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'Previously:' We'd like to move you up from courier to agent. | 0:00:02 | 0:00:04 | |
I'm George Broyles. Who is that? | 0:00:04 | 0:00:06 | |
Oh, that's a sky god. | 0:00:06 | 0:00:07 | |
What are you doing with all this? Diplomatic relations. | 0:00:07 | 0:00:09 | |
And you brought this all on our flight? | 0:00:09 | 0:00:11 | |
I don't wanna lie to you. | 0:00:11 | 0:00:13 | |
Then don't. | 0:00:13 | 0:00:15 | |
I wanna feel how liberating anonymous can be. | 0:00:15 | 0:00:18 | |
This is about self-expression. | 0:00:18 | 0:00:20 | |
Will you marry me? Yes. | 0:00:22 | 0:00:23 | |
I wish I could be more like you. | 0:00:23 | 0:00:26 | |
Oh! | 0:00:39 | 0:00:40 | |
I'm so sorry. My mistake. | 0:00:40 | 0:00:42 | |
It certainly was. | 0:00:42 | 0:00:45 | |
OK, let's try it again from the beginning. | 0:00:45 | 0:00:49 | |
SIGHS: I'll get it. | 0:00:49 | 0:00:50 | |
But you still haven't told me why I'm doing this, Richard. | 0:00:50 | 0:00:53 | |
What is my mission? First things first. | 0:00:53 | 0:00:55 | |
The key to pickpocketing for a woman | 0:00:55 | 0:00:56 | |
is not to do it like a man. | 0:00:56 | 0:00:58 | |
For a woman, it's all about distraction - | 0:00:58 | 0:01:00 | |
touch, kiss, the foreplay before the lift. | 0:01:00 | 0:01:04 | |
Make men fantasise so their minds are elsewhere. | 0:01:04 | 0:01:07 | |
In other words, seduce them. | 0:01:07 | 0:01:09 | |
In other words... | 0:01:09 | 0:01:12 | |
Put a little Pan Am into it? | 0:01:12 | 0:01:15 | |
You surprise me more every day. | 0:01:15 | 0:01:16 | |
Mm. | 0:01:16 | 0:01:18 | |
But you still need more practice. | 0:01:18 | 0:01:20 | |
I'll get the practice in. What's my mission? | 0:01:20 | 0:01:24 | |
You leave for Rome tomorrow. | 0:01:24 | 0:01:26 | |
We've arranged entry for your Pan Am crew | 0:01:26 | 0:01:28 | |
to a party following an international conference | 0:01:28 | 0:01:30 | |
on the space race. | 0:01:30 | 0:01:32 | |
Kennedy's goal to reach the moon first | 0:01:32 | 0:01:33 | |
has everyone scrambling. | 0:01:33 | 0:01:36 | |
Alessandro d'Arco. | 0:01:36 | 0:01:38 | |
Used to work for SIOS - Italian intelligence. | 0:01:38 | 0:01:41 | |
Now he's a freelance courier. | 0:01:41 | 0:01:43 | |
He'll be carrying a microfilm case. | 0:01:43 | 0:01:45 | |
Inside are stolen American rocket plans. | 0:01:45 | 0:01:49 | |
And I have to pick them out of his pocket? | 0:01:49 | 0:01:52 | |
Before he's able to pass them on to the Soviets that same night. | 0:01:52 | 0:01:54 | |
EXHALES DEEPLY | 0:01:54 | 0:01:55 | |
You won't be alone. | 0:01:55 | 0:01:57 | |
There'll be SIOS Agents at the party. | 0:01:57 | 0:01:59 | |
As backup? More like observers. | 0:01:59 | 0:02:01 | |
The Italians have granted us access, | 0:02:01 | 0:02:02 | |
but that's as far as they're willing to go. | 0:02:02 | 0:02:05 | |
And what if I fail? | 0:02:05 | 0:02:07 | |
At least you'll have a new career as a thief to fall back on. | 0:02:07 | 0:02:11 | |
All right, let's try it again. | 0:02:11 | 0:02:14 | |
KNOCK ON DOOR | 0:02:17 | 0:02:20 | |
Amanda. | 0:02:26 | 0:02:28 | |
Maggie. Do you have a minute? | 0:02:28 | 0:02:31 | |
I was actually in the middle of something, but... | 0:02:31 | 0:02:34 | |
Oh. The Kennedy campaign. | 0:02:34 | 0:02:38 | |
Did you work on it? I was a volunteer, | 0:02:38 | 0:02:41 | |
went from city to city, house to house. | 0:02:41 | 0:02:43 | |
Changing the world one doorbell at a time. | 0:02:43 | 0:02:46 | |
CHUCKLES | 0:02:46 | 0:02:48 | |
Look, Amanda, I... | 0:02:48 | 0:02:50 | |
No, Maggie, please. | 0:02:50 | 0:02:53 | |
Let me explain. | 0:02:53 | 0:02:55 | |
What happened the other night... | 0:02:55 | 0:02:58 | |
I just...got caught up in all the evening's emotions, | 0:02:58 | 0:03:02 | |
