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5x12 "Liberation"

Leap Date:
October 16, 1968

Teaser:

In the age of women's lib, Sam finds himself as a bra-burning mother who must prevent his daughter from getting killed in a violent protest. At the same time, he has to keep the husband of the family from walking out on them when Sam and the daughter try to open his mind to the possibility that women are more than just housewives.

Audio from this episode:

Al: We're in big trouble.

Promo:

Name of the Person Leaped Into:

Margaret Sanders

Synopsis & Review:

Sam leaps into a nighttime setting outside, surrounded by a crowd of women. A woman named Diana St. Cloud announces to the crowd that they are there tonight, "...not because we want more rights than men have, but because we want the same rights men have!" The crowd cheers. It's dark, and there is a fire burning in the center of the crowd. Sam notices a young woman next to him, perhaps a daughter. Diana coaxes the crowd the burn it.

The young woman, Suzanne, tells Sam to do it. Sam discovers that he is wearing earrings and womens clothes and is holding a bra in his hand. A photographer snaps his photo and he immediately tosses the bra away out of just wanting it out of his hands! It land in the fire with other women's undergarments. The crowd starts chanting, "Liberation now! Liberation now!" Sam groans... "Ohhhh boy."

The crowd continues chanting as the photographer snaps another photo of Sam and his daughter Suzanne hold up their fist and shout with the others. Although, Sam is doing it half-heartedly as he figures out what he's doing there. Diana continues speaking into the microphone, talking about having the same rights to equality as men. She says she doesn't want a female dominated society and more than she ants a male dominated society. A college-age man in the background shouts, "You can dominate me anytime honey!"

Diana continues speaking and the guy keeps heckling. She begins speaking about penis-envy and he becomes defensive and says it's time to take out the trash. Sam thinks it's time to get out of there. Diana shouts, "You have the right and the power to decide" regarding what a woman wants for her life.

The heckler shouts that she needs to go back in the kitchen where she belongs. Diana heckles him right back and the crowd cheers. "You're the wimps because you never bothered to develop the muscle that's rotting between your ears." The guys with the heckler begin throwing cans at the crowd and the police show up. They order the crowd to disperse as it is an illegal assembly. Sam and Suzanne are taken in a police car.

At the home of Sam's leap-host, Margaret Sanders, the husband George Sanders pulls something out of the over and asks a younger boy, George Sanders, Jr. where his mother is. George, Jr. says he doesn't know. They are having guests over and George is struggling with preparing food without Margaret there.

A couple at the dinner party speaks about how his wife, who is standing right there, bought a set of encyclopedia and it was missing three volumes. George enters with cheese puffs and says his wife must have lost track of time, and rolls his eyes. George offers the puffs to the couple standing there and the wife wants one, but her husband tells her no, because she's pregnant. "We don't want to turn into a cheese puff," he laughs.

The group begins talking about some new regulations at work and the men think it should only support traditional families, but another woman says most of the support comes from individuals. George, Jr. rushes into the living room and is excited to tell his dad where mom is, after taking a phone call in the kitchen.

At the police station, Diana speaks to the other women in the jail cell about her organization. Al enters through the Imaging Chamber door inside the cell. He walks through all the women with his arms open. "What a scene! Chicks in cells." Talk about your major fantasy." Sam frowns. "Thank you for sharing. Now hat the hell am I doing here?" Al adds, "What could be better? Chicks in chains in cells." Sam interrupts, "Al.

Sam says he already knows he is Margaret Sanders, married, and with two children - Suzanne and George, Jr. As Diana continues to get her crowd motivated in the cell, Al says he doesn't know if women's lib was a help or a hindrance. Sam says he is not remotely curious about his opinion on the subject and just wants to know why he's there. Police chief, Donald Tipton, enters the cell and tells them to calm down. Diana says she has the right to assemble and he knocks her down. Sam intercedes and pushes Tipton away and against the cell bars. All tells him that that there is an 89% chance he's there to help Diana.

George Sanders shows up at the cell and asks Tipton to let his wife and daughter out of the cell. George says he just left a dinner party with the son of the captain where they are deciding his future and to do him a favor. "He's got something on him, Sam," says Al. Tipton agrees to release the two women into George's custody and he will make it look like they were never there. "Next time, better keep a tighter rein on the little woman." Sam says, "Little woman?" George promises it won't happen again.

Al says he thinks Sam changed history with "that little knight in shining armor there." Sam and Suzanne are released and Al says the rest of the ladies will be bailed out first thing in the morning. Diana is distraught as she watches them leave and the jail cell door shut back.

At home, Sam tells George he doesn't see what the problem is. George replies, "You embarrassed me in front of the whole community!" Sam says there was no reason for Chief Tipton to act like that. George argues that Donald Tipton is one of his close personal friends and his son is one of his finest employees. "What on God's green Earth is going on, Margaret?" Sam says Tipton was wrong for knocking down Diana. George says he is going to get a pillow and a blanket and sleep in the den tonight.

