3x07 "Black On White On Fire"


Leap Date:

August 11, 1965


Episode adopted by: Sherdran <aka> Eleiece
Additional info provided by: Brian Greene


Synopsis:

Set during the racially charged Watts riots of 1965, Sam leaps into a black man with a white fiancée trying to protect her from being killed by his brother.

 

Audio from this episode





TV Guide Synopsis
Place
Leap Date

Name of the Person Leaped Into
Broadcast Date
Synopsis & Review
Music

Project Trivia
Sam Trivia
Al Trivia

Al's Outfits Worn in the Episode
Miscellaneous Trivia
Bloopers
Kiss with History
Guest Stars
Guest Cast Notes
Guests Who Appeared in Other QL Episodes
Say What?
Quotable Quotes
Best Scene
Script
Awards
Production Credits
Podcasts




Production # 66403



TV Guide Synopsis (TVGuide.com):
Sam lands himself in a really gray area as a black medical student with a white fiancée in a racially tense city in 1965. Nita Bond: CCH Pounder. Lonnie Jordan: Gregory Millar. Susan Bond: Corie Henninger. BB: Sami Chester. Papa Dee: Ron Taylor. Sam: Scott Bakula.

TV Guide Synopsis (Original):
There’s black, there’s white; and in between there’s a gray area, which is where Sam (Scott Bakula) lands as a black medical student with a white fiancée in racially tense Watts in 1965.



Place:
Los Angeles, California (Watts)





Leap Date:
August 11, 1965





Name of the Person Leaped Into:
Ray Harper

Family of Leapee:
Lonnie Harper
Papa David Harper
Mama Harper
Susan Brewster (fiancée)




Broadcast Date:
November 9, 1990 - Friday



Synopsis & Review:

The year is 1965 in Los Angeles, the time of Malcolm X and black awareness---as Sam leaps into the body of Ray Harper (Garon Grigsby), a promising African-American medical student who has the opportunity at an internship at a Boston hospital. Ray currently lives in Watts and it's the eve of the 1965 race riots.

He's engaged to Susan Brewster (Corie Henninger), a white girl, and faces not only the wrath of her father Police Captain Paul Brewster (Marc Alaimo), who questions her reason for dating Ray, but that of his older brother Lonnie (Gregory Millar) and his friends, who more vehemently, disapprove of he dating Susan. Al tells him that his purpose is to keep Ray and Susan together but there is an outside chance that Susan might die in the riots. As the violence and race hatred grows in the community, both Ray and Susan must face the arduous challenge of each communities prejudice as Sam as Ray, must keep Ray's love for a Susan alive, despite the prejudice, anger and hostility surrounding them on the eve of the Watts riots.

As the episode begins, Sam, as Ray, is getting pummled upon by his brother Lonnie's friends, who show not only disdain of Ray dating Susan, but also distrusts her dating Ray, as Lonnie says it's only because she wants to showcase Ray as "a trophy among her white liberal friends". In the original order of events before Sam's leap into Ray, the leapee, it had Ray and Susan breaking up and he giving up on his ambitions of becoming a doctor. Source


Personal Review by Sherdran <aka> Eleiece:

Taking a moment from history, especially history so recent as 1965, and attempting to condense it down into a one-bite morsel in order to give someone a taste of the things that were melded together to bring that particular moment into being is, at the very least, a daunting idea.

One has to balance the reality of that historical moment with how to tell it, how to present that moment in a one-hour storyline (the morsel). How to, on one hand, do it without glossing it over or, on the other hand, trying to cram too much bitterness into that morsel to make it what the presenter thinks the viewer 'ought' to 'taste', instead of letting the viewer make up their own mind about what it is they've tasted.

A delicate balance must be struck if that 'morsel' has a chance of being considered by the viewer as worthy to have been partaken of. In this particular viewer's opinion, that's just what Donald P. Belisario, Deborah Pratt, Joe Napolitano, Scott Bakula, Dean Stockwell, the guest stars, the crew and everyone who had a part in the making of  'Black On White On Fire' did.