what with Teddy proposing and all the celebration. | 0:03:02 | 0:03:06 | |
It just happened, OK? | 0:03:06 | 0:03:09 | |
Honestly, it's no big deal. | 0:03:09 | 0:03:11 | |
I didn't know, so... | 0:03:11 | 0:03:12 | |
It's not even the first time that's happened to me. | 0:03:12 | 0:03:14 | |
I must be sending out some kind of signal or something. | 0:03:14 | 0:03:17 | |
A girl signal. | 0:03:17 | 0:03:19 | |
LAUGHS: Must be it. | 0:03:19 | 0:03:20 | |
Who knew? | 0:03:20 | 0:03:21 | |
Look... | 0:03:21 | 0:03:24 | |
I just wanna make sure, you know, Teddy doesn't... | 0:03:24 | 0:03:28 | |
Oh, no, no. Your secret is safe with me. | 0:03:28 | 0:03:32 | |
Thank you, Maggie. | 0:03:32 | 0:03:34 | |
You're a true friend. | 0:03:34 | 0:03:36 | |
Look all you want, you won't find it. | 0:03:49 | 0:03:51 | |
My name. I'm sitting the next flight out. | 0:03:51 | 0:03:54 | |
Turns out you can't just have a wedding. | 0:03:54 | 0:03:56 | |
You gotta spend months planning the damn thing. | 0:03:56 | 0:03:58 | |
Yeah, well, at least you two are still talking. | 0:03:58 | 0:04:01 | |
More than I can say. CLEARS THROAT: | 0:04:01 | 0:04:03 | |
TED: Oh, Colette. | 0:04:03 | 0:04:06 | |
Won't return my calls. Won't even speak to me. | 0:04:06 | 0:04:08 | |
Ouch. Bridget thing? | 0:04:08 | 0:04:11 | |
She says I'm in love with two women. | 0:04:11 | 0:04:13 | |
I don't even think that's possible. | 0:04:13 | 0:04:14 | |
Well, technically it's possible to love three, | 0:04:14 | 0:04:16 | |
but I'm not gonna go into specifics. | 0:04:16 | 0:04:17 | |
The point is, it's the sex. | 0:04:17 | 0:04:19 | |
It ruins everything. I mean, don't get me wrong. | 0:04:19 | 0:04:21 | |
It makes certain relationships more fun, | 0:04:21 | 0:04:23 | |
but the "fun" ones are not the ones you wanna marry. | 0:04:23 | 0:04:26 | |
By the way, so you're telling me | 0:04:26 | 0:04:27 | |
that you and Amanda, you haven't... We haven't. | 0:04:27 | 0:04:29 | |
Oh, come on. We haven't. | 0:04:29 | 0:04:31 | |
And I'm glad. It's made me take things more seriously. | 0:04:31 | 0:04:34 | |
Painfully, painfully seriously. | 0:04:34 | 0:04:38 | |
Look, if it's real, you know it, | 0:04:38 | 0:04:39 | |
so just figure out a way to prove that to Colette | 0:04:39 | 0:04:41 | |
and never, ever give up. | 0:04:41 | 0:04:44 | |
See, now that's the only rational thing | 0:04:44 | 0:04:45 | |
you've said all day. Good. | 0:04:45 | 0:04:46 | |
Then I've met my quota. | 0:04:46 | 0:04:48 | |
# I've got love Written all over my face | 0:04:51 | 0:04:54 | |
CAMERA SHUTTER CLICKS | 0:04:54 | 0:04:55 | |
# I got l-o-v-e written all over the place | 0:04:57 | 0:05:02 | |
# I wobble around up on a cloud | 0:05:04 | 0:05:06 | |
Hey, do I know you? | 0:05:06 | 0:05:08 | |
I don't think so. | 0:05:08 | 0:05:10 | |
Sorry. | 0:05:10 | 0:05:12 | |
I know I've seen you somewhere. | 0:05:12 | 0:05:14 | |
The photos, right? | 0:05:15 | 0:05:18 | |
Oh, right, yes. | 0:05:18 | 0:05:19 | |
You and everyone else, unfortunately. | 0:05:19 | 0:05:21 | |
That's some ground-breaking stuff. | 0:05:21 | 0:05:23 | |
It's really bold, electric. | 0:05:23 | 0:05:25 | |
You're very far ahead of your time. | 0:05:25 | 0:05:28 | |
All that from a magazine cover? Thank you. | 0:05:28 | 0:05:31 | |
Magazine? | 0:05:31 | 0:05:33 | |
Life Magazine. I'm the Pan Am stewardess on the cover. | 0:05:33 | 0:05:36 | |
I don't think Life would ever publish those photos. | 0:05:36 | 0:05:39 | |
Wait. What...what photos are you talking about? | 0:05:39 | 0:05:41 | |
The nudes. | 0:05:41 | 0:05:43 | |
Where did...where... where did you see them? | 0:05:46 | 0:05:50 | |
Gallery in the Village. | 0:05:50 | 0:05:52 | |
Uh, Van something. | 0:05:52 | 0:05:53 | |