At this point, Al keys in something on the handlink and we get one of the clearest and close-up looks at the gummy bear handlink that is ever seen in the series. Al says that when Sam interfered in the jail cell, history changed and now "it put a tailspin on George and Margaret's marriage." Sam says that Al told him he was there to help Diana and Al replies that by doing that, he is somehow destroying George and Margaret. "Ziggy says there is a 69.2% chance that George leaves Margaret and her life is ruined."

The next morning, Sam greets Suzanne, his daughter and notices she looks like she didn't get much sleep. Suzanne says she didn't. Sam asks her to tell her dad and brother that breakfast is almost ready. Suzanne says she is not speaking to dad. Sam says it's a new day and a new opportunity to change George's attitude. Suzanne wants to know why it's put on the two of them to find a way to do that. Sam answers, "Because we're the ones who want to make a change."

Suzanne says she loves her dad and used to be able to tell him anything but now everything is different. Sam offers, "It takes two people to communicate." He says maybe she's approaching him in a different way now. Suzanne says women are going to have to go toe to toe with men to make them listen and that Sam ouching Tipton last night made him listen. Sam says he should not have done that. "He was wrong, but I was wrong to shove him." Suzanne says that Diana says that's the only way to really make men listen. Sam says that isn't true and that Diana should not advocate violence. Suzanne asks Sam if he is sad about burning the bra. Sam says, "The last thing I ever want to wear is another bra."

George enters the kitchen. As Sam makes griddle cakes, George comments that they usually have omelets on Friday. Sam asks if he would like one but George says this is fine. George says, "Let's just forget about last night and get the family back to normal." Suzanne rolls her eyes. "I just want my little Margaret back," he says as he gently puts his hand on Sam's shoulder and gets right up in his face. As he goes to Suzanne, he pats Sam's behind.

George approaches Suzanne and tries to make light. Sam hands him a cup of coffee. George smiles, saying, "No one makes a cup of coffee like my little sweetie pie." Suzanne snaps, "Now there's an achievement." George looks confused. He begins talking about who to give a promotion to at work. It's between Evy Brownfield and Peter Tipton. George says Evy has a year of seniority but Peter has a family to support. Sam notes that Evy has a family too, but George says she has a husband that can support them. George then thinks, "If I gave Evy the promotion, I could save a lot of money on salary." Suzanne can't believe he would say that and pay her less just because she's a woman.

Sam and Suzanne both agree it's not fair to pay a woman less to do the same job. George replies, confused, "But that's policy. What am I supposed to do about that?" Sam simply says, "Change it." George can't understand why. Suzanne says she is going to leave for school, "...where people still bother to think."

George Jr. enters with a newspaper and shows that Margaret/Sam and Suzanne have made the front page. George says this is the last time she makes a laughing stock out of him. Al enters, and warns Sam not to start an argument. Sam does anyway and George just can't understand why his whole world is changing all of the sudden. George Jr. watches all this happen as his parents argue. George gives Sam direction to be at the dinner tonight and to pick up his suit at the cleaners. The son walks up and Sam tells him to not even start, eat breakfast and get to school. Sam is very upset.

Al relocates to the living room to speak with Sam. "I hate the way he orders me around like that." Al says George is from a generation that was taught that women and men have a place, and he doesn't know how to handle the changing world. He says men in the time period have no idea that they are putting women down, they just were never taught another way. Sam says his dad never treated his mother that way. "Why are you defending him?", Sam asks. Al deflects and says that Sam is there to help Diana, but if in the meantime he can open George's eyes, then that would be fine.

Al advises that, "Diana St. Cloud is planning a protest march tonight. But because of your heroic gesture, the police chief, Tipton (your friend), he gets a little more aggressive than he normally would. He pulls out his gun." Sam asks if Tipton shoot Diana. Al says that during the march, Diana gets the gun away from Tipton but when he gets it back, the gun goes off, killing Diana. "Ziggy says there's an 86% chance (if he prevents Diana from going to the march) that you'll leap, everything's fine, and you don't have to cook dinner."

As Sam drives through town to find Diana at the women's collective, he narrates his thoughts. "When it came to women's lib, my mother always said that it was probably a good thing...for other women. But I had an understanding that no other man on the face of the Earth could have. I was a woman. Had been a woman on a number of leaps, and it was an eye-opening experience. Still, with all of the right I knew they had on their side, I couldn't condone Diana's promotion of violence." He must change her thinking.

Outside the Connecticut Women's Collective building, Police Chief Tipton watches the door with binoculars. Inside, Diana is telling Suzanne that women only make up a tiny percentage of doctors, lawyers and engineers. She says that women don't have power. Husbands and wives are one, but that one is really just the husband. Suzanne says she doesn't understand how they let it get that way. Diana answers, "Fear."

Al enters, and hears Diana talk about her own father, who used to beat her and berate her. Diana's mother just let him do it. Suzanne takes all this in. Diana adds, "Suzanne, men have been oppressing women for thousands of years, and we've allowed it." Suzanne says she isn't going to. Sam enters and hears Diana tell Suzanne that if men "want to push as around, we'll push back" and "if they want a fight, we'll give them a fight."

