York, USA. He was an actor, known for Fight Club (1999), Times Square (1980) and Look Who's Talking Now (1993). He was married to Melody Marzola. He died on November 17, 2021 in West Columbia, South Carolina, USA.

Robin Frates as Elizabeth: Robin Frates is known for Puppet Master (1989), Quantum Leap (1989) and Man's Best Friend (1993).

Jack. R. Orend as Tony: Jack Orend is known for Casino (1995), The Blues Brothers (1980) and Star Trek: Deep Space Nine (1993).

Milt Kigan as Lucky: Milt was born at Beth Israel Hospital in Philadelphia, Pennsylvania on April 10, 1936 to Eastern European immigrants, Mildred and Joseph Kogan. Joseph earned a degree as a pharmacist from Temple University and after one year moved his family across the Delaware River to Camden, New Jersey, where he set up a pharmacy that lasted for 40 years and became a neighborhood icon. Milt found success at Woodrow Wilson high school as a basketball player, winning choice on Camden, N.J. City All-Star Basketball Team in 1953. He won acceptance to prestigious Cornell University in Ithaca, N.Y., where he performed as leading scorer on his college freshman team. In his first game, the next year, for the varsity, unfortunately, he suffered a severe knee injury, before modern knee surgery, which essentially ended his high caliber performances. Still, in 1957, he was voted Captain of the Cornell Basketball Team. Milt went on to medical school, instead, and graduated with a D.O. degree and then an M.D. from the University of California, Irvine. It was in those early 1960 years that he serendipitously fell into acting in Hollywood. Early success in TV commercials brought him much respect, especially since his early roles were as dumb, working-class characters that incited much laughter. He married Dena Lambie, from Northern California, after a stint as a professor/physician on the University of the Seven Seas, a floating campus that went around the world. Two children followed, Magavin and Teidi, and because his TV career never floundered, he soon felt embarrassed about his success and decided to repay someone...but whom? He joined the United States Peace Corps and brought his young family to West Africa, now Burkina Faso, where he served the poor there for two and a half years. On his return to California, he enrolled in a Masters in Preventive Health program at U.C.L.A. and graduated with an M.P.H. Unfortunately, his marriage took a toll from his energetic lifestyle and Dena divorced him two years later. Dedicating himself, full energy, to his dual careers of medicine and acting, working with the homeless and mentally ill in Los Angeles, he was soon guest starring on many major TV shows, appearing in movies, and continuing his success in comedy in commercials. After returning from two years in Harlowton, Montana, where he accepted a position with the National Health Service Corps as a cowboy doctor, he met Susan Quast, a South Dakota small-town beauty, who agreed, after some effort, to be his wife. Milt shares two children with Susan, son Jamie and daughter, Millay. In effort to continue contact with all his children, Milt joined the U.S. Defense Department and served with the U.S. Army in West Germany for two years. He returned to Hollywood with his complete family and now has been married to Susan for 35 years. Because of his medical adventures, he can speak German, French and Spanish. He is a voting member of both the Academy of Motion Picture Arts and Sciences (Oscars) and the Academy of Television Arts and Sciences (Emmy). Three of his four children have earned lawyer degrees and son, Jamie, is a successful film composer in Hollywood. Susan and Milt built a home and farm in Oceanside, California where he now practices, he says, as a farmer. He continues his efforts in medicine and acting, traveling to Los Angeles to participate in TV.

Douglas MacHugh as Moe: Doug MacHugh is known for Weird Science (1985), Candyman (1992) and Black Moon Rising (1986).