I need to know the name. | 0:05:53 | 0:05:54 | |
Van Amberg gallery, I think. | 0:05:54 | 0:05:56 | |
Excuse me. | 0:05:56 | 0:05:57 | |
Hey, Maggie. | 0:06:01 | 0:06:03 | |
I've been meaning to ask you if you liked Amanda. | 0:06:03 | 0:06:05 | |
I did, and I think she liked me. | 0:06:05 | 0:06:07 | |
Oh, I figured you two would hit it off. | 0:06:07 | 0:06:09 | |
She's been bringing up your name a lot. | 0:06:09 | 0:06:10 | |
Oh. Has she now? Uh-huh. | 0:06:10 | 0:06:12 | |
You know, you two should get together, | 0:06:12 | 0:06:13 | |
once we get through all this wedding stuff. | 0:06:13 | 0:06:16 | |
Oh, I don't know, Ted. | 0:06:16 | 0:06:17 | |
The first few months of married life, | 0:06:17 | 0:06:20 | |
the lovebirds should really feather the nest alone. | 0:06:20 | 0:06:22 | |
Don't you think? | 0:06:22 | 0:06:24 | |
We're feathering the nest, not building a cage. | 0:06:24 | 0:06:26 | |
Yeah. | 0:06:26 | 0:06:27 | |
What's going on with you? Nothing. | 0:06:27 | 0:06:29 | |
I just think the two of you should... | 0:06:29 | 0:06:32 | |
really, really get to know each other. | 0:06:32 | 0:06:36 | |
Wait. Maggie... SIGHS | 0:06:36 | 0:06:39 | |
Are you jealous? | 0:06:39 | 0:06:41 | |
What?! No. | 0:06:41 | 0:06:42 | |
I mean, I get it. You're at the age | 0:06:42 | 0:06:44 | |
where you probably wanna feather your own nest, | 0:06:44 | 0:06:46 | |
and hearing about us... | 0:06:46 | 0:06:47 | |
Ted, stop talking. | 0:06:47 | 0:06:49 | |
I just don't want you to make a mistake. | 0:06:49 | 0:06:54 | |
What the hell is that supposed to mean? | 0:06:54 | 0:06:55 | |
SIGHS | 0:06:55 | 0:06:58 | |
At the fund-raiser, er, Amanda and I were alone, | 0:06:58 | 0:07:02 | |
and...well, she was trying to make me feel better, | 0:07:02 | 0:07:06 | |
and, er... she might have kissed me. | 0:07:06 | 0:07:09 | |
And... Wait. What? | 0:07:09 | 0:07:11 | |
It wasn't a big deal, | 0:07:11 | 0:07:12 | |
but I thought maybe you should know. | 0:07:12 | 0:07:15 | |
LAUGHS You're joking, right? | 0:07:15 | 0:07:18 | |
I mean, this is ridiculous. | 0:07:18 | 0:07:20 | |
This is the woman I'm about to marry, | 0:07:20 | 0:07:23 | |
and you're trying to... what are you trying to do? | 0:07:23 | 0:07:24 | |
No, no, I'm not trying to do anything. I just... | 0:07:24 | 0:07:25 | |
Just because I can see my future and you've never been able | 0:07:25 | 0:07:27 | |
to get a grip on your own doesn't mean you can start a rumour. You...you know what? | 0:07:27 | 0:07:30 | |
You're right. I'm joking. | 0:07:30 | 0:07:33 | |
It never happened. | 0:07:33 | 0:07:34 | |
And I hope you have a long and happy married life. | 0:07:34 | 0:07:41 | |
And we will never discuss this again. | 0:07:41 | 0:07:44 | |
What are you doing in my cubby? | 0:08:03 | 0:08:05 | |
Learning more about my favourite stewardess. | 0:08:05 | 0:08:08 | |
Why do they call 'em "cubbies" anyway? | 0:08:08 | 0:08:09 | |
Makes you seem like a bunch of kindergartners. | 0:08:09 | 0:08:11 | |
Funny. I thought you were the kindergartner. | 0:08:11 | 0:08:13 | |
All right, all right, cool your jets. | 0:08:13 | 0:08:15 | |
Let me make it up to you. Lunch? | 0:08:15 | 0:08:17 | |
Nice try, | 0:08:17 | 0:08:18 | |
but last I checked, I'm on a flight to Rome, | 0:08:18 | 0:08:20 | |
and you are not. | 0:08:20 | 0:08:21 | |
Check again. | 0:08:21 | 0:08:22 | |
I know this little place on the Via di Monte. | 0:08:22 | 0:08:25 | |
It's Jack Kennedy's favourite restaurant in Rome. | 0:08:25 | 0:08:28 | |
I'm really not interested in dating you. | 0:08:28 | 0:08:31 | |
I'm not interested in dating you either. | 0:08:31 | 0:08:33 | |
Then why? | 0:08:33 | 0:08:34 | |
Come to lunch and find out. | 0:08:34 | 0:08:38 | |
SHOES CLATTER | 0:08:40 | 0:08:41 | |
Ooh. Ooh. I'm so sorry. | 0:08:41 | 0:08:43 | |