Sam asks Diana if she really believes she can win a physical fight. Sam says they should fight in board rooms, not a street brawl. "Stage sit-ins or boycott.s It's better press." Diana likes the idea and Al says now Diana doesn't get shot.

At work, a coworker asks George about Margaret's picture in the paper. He replies, "Women." Peter Tipton makes a sexist joke. George asks if Peter is ready for the meeting. The police chief Donald Tipton enters and tells George that he has been asked to watch Diana's group by the FBI. George says Margaret and Suzanne aren't involved in anything subversive. Tipton informs him that he say the two women leaving the Women's Collective. "I don't think you have any control over her, George. I'm supposed to turn over every name to the FBI. I just thought you'd like to know." Then Tipton says that he is counting on the promotion for Peter, insinuating that he won't turn over the names to the FBI if he gets it.

At home, Sam is making dinner. Al enters and says he's having troubles with Tina, because when he told her about the leap situation, she said Al sounds like George! "She called me a chauvinist." Sam grins. "Really, you're surprised?" Al thinks he has always been a sensitive and giving person. The handlink makes a series of tone and Sam knows it's not good news. Al reports, "Bad news Sam, Suzanne gets shot tonight at her father's club."

Suzanne enters and catches her mom talking to thin air. She interrupts and says Diana has decided to stage a sit-in tonight at her dad's club. Sam doesn't think it's a good idea and tells Diana to stay home this time. Suzanne agrees as George enters the kitchen. "Busy afternoon, Margaret?" He is visibly upset. George probes Sam for info on where they were and asks if Sam picked up his suit. Sam stumbles and makes up a story that the dry cleaners were closed. "Closed long enough for you and Suzanne to disobey me." Suzanne is offended. George tells Sam that if he finds out that they have been around Diana again, he's out of the house. Sam says, "You don't seem to understand what's happening, George. He replies, "What's happening is you're ruining our marriage!" He tells Sam that it stops now or Margaret can ask their new women's lib friends to support her and the kids.

Suzanne says to her father, "Maybe you can threaten Mom, but you don't own me." She tells him she is going to the sit in, and he snaps back and tells her to go to her room. She replies that she is not a kid anymore and is not listening. Al looks on. "Hell of a job raising our daughter, Margaret." Sam snaps back and says he didn't realize he was raising her alone. Sam agrees that Suzanne should not go to the sit in and George says he will lock her in her room. "Why don't you try talking to her instead of bullying her!", says Sam. George says for Margaret to do it her way and he will do it his way.

George leaves and Sam and Al discuss what's next. "Ziggy says you still have to be at that sit-in at 9:00." Al looks at the handlink. "Damn it. 85% George moves out after tonight."

Evy, the woman who is up for the same promotion as Peter Tipton, asks Sam if he needs any help with dinner. The men at the table clearly have some bad ideas about their health care program. Sam says she should go out there and tell George some of her ideas. She says she couldn't do that at a party. Sam responds, "Well Peter sure does, or haven't you noticed." Sam asks if she wants the promotion and she says yes. Sam says it's up to Evy to take charge, but she says, "I'm not one of those pushy, bossy women." Sam says, "When a man is pushy and bossy, it's called aggressive and it's admired. Why can't a woman be the same?"

Evy goes into the dining room as Peter is telling the same sexist joke he told earlier. Evy starts, "Peter, you were taking about the future of insurance companies... but you neglected to mention a huge statistic." Peter smiles and says he doesn't think so.  Evy asks, "Did you ever consider the number of women entering the workforce? " He gives her a look as if she doesn't matter and asks his wife if she needs any tea or anything, to which his wife says she is fine. Evy asks if he thought of what the women would need. He says he dealt with that with the "traditional family." She looks him in the eyes and responds, The traditional family of what decade? Instead of trying to go back to the 50's, I think we should figure out how to move into the 70's!" She smiles and George doesn't know what is happening. She goes on to explain that a lot of women don't wan to leave their children at home to go to work, but many have to now, and how do they assure those women that their children will be taken care of if they become disabled.

Peter laughs and says, "No more to drink for you!", as he tries to blow her off. "Those are the challenges we are facing, Peter." George asks, "Evy, why didn't you bring up these questions at the meeting this afternoon?" Evy replies, "I didn't think anyone would listen."

On the way to George's mens club, Suzanne and Diana, along with a few other women, prepare for their sit-in. Suzanne says that her father sent her to her room and forbade her to go. Diana says that she sounds like her own father, "Whack! Go to your room." Suzanne looks concerned and replies, "My father would never hurt me." Diana says she got the best of a bad bunch. They continue to speak in the van and Diana makes it clear her father was a bad man and that she came close to killing him. Suzanne seems conflicted about some of Diana's ideas, which condone the use of violence against men.

At home, Sam is in the kitchen as Al pops in. Al says they have big trouble because Suzanne has escaped from her locked room and Diana plans on making a statement. Now Suzanne and Tipton both get shot. Al directs him to go! Sam runs out.

In front of the club, women hold up signs and chant, "Liberation now!" Chief Tipton arrives and one of the club members tells him that they just gave in and sat down in the dining room. Inside the club, Diana starts to work up some of the ladies.