They carefully blended just the right amount of the necessary elements to create "Black On White On Fire" so as to give us one small taste, presented it to us, the viewers, to consider that taste, leaving each one to decide for himself or herself about the flavor.

In my humble opinion, that's what the cast and crew of Quantum Leap did with 'Black On White On Fire'. When they found just the right blending and balance, they knew when to stop and did. And it worked. And even after watching it numerous times, it still works.





Music:
"My Girl" - The Temptations
"Ooo Baby Baby" - Smokey Robinson And The Miracles
"Tracks Of My Tears" - Smokey Robinson And The Miracles
"Papa's Got A Brand New Bag" - James Brown
"Baby, I Need Your Lovin'" - The Four Tops





Project Trivia:
Once the riot was in full swing, Ziggy had some difficulty getting a lock on Sam.

The colored cube "gummy bear" handlink is used before its official introduction in "The Great Spontini."




Sam Trivia:
Sam didn't recall the Watts Riot. Also, his medical training gets a real workout, especially in the clinic scene.




Al Trivia:
Al did remember the Watts Riots, and had to fill in the gaps for Sam. ("...by the time it was over, 35 people were dead, hundreds were injured and the main drag was known as 'Charcoal Alley.")





Al's Outfits Worn in the Episode:
First - Green patterned shirt, green vest with a black back, narrow diagonally-striped purple & white tie, black pants.

Second - Dark lavender shirt and pants, light grayish-white nubby textured vest, silver-colored bar pin with 3 'coins' on it at the throat of the shirt, and black shoes. Black-banded watch on left wrist.






Miscellaneous Trivia:

Even though both actors in the kissing scene were Caucasian, Deborah Pratt remembered about the production of this episode, "we had to go into the network and fight with Standards and Practices about this kissing scene. And we had sponsors pull and if I’m not mistaken a couple of places in the South didn’t air the show... black people, white people, everybody had a different attitude. There was anger and frustration, but no one really understood what was happening.”

There is a "Mandela Effect" with the title of this episode. Many fans remember it being called "Black & White On Fire" instead of Black On White On Fire." Perhaps it was typed incorrectly in a TV Guide or other publication.




Bloopers:





Kiss with History:
Sam leaps in just as the infamous Watts Riots explode.



Regular Cast:
Scott Bakula as Sam Beckett
Dean Stockwell as Al Calavicci





Guest Stars:
Gregory Millar as Lonnie Harper
Corie Henninger
as Susan Brewster
Sami Chester as Bebe
Ron Taylor as Papa David
Harper
Marc Alaimo as Captain Paul Brewster
Laverne Anderson
as Cherri Hill
CCH Pounder as Nita Harper 

Montrose Hagins as Matty
Cheryl Francis Harrington as Young Woman
Jon Berry
as Police Sniper
Garon Grigsby as Ray Harper
W.K. Stratton as Radio Dispatcher




Guest Cast Notes:

Gregory Millar as Lonnie Harper: Gregory Millar was an actor, known for Lethal Weapon 3 (1992), Uncaged (1991) and Why Me? (1990). Greg has maintained a steady career in both film, TV movies and episodic television. He's also a veteran of the stage. Following graduation from the University of Michigan, Greg toured for a number of years with Billie Holiday Resident Acting Co. On Broadway he appeared in Inacent Black; in Off-Broadway and various regional productions gave him the opportunity to hone and sharpen his acting skills in productions of Our Town, The Tooth of Crime, Waiting for Godot and Black People's Party. He died on February 16, 2003 in Los Angeles, California, USA.

Corie Henninger as Susan Brewster: Corie Henninger is known for Metro (1997), Copycat (1995) and Quantum Leap (1989).

Sami Chester as Bebe: Sami Chester is known for Contact (1997), Born on the Fourth of July (1989) and Quantum Leap (1989).