That man is infuriating. | 0:08:43 | 0:08:46 | |
Did you do something to your hair? | 0:08:46 | 0:08:48 | |
What? | 0:08:48 | 0:08:51 | |
I like it. | 0:08:51 | 0:08:53 | |
It's so soft. | 0:08:53 | 0:08:55 | |
It's the signal. | 0:08:55 | 0:08:57 | |
I'm giving off the... the girl signal? | 0:08:57 | 0:09:01 | |
Hmm? | 0:09:01 | 0:09:02 | |
Oh. Look at that. | 0:09:03 | 0:09:05 | |
CHUCKLES NERVOUSLY Your wallet. | 0:09:05 | 0:09:07 | |
Is it my posture? | 0:09:07 | 0:09:09 | |
So... | 0:09:20 | 0:09:21 | |
Do you have any, er, plans when we get to Rome? | 0:09:21 | 0:09:25 | |
Cos I was hoping for a public flogging | 0:09:27 | 0:09:29 | |
in the Colosseum. | 0:09:29 | 0:09:30 | |
Colette, we're never gonna talk about this | 0:09:33 | 0:09:35 | |
if you just keep avoiding me. | 0:09:35 | 0:09:36 | |
We can't talk about this because there is nothing left to say. | 0:09:36 | 0:09:39 | |
Actually, I have plenty to say. | 0:09:39 | 0:09:40 | |
I know. | 0:09:40 | 0:09:41 | |
I know you still care about me. | 0:09:41 | 0:09:43 | |
I know you wish you could change the past. OK, but you...you're... | 0:09:43 | 0:09:46 | |
you're forgetting the most important part. | 0:09:46 | 0:09:48 | |
It's the part where I tell you that I have... | 0:09:48 | 0:09:50 | |
I've fallen in love with you and I will do whatever it takes | 0:09:50 | 0:09:53 | |
to prove that to you. | 0:09:53 | 0:09:54 | |
But you can't. Dean, I need to move on. | 0:09:54 | 0:09:57 | |
Just give me a chance. | 0:09:57 | 0:10:00 | |
I put in for a transfer to the hong Kong base. | 0:10:00 | 0:10:03 | |
Hold on. We have a last-minute passenger addition. | 0:10:05 | 0:10:08 | |
They found him wandering around the cargo area. | 0:10:08 | 0:10:11 | |
FOREIGN ACCENT: I'm afraid I made a wrong turn. | 0:10:14 | 0:10:17 | |
Luckily, they found me, or I would be riding on the wing. | 0:10:17 | 0:10:20 | |
Well, we stopped boarding ten minutes ago, | 0:10:20 | 0:10:22 | |
so you almost missed your flight. | 0:10:22 | 0:10:23 | |
Must be my lucky day. | 0:10:23 | 0:10:25 | |
Did they manage to check your luggage, Mister... | 0:10:25 | 0:10:28 | |
No luggage. Friends call me Omar. | 0:10:28 | 0:10:31 | |
Omar it is, then. | 0:10:31 | 0:10:32 | |
How about we find a seat for, er, Omar, shall we? | 0:10:32 | 0:10:37 | |
SIGHS | 0:10:44 | 0:10:46 | |
When registering for housewares, | 0:10:46 | 0:10:47 | |
sometimes it's better to bring gimbels to your actual house. | 0:10:47 | 0:10:50 | |
Mm. | 0:10:50 | 0:10:52 | |
SIGHS What do you think, Teddy? | 0:10:54 | 0:10:56 | |
Ivory lace or Dover fog? | 0:10:56 | 0:10:58 | |
Mm, the white one. | 0:10:58 | 0:11:01 | |
Neither of them is white. | 0:11:01 | 0:11:02 | |
LAUGHS They look the same to me. | 0:11:02 | 0:11:04 | |
Indulge me, Teddy. I am a woman of eclectic tastes. | 0:11:04 | 0:11:07 | |
Eclectic tastes. | 0:11:07 | 0:11:10 | |
Yeah,I've been wondering about something. CLATTER | 0:11:10 | 0:11:13 | |
We're gonna spend a long life together, right? | 0:11:13 | 0:11:16 | |
You forgot "rewarding." A long, rewarding life? | 0:11:16 | 0:11:19 | |
Oh, right. Which glass? | 0:11:19 | 0:11:21 | |
Uh, whichever one holds more booze. | 0:11:21 | 0:11:23 | |
CHUCKLES Er, but for a life to be rewarding, um... | 0:11:23 | 0:11:27 | |
it needs to be built on honesty, don't you think? | 0:11:27 | 0:11:30 | |
Hold that thought. | 0:11:30 | 0:11:32 | |
OK. | 0:11:32 | 0:11:34 | |
Now... | 0:11:39 | 0:11:41 | |
what were you gonna ask me? | 0:11:41 | 0:11:43 | |
Nothing. | 0:11:43 | 0:11:46 | |
ENGINE ROARING | 0:11:46 | 0:11:49 | |
Is everything OK? | 0:11:49 | 0:11:51 | |
I've often wondered where these come from. | 0:11:51 | 0:11:54 | |
Perhaps a tiny bartender. | 0:11:54 | 0:11:56 | |
But you only get a tiny hangover. | 0:11:56 | 0:11:58 | |