Sam drives as fast as he can with Al along for the ride. Sam thinks Diana won't listen to him. Al says he overheard Diana talking to Suzanne and that she has an abusive father. Al guesses that she brings her own gun as a backup, and that's how both Suzanne and Tipton get shot. Sam tells Al to go on ahead so that he can observe what's happening at the club.

Chief Tipton goes into the men's club dining room and tells everyone that they are trespassing and they are all under arrest. Sam arrives outside and quickly makes his way inside. Tipton tries to pull Diana up off the floor where all the ladies are sitting. Diana shakes him loose and shouts, "Let go of me! You're not my father!" Diana punches him in the face. She looks a bit shocked that she hit him.

Al exclaims, "Move it, Sam!" Tipton and Diana struggle and she's pushed to the floor. Tipton says, "I've had enough of you." As Tipton is speaking, Suzanne takes Tipton's gun from its holster and points it at him. Al shouts, "Sam! You better get in here and do something!" Diana scrambles to her feet and takes the gun from her, still pointing it at Tipton. Everyone freezes, watching Diana facing off Tipton. Sam rushes in then stops short when he sees Diana with the gun.

Sam says, "Diana, this is not the way to change things." Diana replies, "We're not the ones who need to change. They are." Tipton demands, "Put that gun down."  Sam asks, "Have you told them what your demands are?" Diana seems confused. Sam offers, "Well, unless you tell them what you want, they can't change anything." Al says, "Sam, keep her talking. Keep her talking."  Sam continues, "Tell them what this is for. Tell them what you want." Diana says, "We want equal rights."

Sam, helping her get the words right asks, "You want to be a member of this club?" Diana replies, "For starters." Al instructs, "Logic, Sam. Get her off of her emotions." Sam continues, "Did you apply for a membership and were rejected?"  Mr. Flanners replies, "No, she did not." Diana asks, "Oh, if I did, would you let me in?" Mr. Flanners says, "It's up to the committee." Diana says that's a lie. Sam says she doesn't know because she didn't try. Diana says, "It's in the by-laws. A woman can't own a membership in this club."

Al is busy with the handlink. "It's segregation, Sam, but it's not against the Constitution in a private club." Sam directs, "Then you have to amend the by-laws. You have to amend the Constitution of the United States." Diana says that'll take forever as long as men control it. Sam tells her if she wants to beat the system, she's got to confront it with it's own rules. Diana asks "So you're telling us to go home file an application?" Sam responds, "I'm asking you to use the law. Now come on. Put the gun down and let's do this right."

Diana is not convinced. "You're asking us to quit. Just like you quit. I won't be like you! Just take a good look at yourself. You're just like my mother. You're turning into the dutiful house frau. A messenger for the oppressor." Sam says, "Housewives and mothers are not your enemy. They're your ally. Now don't segregate us!" For a split second Diana considers what Sam has said...then cocks the gun. Suzanne intercedes, "Diana...no." Diana says, "Women like you are the reason we'll never get equal rights. You're so conditioned, you believe that as long as men say so, they system is right."

Sam comes back with, "What is pointing a gun at the chief of police going to accomplish, Diana?" Al checks the handlink and tells Sam he is running out of time. Sam says, "There's so much work to be done. We need you here, not in a prison." Diana replies, "They'll never let me play fair. We need to take a stand." Her voices rises. "Are you with me or this housewife?" Suzanne responds, "You said this was about choice. There's nothing wrong with being a housewife. Mom's right. We'll never get anywhere if we keep blaming each other and fighting among ourselves."

Diana refuses to listen to Suzanne. Diana says no. Suzanne tries again, "Come on, Diana. Please." Suzanne reaches toward Diana's arm to push the gun aside, but Diana resists. Suzanne pushes harder, diverting the gun. Sam lunges forward to shove Chief Tipton out of the line of fire just as the gun goes off!

Diana is carried off by officers. Tipton gives them all one minute to leave the club. Tipton tells Suzanne that because she grabbed his gun, which is a felony, he's going to have to arrest her. Sam intercedes, saying that Suzanne saved his life. Tipton backs off and says they will talk about it later. He remarks, "I'm not sure I agree with everything you said, Margaret. But I have to admit, some of it made sense."

Suzanne thinks she was lied to after seeing what Diana did. Sam assures you that what Diana said and believed in as right, but violence isn't the answer. He tells her not to confuse people and ideas. Al gives the new history report. "Diana spends five years in jail, and when she gets out, she becomes one of the leading activists for changing the constitution. Sam sees George enter the club. Al says he has one more thing to straighten out.

George asks Suzanne to go wait in the car while he speaks to her mother. Al says, "This is it, Sam. Ziggy says George is gonna move out." George asks, "What do want me to do, Margaret? You left me no choice. I'm moving out tonight." Al says, "You see? See? You gotta fix it." Sam replies, "If that's what you have to do." Al does double take. "What? What are you saying?"