Ron Taylor as Papa David Harper: Ron Taylor was born on October 16, 1952 in Galveston, Texas, USA. He was an actor, known for Trading Places (1983), Matlock (1986) and The Mighty Quinn (1989). He was married to Deborah Sharpe-Taylor. Provided the voice for "Audrey II" in the original theater production of "Little Shop of Horrors". Suffered a mild stroke in 1999 during the run of "It Ain't Nothin' but the Blues" at Lincoln Center in New York City but was back on stage five weeks later. As a vocalist, he performed with Billy Joel, Bruce Springsteen, Etta James, Sheila E., Slash and others. His blues band, the Nervis Bros., played at clubs and other venues around the country. His greatest triumph was It Ain't Nothin' but the Blues, which traces the history of blues music. In 1999 the show was nominated for four Tony Awards, including best new musical and Mr. Taylor for best featured actor in a musical. Has one son, Adamah. Was nominated for Broadway's 1999 Tony Award as Best Actor (Featured Role - Musical) for "It Ain't Nothin' but the Blues." Alumnus of the AADA (American Academy of Dramatic Arts), Class of 1975. He guest starred in two unrelated television series featuring a regular character named Sam Beckett: China Beach (1988) and Quantum Leap (1989). He died on January 16, 2002 in Los Angeles, California, USA.

Marc Alaimo as Captain Paul Brewster: American character actor Marc Alaimo (born Michael Joseph Alaimo) began acting on the stage in the early 1960s. Even in his early days he had a propensity for playing shady characters or sinister villains, including the treacherous Iago of Shakespeare's Othello and the brutish Bill Sykes of Oliver!. Alaimo had come to acting thanks to a high school speech teacher who persuaded him to audition for school plays. He was subsequently mentored by a professor of drama at Marquette University where he not only acted in plays (1961-63) but also utilised his skills as a handyman in the construction of sets. Alaimo moved to New York in 1964 to perform with various off-Broadway companies. He also went on tour (as Macduff) with the National Shakespeare Company in a production of Macbeth. Between 1964 and 1966, Alaimo completed studies in drama and ballet at the American Musical and Dramatic Academy (AMDA). In 1965, he joined Equity, and, after discovering that there was already a Michael Alaimo on their books, changed his first name to Marc.The ensuing years saw him with the Chelsea Theater Center in New York and the McCarter Theatre in Princeton, New Jersey, for the latter in classical roles like Laertes (Hamlet) and Lucky (Waiting for Godot). In 1967, Alaimo returned to his home state to join the Milwaukee Repertory Theater. There, he was acclaimed for his performance as the chief antagonist in Othello. According to a reviewer for the university newspaper "His Iago is flawless. He uses quick gestures and movement, and every word is distinct. A turn of his head tells the audience what turn the subsequent action will take...Alaimo uses his agile movements to fit comfortably and perfectly into the role." Alaimo went on to other meaty roles on the stage during the remainder of the sixties, often in famous plays like A Streetcar Named Desire, The Importance of Being Earnest and Marat-Sade. After headlining as a cat burglar in a Philadelphia production of Sidney Kingsley's Detective Story, Alaimo relocated to California in late 1973. In addition to continuing his theatrical career, Alaimo had by 1970 segued into television, cast in his first recurring role as Frank Barton in the daytime soap The Doctors (1963). In Hollywood, he soon found himself typecast, either as tough police officers or as baddies, though on balance more often the latter. In one of his many villainous roles, he played one of a duo of serial killers posing as an L.A. detective in an episode of Police Story (1973). He appeared in many top-rated 1970s and 80s crime shows, including The Rockford Files (1974), Barnaby Jones (1973), Starsky and Hutch (1975), Kojak (1973) and Hill Street Blues (1981), as well as in occasional feature films (one might recall his alien assassin in The Last Starfighter (1984) or his Mexican cartel boss in Tango & Cash (1989)). From 1987, Alaimo became a regularly fixture --as multiple characters (and one standout role in particular)--in the Star Trek franchise. He became the first actor to portray a Romulan in Star Trek: The Next Generation (1987) (Commander Tebok, in "The Neutral Zone") and the first Cardassian (Gul Macet) ever featured in any Star Trek series (TNG's "The Wounded'). Earlier, he had made his series debut --again in heavy makeup -- as a lupine humanoid (Antican) delegate in the episode "Lonely Among Us". Above all else, Alaimo's definitive screen incarnation has been the complex, endlessly scheming, power-obsessed, often deceptively amiable Cardassian military leader Gul Dukat, first seen on TNG, but more prominently featured in Star Trek: Deep Space Nine (1993) and considered by many fans to be one of the greatest of all Star Trek villains. The actor himself (unlike the DS9 writing staff) does not regard the Dukat character as evil, explaining "I've tried to play him with some sort of sensitivity. I could have gone one-dimensionally aggressive and mean and ugly with this character if I'd chosen to. I have the feeling that's what they kind of wanted. I thought, 'I've done that a hundred and fifty times already.' So I wanted to give him some dimension, some depth, and I think it's worked very well". Alaimo's long neck, pronounced neck muscles and broad shoulders prompted make-up artist Michael Westmore to accentuate these physical characteristics (in particular, by creating the pronounced Cardassian neck ridges), effectively creating a template for the menacing appearance of the species. At a 2015 Star Trek convention, Alaimo was interviewed, saying "I've had a pretty long career in a lot of different areas, but 'Deep Space Nine' has become this wonderful little feather in my cap, and I'm thankful for that. I'm proud of the series, and the whole experience has been a very positive one for me."