BOTH CHUCKLE | 0:11:58 | 0:12:00 | |
Have you been to Rome? | 0:12:00 | 0:12:01 | |
Yes, but, er, | 0:12:01 | 0:12:03 | |
I have to confess I haven't done much sightseeing. | 0:12:03 | 0:12:05 | |
Only from the backseat of a car. | 0:12:05 | 0:12:08 | |
Well, then you haven't really seen anything. | 0:12:08 | 0:12:09 | |
You have to stroll down the Spanish Steps, | 0:12:09 | 0:12:13 | |
visit Trevi Fountain at sunset. | 0:12:13 | 0:12:15 | |
Sounds lovely. Mm-hmm. | 0:12:15 | 0:12:16 | |
And better if you have someone to share it with. | 0:12:16 | 0:12:19 | |
But you are travelling alone, no? | 0:12:19 | 0:12:22 | |
No companions. No luggage. | 0:12:22 | 0:12:24 | |
Awoke this morning and booked a flight to Rome. | 0:12:24 | 0:12:28 | |
Sometimes we need a change in pace | 0:12:28 | 0:12:29 | |
to see life as it really is. | 0:12:29 | 0:12:32 | |
I couldn't agree more, Omar. | 0:12:32 | 0:12:35 | |
You know my name, but I don't know yours. | 0:12:35 | 0:12:39 | |
My name is Colette. | 0:12:41 | 0:12:43 | |
Pleased to make your acquaintance, Colette. | 0:12:43 | 0:12:45 | |
The pleasure is all mine, Omar. | 0:12:45 | 0:12:48 | |
No. Oh, no. | 0:13:21 | 0:13:23 | |
Hey, hey, what are you doing? | 0:13:23 | 0:13:24 | |
I want them down. | 0:13:24 | 0:13:26 | |
Oh, you're her... the model. | 0:13:26 | 0:13:27 | |
These photos need to come down right now. | 0:13:27 | 0:13:29 | |
Stop. I can't. I have a contract. | 0:13:29 | 0:13:32 | |
Look, I don't understand. | 0:13:32 | 0:13:34 | |
OK. You must have willingly posed for Graham. | 0:13:34 | 0:13:35 | |
He never said he would sell them. | 0:13:35 | 0:13:37 | |
They're supposed to be private, | 0:13:37 | 0:13:39 | |
not on display for the world to see. | 0:13:39 | 0:13:43 | |
He sold them to me along with the negatives. | 0:13:43 | 0:13:46 | |
I had no idea. | 0:13:46 | 0:13:48 | |
All I knew was this was the most beautiful model | 0:13:48 | 0:13:50 | |
I'd ever seen. | 0:13:50 | 0:13:51 | |
I am through being that person... | 0:13:51 | 0:13:55 | |
just a woman on the cover of a magazine, | 0:13:55 | 0:13:57 | |
being judged by how she looks. | 0:13:57 | 0:14:00 | |
I don't judge a photograph - a good one, anyway - | 0:14:00 | 0:14:03 | |
on how the model looks. | 0:14:03 | 0:14:04 | |
It's, you know, it's how the picture makes you feel. | 0:14:04 | 0:14:08 | |
I only know how they make me feel, | 0:14:08 | 0:14:10 | |
and I just want them down, please. | 0:14:10 | 0:14:13 | |
Look, I have an important buyer | 0:14:13 | 0:14:15 | |
who's willing to take them from me | 0:14:15 | 0:14:16 | |
for quite a bit of money. | 0:14:16 | 0:14:19 | |
But... | 0:14:19 | 0:14:21 | |
I'll sell them to you for my cost | 0:14:21 | 0:14:23 | |
if you can get me the money by closing today. | 0:14:23 | 0:14:25 | |
Really? | 0:14:25 | 0:14:26 | |
Oh, thank you. Thank you so much. | 0:14:26 | 0:14:28 | |
How much do you need? I will get it to you. | 0:14:28 | 0:14:31 | |
500 and they're yours. | 0:14:31 | 0:14:32 | |
500? | 0:14:32 | 0:14:34 | |
I thought maybe you were thirsty. | 0:14:44 | 0:14:46 | |
Unfortunately, I spent my last dollar on the ticket. | 0:14:46 | 0:14:49 | |
You are going to Rome with no money? | 0:14:49 | 0:14:51 | |
Ah, I guess I'm not one for planning. | 0:14:51 | 0:14:54 | |
Hmm. Well, lucky for you, | 0:14:54 | 0:14:57 | |
refreshments are courtesy of Pan Am. | 0:14:57 | 0:15:00 | |
I cannot say Rome will feel the same way. | 0:15:00 | 0:15:03 | |
Then I'll have to think of something before we land. | 0:15:03 | 0:15:06 | |
What do you suggest? Stealing? | 0:15:06 | 0:15:09 | |
Begging. | 0:15:09 | 0:15:10 | |
OK. We'll try it your way. | 0:15:10 | 0:15:13 | |
I beg you to see the Trevi Fountain with me | 0:15:13 | 0:15:15 | |
at sunset. | 0:15:15 | 0:15:16 | |