George, turns and starts to walk away from Sam, pauses then turns back when Sam begins to speak to him. Sam says, "Let me ask you one question. Do you think you've had a good marriage all these years?" George says she knows the answer to that. Sam says, "No, I don't." George continues, "I think we've had a great marriage. That's why I don't understand why you're throwing it all away like this." Sam replies, "Well it seems to me like you're the one who's throwing it all away." George searches for the right answer. "I don't know what to do. All of a sudden you're not my Margaret anymore. Who am I supposed to be if you're not you?"

Sam says, "Maybe you could stop trying to make me into *your* Margaret, and try finding out who I really am. And you could start that by respecting me for my thoughts and my ideas, even if they're different from yours." George says he's too old to change who he is. Sam thinks that's only if he thinks he is. "And only if you don't love your wife and children enough to try." George thinks and replies, "I do love you very much, Margaret." Sam directs, "Then try. That's all anybody can ask."George agrees.

Al smiles and checks the handlink. "That's great, Sam. Ziggy says everything works out just fine here." Al watches as George takes Sam's hand and kisses it. George smiles at Sam. Al continues, "Suzie and Margaret stay very active in the movement. In fact, they're key in the push for an equal rights amendment." George takes Sam's face in his hands and Al speaks a bit more nervously, yet amused. Sam looks afraid as he hopes to leap any second. "And George gives Evy Brownfield the promotion, and full pay." Sam braces himself for a kiss from George, but finally... he leaps!

Synopsis by Brian Greene

Sam's Outfits Worn in the Episode:

Long-sleeved, brown dress; brown plaid coat w/brown scarf; narrow bold watch on left wrist; brown
shoes and purse, and a diamond wedding ring.

Another brown dress or possibly the same one with yet another brown scarf around his neck; brownish-orange-yellow stripe-patterned full apron with green piping, and brown shoes.

Dark-green, long-sleeved dress with a broach near the throat, medium-heel brown shoes, gold
earrings, and a brown purse.

Al Trivia:

Al used the "gummi bear" handlink in this episode.

Al carried a cigar in several scenes.

Miscellaneous Trivia:

"Liberation" is considered to be one of the most radical episodes of the entire Quantum Leap series.

Samuel Beckett, the Irish-born playwright and novelist Suzanne mentioned during the kitchen scene, was born in Dublin, April 13, 1906 and died December 22, 1989. His best known work is the drama, "Waiting for Godot". In 1969, Samuel Beckett received the Nobel Prize for literature. he was also mentioned in "Honeymoon Express." Beckett recorded this video in France two years before he passed away.

"The Flying Nun" premiered on September 7, 1967 and ran for three seasons.

The books on the coffee table were:
"Howl" by Allen Ginsberg.
"Black Power" by Stokely Carmichael and Charles V. Hamilton.
"The Female Eunuch" by Germaine Greer. (See 'Say What?)

Footage from the film Field of Dreams was used for some of the street scenes.

Episode Screenshot

Field of Dreams

Bloopers:

Kiss with History:

There appears to be little evidence that women actually attended bra burnings, as shown in the leap-in sequence. However, many did throw them in a "Freedom trash can" in a symbolic gesture to overcome oppression by men. The word "burning" may have been attached to reference men burning their draft cards such as during Vietnam, therefore later prompting the term "burning bras."

Guest Cast Notes:

Max Gail as George Sanders: Max Gail was born on April 5, 1943 in Detroit, Michigan, USA as Maxwell Trowbridge Gail. He is an actor and director, known for 42 (2013), Barney Miller (1975) and General Hospital (1963). He married Nan Harris in 1989. They separated in 2000 and have two children. He was previously married to Willie Beir until her death and they had one child. He has been in a relationship with Chris Kaul since 2007.

Deborah Van Valkenburgh as Diana St. Cloud: Deborah Gaye Van Valkenburgh is a Schenectady, New York-born Los Angeles-based actress, singer, artist, and writer working in all manner of media. She graduated from Pratt Institute in Brooklyn, New York, with a BFA in Painting & Drawing. As a teen in Upstate New York she performed in coffee houses with the folk band Spur Of The Moment. During college she sang locally in a duo popularly known as "The Myrtle Avenue Watermelon". She made her professional debut on Broadway in the revival of the musical "Hair". This was swiftly followed by a memorable performance as "Mercy" in Walter Hill's cult classic film The Warriors (1979), then for five years as "Jackie Rush" on the hit TV sitcom Too Close for Comfort (1980) as one of the daughters of a couple played by Ted Knight and Nancy Dussault. She has since appeared in a wide array of stages across the country performing in such notable venues as TOSOS, Geva Theatre Center, Manhattan Theatre Club, San Diego REP, The Old Globe Theatre, South Coast REP, The Blank Theatre Company, The Matrix, The Odyssey Theatre Ensemble, LATC, Arizona Theatre Company and Portland Center Stage. Acclaimed Productions include Amy and David Sedaris's The Book Of Liz, Steve Martin's Picasso At The Lapin Agile, Ruby's Bucket O'Blood (world premiere), The Beauty Queen Of Leenane, Dancing At Lughnasa, Burn This, The Goat, Company, Tamara, The Heidi Chronicles, Pump Boys & Dinettes, and Livin' Dolls. She continued her musical escapades in the early 1990s as a featured vocalist for Peter Tork: A Likely Story and acoustic band DB House at a variety of legendary clubs like The Roxy, At My Place and Coconut Teaszer. She completed work on Shirlyn Wong's short film Love's Routine (2013), which starred Willem Dafoe.