Laverne Anderson as Cherri Hill: LaVerne Anderson is known for Uncle Buck (1989), CB4 (1993) and Quantum Leap (1989).

CCH Pounder as Nita Harper: The CCH stands for Carol Christine Hilaria, her birth name. Most of her characters are enriched with positive attributes -- strength, confidence, integrity, strong-mindedness -- and it is a testament to the abilities of this four-time Emmy nominated actress that she continues on such a high plane in a five-decade career. Born on Christmas Day 1952 in Guyana, she was raised on a sugar cane plantation. Her parents, Betsy Enid Arnella (James) and Ronald Urlington Pounder, moved the family to the States while she was still a young girl, but she and her sister were subsequently sent to a convent boarding school in Britain where they were introduced to art and the classics. Following high school graduation, she arrived in New York and studied at Ithaca College, where her acting talents were strongly tapped into. Regional and classical repertory theater followed, earning roles in such productions as "The Mighty Gents" (1979) with Morgan Freeman at the New York Shakespeare Festival and "Open Admissions" (1984), her Broadway debut. Other stage work includes "Coriolanus," "Antony and Cleopatra," "The Frog," "The Lodger" and "Mumbo Jumbo." After bit/featured roles in All That Jazz (1979), I'm Dancing as Fast as I Can (1982) and Prizzi's Honor (1985), CCH earned cult status in the art-house film Bagdad Cafe (1987) (aka "Bagdad Café" in the US) as the offbeat owner of a roadside café. She continued to impress with support roles in Postcards from the Edge (1990), The Importance of Being Earnest (1992), an all-black version: as Miss Prism), Benny & Joon (1993), RoboCop 3 (1993), Sliver (1993), Tales from the Crypt: Demon Knight (1995),Face/Off (1997), Funny Valentines (1999), The Devil in Miss Jones 6 (1999), Baby of the Family (2002), Rain (2008), Orphan (2009), Avatar (2009) (as the voice of Mo'at, and its sequels), My Girlfriend's Back (2010). Home Again (2012) (as a Jamaican) and The Mortal Instruments: City of Bones (2013). Pounder's prominence came, however, with television. Often cast as succinct, professional types (doctors, policewoman, judges) or characters with a variety of accents, she is known for her understated intensity and earned an Emmy nomination for her stint on the hospital drama ER (1994). She has also performed in a number of highly acclaimed topical mini-movie dramas, including Go Tell It on the Mountain (1985), Common Ground (1990), Murder in Mississippi (1990), Little Girl Fly Away (1998), A Touch of Hope (1999), Boycott (2001), Redemption: The Stan Tookie Williams Story (2004) (as Winnie Mandela) for which a number of kudos have come her way. Millennium TV output includes regular/recurring roles on the series The Shield (2002) in which she earned an NAACP Award and Emmy nomination as Detective Claudette Wym; the social drama Ciencias del espacio (2008) as matriarch Mrs. Trainor, and NCIS: New Orleans (2014) as medical examiner Loretta Wade. She later found voice work in animated projects and video games.