Between you and me, it's not really the fountain | 0:15:16 | 0:15:19 | |
I'm interested in. | 0:15:19 | 0:15:21 | |
Well, I'm not much interested in dating these days. | 0:15:21 | 0:15:25 | |
But good company | 0:15:26 | 0:15:28 | |
is always worth the time. | 0:15:28 | 0:15:30 | |
There. You see? | 0:15:30 | 0:15:32 | |
Begging works. | 0:15:32 | 0:15:33 | |
SPEAKING INAUDIBLY | 0:15:39 | 0:15:41 | |
Hey, Kate. | 0:15:41 | 0:15:45 | |
Is it just me, or is there something off about this guy? | 0:15:45 | 0:15:48 | |
Dean, she's just doing her job. | 0:15:48 | 0:15:50 | |
Yeah, but does she have to do it so well? | 0:15:50 | 0:15:53 | |
Here. | 0:15:53 | 0:15:56 | |
Do you think she's serious about this transfer? | 0:15:56 | 0:16:00 | |
What transfer? | 0:16:00 | 0:16:02 | |
She said she put in for Hong Kong. | 0:16:02 | 0:16:05 | |
Is this my wallet? | 0:16:06 | 0:16:08 | |
CHUCKLES Well... | 0:16:08 | 0:16:11 | |
Here you go. | 0:16:11 | 0:16:13 | |
What's all this? | 0:16:25 | 0:16:27 | |
I was hoping you could tell me, Capitano. | 0:16:27 | 0:16:30 | |
This, er, is your signature. | 0:16:30 | 0:16:34 | |
This is my name. I didn't sign this. | 0:16:37 | 0:16:39 | |
Well, this is the cargo manifest you filed with Italian customs. | 0:16:39 | 0:16:43 | |
Are you aware of the 400,000 lire worth | 0:16:43 | 0:16:45 | |
of American cigarettes hidden in your cargo hold? | 0:16:45 | 0:16:48 | |
The captain of any vessel has an ultimate responsibility for... | 0:16:48 | 0:16:53 | |
For any cargo he's carrying. I-I understand that. | 0:16:53 | 0:16:54 | |
And can lose his licence | 0:16:54 | 0:16:55 | |
and face criminal charges for smuggling. | 0:16:55 | 0:16:58 | |
I don't know anything about this, | 0:16:58 | 0:17:00 | |
but I swear to you we'll get to the bottom of it. | 0:17:00 | 0:17:03 | |
Any suspicious passengers onboard? | 0:17:03 | 0:17:06 | |
Often they travel alone, no luggage, | 0:17:06 | 0:17:10 | |
pay for everything in cash. | 0:17:10 | 0:17:12 | |
I-I think I might know someone who fits that description. | 0:17:12 | 0:17:16 | |
KNOCK ON DOOR | 0:17:16 | 0:17:18 | |
Laura. You OK? | 0:17:18 | 0:17:21 | |
SIGHS I don't know. I don't know. | 0:17:21 | 0:17:22 | |
I...oh. I'm so sorry. | 0:17:22 | 0:17:27 | |
I didn't mean to interrupt. That's OK. | 0:17:27 | 0:17:29 | |
We could use a woman's opinion. | 0:17:29 | 0:17:31 | |
TELEPHONE RINGING | 0:17:31 | 0:17:32 | |
Um... It's all right. | 0:17:32 | 0:17:34 | |
I-I'm sorry. I'll just be a second. | 0:17:34 | 0:17:37 | |
RING | 0:17:37 | 0:17:39 | |
SIGHS | 0:17:39 | 0:17:41 | |
The thing men don't understand... | 0:17:41 | 0:17:44 | |
is that the patterns you choose | 0:17:44 | 0:17:46 | |
announce to everyone who you are. | 0:17:46 | 0:17:50 | |
Colourful or monochromatic? | 0:17:50 | 0:17:53 | |
Timid or bold? | 0:17:53 | 0:17:56 | |
Teddy tells me you were engaged once? | 0:17:56 | 0:17:59 | |
Afraid so, yes. | 0:17:59 | 0:18:01 | |
It was a case of... Traditional and modern. | 0:18:01 | 0:18:04 | |
CHUCKLES And which one were you? | 0:18:04 | 0:18:07 | |
I would like to think I'm a modern girl. | 0:18:07 | 0:18:09 | |
Me, too, Laura. Me, too. | 0:18:09 | 0:18:14 | |
But I'm betting that's not why you're here. | 0:18:14 | 0:18:17 | |
No. I, um... | 0:18:17 | 0:18:21 | |
I need to borrow some money, and... | 0:18:21 | 0:18:24 | |
I really don't wanna ask Ted, but...it's a lot of money. | 0:18:24 | 0:18:29 | |
Well, how much do you need? | 0:18:29 | 0:18:31 | |
Oh, no. | 0:18:31 | 0:18:33 | |
No, not you. I... I couldn't. | 0:18:33 | 0:18:35 | |
But I could. | 0:18:35 | 0:18:37 | |
Us modern girls have to stick together. | 0:18:37 | 0:18:39 | |
How much? | 0:18:42 | 0:18:45 | |
500. | 0:18:45 | 0:18:48 | |
On one condition. | 0:18:48 | 0:18:51 | |