Stephen Mills as Donald Tipton: Stephen Keep Mills made his exit from the Yale Drama School (and the great Stella Adler) in the spring of 1969 to act with the Guthrie Theatre. He subsequently performed on 20 years' worth of regional stages across the US and Canada. He appeared on and Off-Broadway and guest-starred in multiple episodic TV shows, Movies of the Week, and a few films before deciding to write, direct, and produce his own films. In 2003, his experimental Hotel Lobby inspired by Edward Hopper's painting of the same name found life and awards on the festival circuit. It was followed by two highly awarded shorts, the 15-minute A Cigar at the Beach in 2005, and then Liminal in 2008, starring Alejandra Gollas and Tonya Cornelisse, both of whom also star in Mills' 94-min debut feature: Love Is Not Love completed in 2020. The World Premiere was at Cinequest and the festival award count topped off at 170 across all categories. Random Media is now the distributor. Next up is ¡Contesta!, Mills' screen adaptation of famed Italian Playwright Ugo Betti's 1947 stage play: Ispezione, set in Mexico with a bi-lingual Hispanic cast.

Bill Calvert as Peter Tipton: Bill Calvert was born on June 13, 1966 in Honolulu, Hawaii, USA. He is an actor, known for Spider-Man 2 (2004), Spider-Man (2002) and Quantum Leap (1989). He guest starred in two unrelated television series featuring a regular character named Sam Beckett: China Beach (1988) and Quantum Leap (1989).

Megyn Price as Suzanne Sanders: Megyn Price is one of the more familiar faces in the world of television sitcoms. A gifted college student with a mind for figures, Price initially embarked on a career in finance, before making the jump to acting. Her television debut on the final season episode, Liberation - October 16, 1968 (1993), of the sci-fi adventure, Quantum Leap (1989) (NBC, 1989-1993), soon led to more TV guest spots and a regular cast role on the exceptionally short-lived legal sitcom, Common Law (1996) (ABC, 1996). Although Price occasionally picked up smaller parts in feature films, like the Russell Crowe vehicle, Mystery, Alaska (1999), it was on the small screen that she truly excelled. While another co-starring role on the Al Franken sitcom, LateLine (1998) (NBC, 1998-2000), lasted a mere two seasons, Price's turn as thirty-something mom "Claudia Finnerty" on the family comedy, Grounded for Life (2001) (The WB, 2001-05), helped establish her as a recognizable screen presence. Surrounded by a popular ensemble cast, that included Patrick Warburton and David Spade, she enjoyed her lengthiest series run on the relationship sitcom, Rules of Engagement (2007) as matrimonial veteran, "Audrey Bingham".

Bill Cort as Flanners: William Cort was born on July 8, 1936 in El Paso, Texas, USA. He was an actor, known for Heathers (1988), Ghost (1990) and Elvira: Mistress of the Dark (1988). He died on September 23, 1993 in Los Angeles, California, USA.

Mary Elizabeth Murphy as Dora Tipton: Mary Elizabeth Murphy is known for Quantum Leap (1989), Renegade (1992) and My Girl 2 (1994).

Jordan Baker as Evy Brownfield: Jordan Baker was born on September 11, 1958 in Riverdale, Bronx, New York City, New York, USA. She is an actress and producer, known for Another Earth (2011), The Post (2017) and The Americans (2013). She has been married to Kevin Kilner since October 10, 1998.

Eric Bruskotter as Red: Big, brawny, blond-haired Eric Bruskotter owns an equally sizable and extensive acting career that transcends well over 20 years. Bruskotter, who was born on March 22, 1966 in Fort Wayne, Indiana, originally appeared most commonly in television. His first acting gig came in the form of an episode of Amazing Stories (1985). He did a few other television appearances before landing a more consistent role on the series Tour of Duty (1987), playing a member of a platoon set in the backdrop of the Vietnam War. This series lasted from 1987 up until 1989; however, Bruskotter managed to stay busy with each year as time spiraled into the 1990s. His film roles at that point in time included Dragon: The Bruce Lee Story (1993), playing an arrogant gym bully, opposite Jason Scott Lee as the lead role of martial artist Bruce Lee. 1997 would see the return of Bruskotter in a familiar soldier-type role, when he appeared in the science fiction cult movie Starship Troopers (1997). In this he played an unlucky trooper who lost his life during a training course accident. Other acting roles in his impressive resume include episodes on Walker, Texas Ranger (1993), JAG (1995), Angel (1999), 24 (2001) and Law & Order: LA (2010).

Elan Rothschild as George Sanders, Jr.: Elan Rothschild is known for Quantum Leap (1989), Someone Like Me (1994) and Scanner Cop (1994).