Montrose Hagins as Matty: Montrose Hagins was an African-American television actress. She starred and been a guest on popular shows such as: Seinfeld, Roc, 227, The Golden Girls, Sister, Sister, The Hughleys, The Jamie Foxx Show, What's Happening Now, The Sinbad Show, The Famous Jett Jackson. She also became the replacement for Rosetta LeNoire as Leola Henderson-Forbes in the final season on Amen. Her television credits also include more guest spots on shows such as: E/R, Hangin' with Mr. Cooper, Hunter, Malcolm & Eddie, and Moesha. She retired from acting in 2005 and spent the last years of her live living in an antique farmhouse in Pennsylvania. Died onOctober 24, 2012 in Rancho Palos Verdes, California, USA.

Cheryl Francis Harrington as Young Woman: Cheryl Francis Harrington was born in the USA. She is an actress, known for Grey's Anatomy (2005), 2 Broke Girls (2011) and Into the Wild (2007).

Jon Berry as Police Sniper: Jon Berry is known for Quantum Leap (1989), Matlock (1986) and Disfluency (2018). As well as being an actor, Mr. Berry also founded and is the Artistic Director for Woodland Hills Community Theater (WHCT) of Woodland Hills, California; he has directed all but six of their productions. He has won multiple awards: Artistic Director Achievement Award for Excellence in Live Theatre for 1998 by the Valley Theatre League; also in 1998 he won the best director award for The Fantasticks and best supporting actor for A Tale of Two Cities, Parts I & II; in 1996 Jon won best director for Gigi. He has worked on stage professionally in New York, Kentucky, New Mexico, and Los Angeles. Jon had a recurring role on the Fox's Network's series, Mr. President. He's also appeared in many nationally aired television commercials.He made appearances in Matlock and Doogie Howser, M.D.

Garon Grigsby as Ray Harper: Garon Grigsby was born in the USA. He is an actor, known for Richard Jewell (2019), Grey's Anatomy (2005) and Space: Above and Beyond (1995).

W.K. Stratton as Radio Dispatcher: W.K. Stratton was born on August 2, 1950 in Front Royal, Virginia, USA. He is an actor, known for Spy Kids 4: All the Time in the World (2011), Shoot 'Em Up (2007) and Machete (2010). He is married to Maureen Denise Lacoste.Appeared in the pilots of four different series created by Donald P. Bellisario: Magnum, P.I. (1980), Airwolf (1984), Quantum Leap (1989) and JAG (1995). Holds the unique distinction for having "flown" (in character) a Corsair, a Viper, and Airwolf. (three aircraft used in Bellasario productions).





Guests Who Appeared in Other QL Episodes:
In the riot scene when Captain Brewster is talking on the radio to the dispatcher, the voice of the dispatcher is that of W. K. Stratton. 

Note: W.K. Stratton's many appearances on QL -- actual physical appearances and voice only -- makes him the undisputed most frequent guest star on QL throughout it's entire run. He was in "Genesis", "Good Night, Dear Heart", "Trilogy Part I", "Trilogy Part II", and "Trilogy Part III". He also voiced another radio dispatcher in "Hurricane."

Gregory Millar also appeared in "M.I.A."




Say What?
Al states that 35 people died during the Watts riots. It was actually 34.

This is the third episode to show the gummi-bear handlink before its official introduction in "The Great Spontini."