CHEQUE TEARS | 0:18:51 | 0:18:53 | |
This is not a loan. | 0:18:53 | 0:18:55 | |
It's...an investment in friendship. | 0:18:55 | 0:18:59 | |
Um, OK. | 0:19:01 | 0:19:02 | |
Thank you. | 0:19:05 | 0:19:07 | |
Thank you. | 0:19:07 | 0:19:09 | |
SIGHS | 0:19:09 | 0:19:11 | |
WOMAN SINGING IN ITALIAN | 0:19:19 | 0:19:22 | |
What finally convinced you? | 0:19:36 | 0:19:37 | |
Was it the invite or my charming personality? | 0:19:37 | 0:19:40 | |
Neither. I wanna tell Jack Kennedy one day | 0:19:40 | 0:19:42 | |
that I dined at his favourite restaurant in Rome. | 0:19:42 | 0:19:45 | |
Right, after you two become best friends | 0:19:45 | 0:19:46 | |
and your kids start playing backyard football | 0:19:46 | 0:19:48 | |
in Hyannis Port. | 0:19:48 | 0:19:49 | |
You act like that isn't going to happen. | 0:19:49 | 0:19:52 | |
In politics, everyone knows everyone. | 0:19:52 | 0:19:55 | |
Hey, ciao, ragazzo, molto tempo. Ciao. | 0:19:55 | 0:19:59 | |
So is that your plan, then - long-term politics? | 0:19:59 | 0:20:01 | |
Cos you and I both know what the odds are for that. | 0:20:01 | 0:20:04 | |
I don't remember asking for your opinion. | 0:20:04 | 0:20:06 | |
Oh, which is why you should value it. It's unsolicited. | 0:20:06 | 0:20:09 | |
I made a mistake coming here. | 0:20:09 | 0:20:11 | |
The truth is, you're a Pan Am stewardess. | 0:20:11 | 0:20:14 | |
And for some women, that would be the ultimate accomplishment. | 0:20:14 | 0:20:16 | |
But sooner or later, you turn 32, | 0:20:16 | 0:20:19 | |
they turn you out, | 0:20:19 | 0:20:21 | |
retire you. | 0:20:21 | 0:20:23 | |
Of course, I've read your personnel file. | 0:20:23 | 0:20:25 | |
You won't make it that far. | 0:20:25 | 0:20:27 | |
You know how many women serve in Congress? | 0:20:27 | 0:20:30 | |
20. | 0:20:30 | 0:20:31 | |
Which translates to around 3%. | 0:20:31 | 0:20:33 | |
All of them got into politics at an earlier age than you | 0:20:33 | 0:20:35 | |
or married into it or got a college degree for it. | 0:20:35 | 0:20:38 | |
I have a degree. | 0:20:38 | 0:20:39 | |
A real one. Not a fake one. | 0:20:39 | 0:20:42 | |
Do you know what it is that I do? | 0:20:49 | 0:20:51 | |
Besides treat every airplane like your personal limousine | 0:20:51 | 0:20:54 | |
and every stewardess like your personal... | 0:20:54 | 0:20:56 | |
I don't treat planes like limousines, Maggie. | 0:20:56 | 0:20:58 | |
I treat them like trucks - specifically, cargo trucks. | 0:20:58 | 0:21:02 | |
I use them to transport goods from people who don't need them | 0:21:02 | 0:21:04 | |
to people who do. | 0:21:04 | 0:21:05 | |
You're a smuggler? | 0:21:05 | 0:21:08 | |
I'm a provider. | 0:21:08 | 0:21:09 | |
Now sometimes that means providing food to the hungry, | 0:21:09 | 0:21:12 | |
clothing to the impoverished, medicine to the sick. | 0:21:12 | 0:21:14 | |
Cigarettes to the needy, | 0:21:14 | 0:21:16 | |
vodka to the thirsty. | 0:21:16 | 0:21:18 | |
I won't deny that there's a profit to be made, | 0:21:18 | 0:21:20 | |
but... SIGHS it's getting harder. | 0:21:20 | 0:21:23 | |
I need someone inside | 0:21:23 | 0:21:25 | |
to help me with, er, with routes, restrictions, | 0:21:25 | 0:21:28 | |
cargo manifests. | 0:21:28 | 0:21:30 | |
And who better to get through customs, | 0:21:30 | 0:21:32 | |
no questions asked, than a stewardess? | 0:21:32 | 0:21:34 | |
Oh, not just any stewardess. | 0:21:34 | 0:21:36 | |
You made it to purser. | 0:21:36 | 0:21:38 | |
You have more access and experience | 0:21:38 | 0:21:40 | |
on a flight crew than just about anybody else. | 0:21:40 | 0:21:43 | |
What are you asking me? | 0:21:43 | 0:21:46 | |
I need a partner, Maggie... | 0:21:46 | 0:21:50 | |
someone to share in the risks and rewards, | 0:21:50 | 0:21:53 | |
and I think that someone... is you. | 0:21:53 | 0:21:57 | |