Matt Kirkwood as Photographer: Matt Kirkwood is known for King Richard (2021), Quantum Leap (1989) and Addy Daddy.

Bob Harks as Club Member: Harks came in at the tail end of the television western era, it was only natural for him to find work on the unpaved streets of several television westerns like Bonanza and Gunsmoke. With the downturn of popularity in westerns, Harks made the transition from a cowboy to a detective. Over the next 15 years, he would frequently be seen on shows like Kojak where he'd appear around the squad room and also on shows like Lou Grant where he'd make crosses. In the early 1970s, Harks gained work as a utility stand-in on the Bill Bixby show The Magician and it would be his big break. Both he and fellow Magician stand-in Edna Ryan would later find themselves working on another show Bixby starred in called "The Incredible Hulk." Bixby was very fond of Bob and would frequently have him appear in roles that require Hark to be upgraded to a pay rate than you usual extra role. Harks would usually drive the car that would either pick up Bixby at the end of the episode or he would use his car to pass Bixby's character up as he was hitchhiking to his next destination.
After the closing of The Incredible Hulk, Harks got regular work as Bixby's stand-in on the short lived show Goodnight Beantown. As Bixby's career started to wind down, Harks found work as a stand-in on the show Alien Nation and he worked on it for the rest of his career not only appearing in the series but also most of the subsequent television movies. It was during this time that Harks decided to retire and move Wisconsin to be closer to his sister Sue and the rest of his family bringing a 30+ year career to a close.

Guests who appeared in other Quantum Leap episodes:

Eric Bruskotter also appeared as Glen in "Raped" and Beau in "Memphis Melody".

Bob Harks also appeared as Townsman in "The Leap Back" and Violin Player in "Memphis Melody."

Say What?

A book in the living room, The Female Eunuch written by Germaine Greer, was written in the early 1970's, but "Liberation" is set in 1968, two years before the book was written. Only the other two books, "Howl" by Allen Ginsberg, published in 1956, and "Black Power" by Stokely Carmichael and Charles V. Hamilton published in 1967, were historically correct for this episode.

In an extremely clear closeup shot of the Handlink, we can see a regular alkaline battery inserted into the advanced device.

At breakfast, Sam's bowl seems to jump into his hand after a shot change.

Dates are all over the place in this episode. The newspaper reads that it's November, but it's October. (It also has repeated text throughout as a prop newspaper.) A poster in Diana's office says the protest march is on October 16th (the date of Sam's leap-in), but the march didn't take place until a day later in the episode.

Footage from the movie, "Field of Dreams" was used for some scenes which is problematic for the time period since there are several 70's and 80's cars in the shots.

Al arrives in one scene via the relocation sound instead of the Imaging Chamber door. Was he lurking around before coming to see Sam?

There are three 'Best" scenes in this episode.


First 'Best' scene:

[Sam comes charging into the living room, incensed, just after he and George have argued.]
Sam: "Can you believe that? Can you believe that man? I hate the way he orders me around...Margaret around like that. Little sweetie pie! It's demeaning."
Al: Well, actually, you know, it's the only way he knows how to say 'I love you'."
Sam: "Oh please!"
Al: "Yes. George is from a generation that was taught that women 'have a place'. And men 'have a place', and never the twain shall meet."
Sam: "Well if that's the system, take it from somebody on this side - in a dress, okay? It's your crash and burn."
Al: "Maybe."
Sam: "Nobody should be treated like that, Al. Nobody! Patronized...insulted like that."
Al: "George, and all the other Georges of the world have no idea they're denigrating women.
It's just that they were never taught to behave any other way."
Sam: "My dad never once treated my mother like that. He never talked to her like that. He never... Why are you defending him?"
Al: "You're here to help Diana St. Cloud. IF in the mean time you can open George's eyes to show how he's treating Margaret, that's fine.
Sam (sits on sofa): "If I open his eyes, I might destroy their marriage. That's what you said last night. Right?"
[He notices some books on the coffee table.]
Sam: "Look at this. Ginsberg....Stokely Carmichael and Hamilton. It looks like everybody's looking for a change."
Al: "Sam, you gotta attack one problem at a time."
Sam: "Okay. Alright. Okay, which problem?"
Al: "Well, Diana St. Cloud is planning a protest march tonight. And because of your heroic gesture, the police chief - Tipton there, your friend - he gets a little more aggressive than he normally would. He pulls out his gun...."
Sam: "He shoots Diana?"
Al: "Yes. Well, see, according to the paper, Tipton's trying to stop this march and they get in a struggle, and this and that. And during the struggle he pulls the gun, and she gets the gun away from him. Then when he gets it back...it goes off."
[As Al talks, Sam stands up from the sofa.]
Al: "Now, all you have to do, is you talk Diana out of this protest march thing, and Ziggy says there's an eighty- six percent chance that you'll leap, everything's fine, forget about George, and you don't have to fix dinner."