Vaughn Armstrong as Father: Vaughn Armstrong was born on July 7, 1950 in Sonora, California, USA. He is an actor, known for The Philadelphia Experiment (1984), Star Trek: Enterprise (2001) and The Net (1995). As of December 2004, he has appeared on Star Trek 27 times, as 11 different characters of 8 different races (two Cardassians (Gul Danar, Seskal), a Vidiian, a Hirogen, a Romulan (Telek R'Mor), three Klingons (Korris, Korath), a former Borg drone (Two of Nine/Lansor), a Kreetassan, and a Human (Admiral Forrest)). Formed a blues band with Star Trek co-stars Richard Herd (Admiral Paris from Star Trek: Voyager (1995)), Casey Biggs (Damar from Star Trek: Deep Space Nine (1993)) and Steve Rankin (multiple roles). Is the only actor to play five different characters on a single Star Trek series (Star Trek: Voyager (1995)). Along with Jeffrey Combs, he is one of only two actors to played three characters in a single Star Trek season (Star Trek: Enterprise (2001) Season One). Reprised his role as the Klingon 'Korath' (from the 'Star Trek: The Experience' exhibit) on the series finale of Star Trek: Voyager (1995).

Vaugh and his Enterprise Blues Band performed at The Leap Back 2009 Quantum Leap Convention! See them at the 4m3s mark in this video. Prior to that, Erika Amato from "Lee Harvey Oswald" and the band Velvet Chain performs.

Frank Girardeau as Sergeant McCann: Frank Girardeau is known for The Vanishing (1993), Be Kind Rewind (2008) and Road Trip (2000).

Ed Wasser as Young Executive: Ed Wasser was born on March 26, 1964 in Roslyn Heights, New York, USA. He is an actor and producer, known for Babylon 5 (1993), Quantum Leap (1989) and Stormswept (1995).

Justin Thompson as Donald Trump: Justin Thomson is known for Quantum Leap (1989), Aquatilis and Texas Killing Fields (2011).

Ross Partridge as Max Greenman: Ross Partridge was born on February 26, 1968 in Kingston, New York, USA. He is an actor and producer, known for Stranger Things (2016), Lamb (2015) and Room 104 (2017). He has been married to Jennifer Lafleur since April 30, 2016.

Stock footage is used with modern vehicles and skyscrapers that didn't exist at the time of this Leap.

Lenny says that Max needs $50 more in cab fares. Then later he asks Sam how much money he made. How did he know what was left if he didn’t know what Sam had already made?

Why didn’t Al just center on Lenny instead of wondering where he went with the gun?

Al spoke Sam's name a few times in front of Angela during the episode, but Sam and Al seem surprised when she says his name at the end of the episode.

Sam has had a religious background throughout the series. When he tells Al at the end of the episode that there are no such thing as angels, it seems very out-of-character.

Best Lines:

ANGELA: I was born Angelita, which means "little angel"... but as you can see, I grew up.
AL: Yeah, they must serve plenty of sweets in heaven.
ANGELA: You're never gonna get there, so you're never gonna know.
AL: What do you mean? Why not?
ANGELA: There's a dress code.
AL: You know, if I wasn't a gentleman and a hologram...

Script:

Production Credits:

Theme by: Mike Post
Music by: Velton Ray Bunch
Co-Executive Producer: Deborah Pratt
Co-Executive Producer: Michael Zinberg
Supervising Producer: Harker Wade
Produced by: Jeff Gourson, Tommy Thompson
Produced by: Chris Ruppenthal, Paul Brown
Created by: Donald P. Bellisario
Teleplay by: Danielle Alexandra and Paul Brown
Story by: Danielle Alexandra
Directed By: Paul Brown

Executive Producer: Donald P. Bellisario
Associate Producers: James S. Giritlian, Julie Bellisario
Coordinating Producer: David Bellisario
Director of Photography: Robert McBride
Production Designer: Cameron Birnie
Edited By: Michael S. Stern
Unit Production Manager: Ron Grow
First Assistant Director: Ryan Gordon
Second Assistant Director: Kate Yurka
Casting by: Ellen Lubin Sanitsky
Set Director: Robert L. Zilliox
Costume Designer: Jean-Pierre Dorleac
Costume Supervisor: David Rawley
Art Director: Ellen Dambros-Williams
Sound Mixer: Barry D. Thomas
Stunt Coordinator: Diamond Farnsworth
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.

Copyright © 1992 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 in association with Universal Television, an MCA Company