Al tells Sam that Ray lives in apartment 218, but when they arrive it says 217 on the door.

LAC+USC Medical Center Hospital is about eighteen miles away from Watts. Lonnie states that "L.A. General" is only five miles away.

When Al appears during a riot scene, it looks like he has just run in from somewhere else, instead of from the Imaging Chamber door as intended.

In the clinic scene, when the frantic mother rushes in with her injured son - a severe gash on his leg from flying glass - the child was absolutely calm; didn't make a sound or gesture, not so much as a tear on his face. Anyone, and even more so a child, with an injury such as he was supposed to have, would be screaming, crying, etc.




Quotable Quotes:
"Seems no matter where we go, we can't get away from the hate."

How are we going to get in? Only Dr. Michaels has a key.
The one thing we don't need in Watts right now is a key.
-- Susan and Papa D. about a local medical clinic, "Black on White on Fire"

Raising your children is going to be hard no matter where you do it.
Why?
Because wherever you go, they won't fit in. They won't be black and they won't be white.
They'll be human.
Of course they'll be human, child, I'm talking about race.
I know, but maybe if we teach our kids to say that they're human instead of black or white or red or yellow, maybe race won't matter.
-- Mama Harper, Susan and Sam, "Black and White on Fire"

Sam, you did it.
Is it enough, Al, is it enough?
-- Al and Sam, "Black On White On Fire"





Best Lines:
"Seems no matter where we go, we can't get away from the hate." (Mama Harper to Sam)

"Fools! You boys, you're all fools!" (Mama Harper to Bebe)

"You don't make it real easy to wanna help you, Bebe." (Sam to Bebe)

"Daddy, the only difference between you and Lonnie is the color of your skin!" (Susan Brewster to her father)

"It's 1965, Sam. California maybe as far left as you can go without leaving the country, but there's still a lot of ignorance and bigotry." (Al to Sam)

"This match has been burning a long time." (Al to Sam)

"Lord, have mercy on my soul. Dr. Strangelove has come to party." (Shari Hill to Sam)

"Raising your children is gonna be hard no matter where you do it." (Mama Harper to Susan)

"I can't go through life fighting people who hate me for the color of my skin!" (Susan to Sam)

"Mama Harper was right. We'll never be just a husband and wife. We'll be a black husband and white wife, and neither race will let us forget it." (Susan to Sam)

"Papa Dee didn't go with you and Lonnie. He went because he believed in you. But you were wrong." (Sam to Bebe)

"You were wrong and he's dead." (Sam to Lonnie)

"Be more just and more right, and stay alive to make sure that what happens out there never happens again." (Sam to Lonnie)

"Is it enough, Al? Is it enough?" (Sam to Al)





Best Scene:
Sam (Beaten and bloody, barely visible at the nearly closed door): "Lonnie? I'm coming in."

Al: "He's right behind the door."

(Sam enters, goes to Susan and kneels down.)

Voice of policeman from outside: "There's no way out. We have the building surrounded."

Lonnie: "Traitors get shot.

Sam: "I didn't betray you, Lonnie."

Lonnie: "Yeah? What do you call it then?"

Sam (begins to untie Susan's hands): "It was the only way I could get to you."

Lonnie: "Get to me? You can't get to me, nig***."

Susan (hugging Sam): "He doesn't want to be stopped, Ray. He wants to die."

Al: "I think she's right, Sam. I think he wants to be a martyr."

Sam: "Is that right, Lonnie?"

Voice through bullhorn: "Put down your weapon. Let the girl go."

Sam: "You want to be a martyr?"

Lonnie: Me? A martyr? Oh hell, man, Watts is full of martyrs. They don't need me to join 'em."

Sam: "Then why?"

Lonnie: "I'm tired of talking about why."

Sam: "Tired or scared?"

Lonnie: I ain't afraid of nothin'!"

Sam: " 'cept livin'."

(Scene cut to outside to Captain Brewster then to the police sniper getting into position on the roof then back to the apartment.)