Second 'Best' scene:

[At the Addison Men's Club where Diana's just slugged Chief Tipton.]
Al: "Move it, Sam!"
[Tipton and Diana struggle and she's pushed to the floor.]
Tipton: "I've had enough of you."
[As Tipton is speaking, Suzanne takes his gun from its holster and points it at him.
Al: "Don't...don that dear! Sam! You better get in here and do something!"
[Diana scrambles to her feet and takes the gun from her, still pointing it at Tipton. Everyone freezes, watching Diana facing off Tipton. Sam rushes in then stops short when he sees Diana with the gun.]
Sam: "Diana, this is not the way to change things."
Tipton: "Margaret..."
Diana: "We're not the ones who need to change. They are."
Tipton: "Put that gun down."
Sam: "Have you told them what your demands are?"
Diana: "What are you talking about?"
Sam: "Well, unless you tell them what you want, they can't change anything."
Al: "Sam, keep her talking. Keep her talking."
Sam: "Tell them what this is for. Tell them what you want."
Diana: "We want equal rights."
Sam: You want to be a member of this club?"
Diana: "For starters."
Al: "Logic, Sam. Get her off of her emotions."
Sam: Did you apply for a membership and were rejected?"
Mr. Flanners: "No, she did not."
Diana: "Oh, if I did, would you let me in?"
Mr. Flanners: "It's up to the committee."
Diana: That's a lie!
Sam: "You don't know because you didn't try."
Diana: "It's in the by-laws. A woman can't own a membership in this club."
[Al's busy with the handlink.]
Al: "It's segregation, Sam, but it's not against the Constitution in a private club."
Sam: "Then you have to amend the by-laws. You have to amend the Constitution of the United States."Diana: "That'll take forever as long as men control it."
Sam: "You want to beat the system, you've got to confront it with it's own rules."
Diana: "So you're telling us to go home file an application?"
Sam: "I'm asking you to use the law. Now come on. Put the gun down and let's do this right.
Diana: "You're asking us to quit. Just like you quit. I won't be like you! Just take a good look at yourself. You're just like my mother. You're turning into the dutiful house frau. A messenger for the oppressor."
Sam: "Housewives and mothers are not your enemy. They're your ally. Now don't segregate us!"
[For a split second Diana considers what Sam has said...then cocks the gun.]
Suzanne: Diana...no."
Diana: "Women like you are the reason we'll never get equal rights. You're so conditioned, you believe that as long as men say so, they system is right."
Sam: "What is pointing a gun at the chief of police going to accomplish, Diana?"
Al (checking the handlink): "You're running out of time, Sam."
Sam: "There's so much work to be done. We need you here, not in a prison."
Diana: "They'll never let me play fair. We need to take a stand. (Her voices rises) "Are you with me or this housewife?"
Suzanne: "You said this was about choice. There's nothing wrong with being a housewife. Mom's right. We'll never get anywhere if we keep blaming each other and fighting among ourselves."
[Diana refuses to listen to Suzanne.]
Diana: "No!"
Suzanne: "Come on, Diana. Please."
[Suzanne reaches toward Diana's arm to push the gun aside. Diana resists; Suzanne pushes harder, diverting the gun. Sam lunges forward to shove Chief Tipton out of the line of fire just as the gun goes off.]


Third "Best' scene:

[George confronts Sam in the men's club just after Diana's been taken away.]
Al: "This is it, Sam. Ziggy says George is gonna move out."
George: "What do want me to do, Margaret? You left me no choice. I'm moving out tonight."
Al: "You see? See? You gotta fix it."
Sam: "If that's what you have to do."
Al (does double take): "What? What are you saying?"
[George, turns and starts to walk away from Sam, pauses then turns back when Sam begins to speak to him.]
Sam: "Let me ask you one question. Do you think you've had a good marriage all these years?"
George: "You know the answer to that."
Sam: "No, I don't."
George: "I think we've had a great marriage. That's why I don't understand why you're throwing it all away like this."
Sam: "Well it seems to me like you're the one who's throwing it all away."
George: "I don't know what to do. All of a sudden you're not my Margaret anymore. Who am I supposed to be if you're not you?"
Sam: "Maybe you could stop trying to make me into *your* Margaret, and try finding out who I really am. And you could start that by respecting me for my thoughts and my ideas, even if they're different from yours."
George: "I'm too old to change who I am."
Sam: "Only if you think you are. And only if you don't love your wife and children enough to try."
George: "I do love you very much, Margaret."
Sam: "Then try. That's all anybody can ask."
George: "Okay."

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: Harker Wade, Tommy Thompson
Supervising Producer: Richard C. Okie
Producer: Robin Jill Bernheim
Created by: Donald P. Bellisario
Written by: Chris Abbott & Deborah Pratt
Directed by: Bob Hulme

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: Jon Koslowsky, A.C.E.
Unit Production Manager: Ron Grow
First Assistant Director: Ryan Gordon
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: David Rawley, Katina Kerr
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.

Copyright © 1993 by Universal City Studios Inc. All Rights Reserved.

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:

It’s LIBERATION now!

Join hosts Allison Pregler, Matt Dale and Christopher DeFilippis as they discuss Sam’s Leap into a suburban housewife fighting for equal rights, while deftly avoiding guy-on-guy smooches.

The bras they are a-burnin’!

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