Sam: "You can die for Watts, but can you live for it?"

Lonnie: "You're talking like a fool."

Sam: "You're acting like one!" -he pauses then continues- "I need you, Lonnie. Mama needs you. We all need you. We need you to make people listen."

Al: "I...think you're reaching him, Sam."

Sam (pleading): "Give me the gun, Lonnie. Please."

Lonnie: "Her daddy's killer is out there!"

Sam: "Then be better than he is. Be more just and more right. And stay alive to make sure that what happens out there never happens again."

(TV announcer's voice talks, telling about 2 black men being shot and taken to a hospital, their condition unknown)

Lonnie: "Unknown? Those brothers are dead!" (He looks at Susan then cocks the gun [it looks to me like a sawed off shotgun] then lifts it and aims at Susan. Sam steps in front of Susan. -- Scene shift to the sniper and his view through the scope.)

Sniper: "Come on. Come on, move your head."

(Scene shifts back to the apartment.)

Sam: "I love her, Lonnie. And I can't believe that my brother would murder what I love."

Lonnie (Beginning to have a change of heart as looks at the TV): "So much pain." (He begins to cry then drops the gun.)

Al: "Thank God!"

Lonnie: "Get out of my face. Both of you. Just get out of my face."

(Sam and Susan move slowly out of the way, and the sniper shoots. Susan screams then rushes to the window.)

Susan: "He let me go! He let me go!"

(Sam catches Lonnie as he falls, lowering him to the floor, cradling him in his arms; Susan hurries back to them.)

Susan: "I'm sorry. I'm so sorry."

(The police break in and Captain Brewster rushes in.)

Susan: "You didn't have to kill him!"

Captain Brewster: "He...he was going to shoot you, Susan."

Susan: No! He let me go!"

Captain Brewster: "We didn't know that."

Sam: "Why? Why does he have to die?"

(Al looks on sympathetically.)

Susan: "I don't know."

Sam: "It can't be for nothin', Al. I can't let his death be for nothin'!"

(Al just watches and listens)

Sam: "I have to stay in Watts...be a doctor." (Susan nods.)

Al: Ray has to stay in Watts, not you."

Sam (fervently): *I* have to stay!"

Susan: No. *We* have to stay...together."

Captain Brewster: "Susan!"

Susan: "I'm staying!"

Al (checks handlink then looks to Sam, his voice solemn when he speaks): "Sam...you did it."

Sam (his eyes closed, gently rocking Lonnie's lifeless body, a sob catching in his throat): Is it enough, Al? Is it enough?"



Script:





Awards:
This episode received an Emmy Nomination for Outstanding Sound Editing for a Series in 1991.




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: Deborah Pratt
Directed by:
Joe Napolitano

Executive Producer: Donald P. Bellisario
Associate Producer: 
James S. Giritlian
Executive Story Editor: Tommy Thompson

Director of Photography: Bradley B. Six, A.S.C.
Production Designer: Cameron Birnie
Edited by: Jon Koslowsky, A.C.E.
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

Archive Footage Courtesy of: NBC News

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 © 1990 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:



In the thirty-seventh installment of The Quantum Leap Podcast, Albie, Heather, and special guest star Deborah Pratt discuss season three, episode seven, Black On White On Fire.

There are first impressions, an episode recap, thoughts and opinions, listener feedback, and two great interviews from episode guest stars conducted by Christopher DeFilippis. Our first interview is with Corie Knights who played Susan Brewster. Our second interview is with SaMi Chester who played Bebe.

Suzanne Smiley has a touching tribute to Director Joe Napolitano

Jessie has her first segment in a multi-part series on Acting.

If that’s not enough, Hayden McQueenie is back with his latest “Quantum Deep” segment, with his take on marriage equality then and now.

Christopher DeFilippis also brings us another edition of the Quantum Leap Radio Sightings

In addition, Albie teams up with special guest Lesley Wentzell to read viewer feedback.

Listen up for all that and more.

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