Oh, and I thought I was a fast driver. | 0:22:06 | 0:22:08 | |
CHUCKLES It's not every day I get to ride on one of these. | 0:22:08 | 0:22:13 | |
Speaking of, what do you do every day? | 0:22:13 | 0:22:16 | |
I am in the service industry. | 0:22:16 | 0:22:18 | |
I, er, smile, | 0:22:18 | 0:22:20 | |
greet people, make them feel welcome. | 0:22:20 | 0:22:23 | |
So you're a Pan Am stewardess. | 0:22:23 | 0:22:25 | |
LAUGHS | 0:22:25 | 0:22:27 | |
Perhaps I have found my true calling. CHUCKLES | 0:22:27 | 0:22:30 | |
Thank you. | 0:22:30 | 0:22:33 | |
If I tried more begging, | 0:22:35 | 0:22:36 | |
would you join me for dinner tonight? | 0:22:36 | 0:22:38 | |
Other plans? | 0:22:38 | 0:22:42 | |
We have an official Pan Am appearance at a party tonight - | 0:22:42 | 0:22:45 | |
an ambassador's residence. Which you're gonna be late for | 0:22:45 | 0:22:47 | |
if you don't hurry up and get a move on. | 0:22:47 | 0:22:49 | |
Dean, this is Omar. He was a passenger on our flight. | 0:22:49 | 0:22:53 | |
Oh, yeah, the man with no luggage. | 0:22:53 | 0:22:55 | |
I remember. How are you finding Rome? | 0:22:55 | 0:22:56 | |
The sights are quite beautiful. | 0:22:56 | 0:22:59 | |
I'm sure no more beautiful than wherever it is you're from. | 0:22:59 | 0:23:01 | |
Where are you from? | 0:23:01 | 0:23:02 | |
Dean. What, Colette? | 0:23:02 | 0:23:04 | |
You don't know a thing about this guy. | 0:23:04 | 0:23:05 | |
Don't you wanna find out a little more | 0:23:05 | 0:23:07 | |
about your friend? | 0:23:07 | 0:23:08 | |
You like cigarettes? | 0:23:08 | 0:23:10 | |
What is this? I'll tell you about it | 0:23:10 | 0:23:11 | |
on the way to the party. I'm not going to the party with you, Dean. | 0:23:11 | 0:23:14 | |
I believe the lady wants you to leave her alone. | 0:23:14 | 0:23:16 | |
I don't think this is any of your business. | 0:23:16 | 0:23:18 | |
Oh, yes, it is, | 0:23:18 | 0:23:19 | |
because he's coming to the party with me tonight. | 0:23:19 | 0:23:22 | |
Meet me here at seven? | 0:23:26 | 0:23:28 | |
I'd be delighted. | 0:23:28 | 0:23:30 | |
Great. | 0:23:30 | 0:23:31 | |
STRING QUARTET PLAYING WALTZ | 0:23:38 | 0:23:41 | |
INDISTINCT CONVERSATIONS | 0:23:43 | 0:23:46 | |
Could you get me a Negroni at the bar? | 0:23:53 | 0:23:57 | |
I'll let him get that for you. | 0:23:57 | 0:24:00 | |
SHOES CLATTER | 0:24:09 | 0:24:10 | |
Ohh. Ohh! | 0:24:10 | 0:24:12 | |
Ahh. Hello. | 0:24:12 | 0:24:14 | |
You saved me. | 0:24:14 | 0:24:15 | |
SPEAKS ITALIAN | 0:24:15 | 0:24:17 | |
You come to Rome, you get a pair of shoes, | 0:24:17 | 0:24:19 | |
and...look what happens. | 0:24:19 | 0:24:21 | |
You wind up in the arms of a stranger. | 0:24:21 | 0:24:24 | |
I am Alessandro d'Arco. I'm at your service now. | 0:24:24 | 0:24:27 | |
Let me get you a drink. | 0:24:27 | 0:24:28 | |
Yeah, I might take you up on that a little bit later, | 0:24:28 | 0:24:30 | |
but first I'm... just off to the powder room. | 0:24:30 | 0:24:33 | |
Oh, please. | 0:24:33 | 0:24:35 | |
INHALES AND EXHALES DEEPLY | 0:24:40 | 0:24:43 | |
Shoot. | 0:24:43 | 0:24:44 | |
CLICKS | 0:24:44 | 0:24:46 | |
CHUCKLES | 0:24:51 | 0:24:52 | |
Scusi. | 0:24:52 | 0:24:55 | |
Thirsty? I'm told they have an excellent Bellini here. | 0:24:55 | 0:24:58 | |
You just don't give up, do you? | 0:24:58 | 0:24:59 | |
Well, you still haven't given me an answer. | 0:24:59 | 0:25:01 | |
I said I'd have to think about it. | 0:25:01 | 0:25:03 | |
There are two Maggie Ryans - one who thinks about herself | 0:25:03 | 0:25:06 | |
and one who thinks about others. | 0:25:06 | 0:25:07 | |
You're having a problem with the second one. | 0:25:07 | 0:25:09 | |
I'm pretty sure neither Maggie | 0:25:09 | 0:25:11 | |
wants to profit off the misery of others. | 0:25:11 | 0:25:13 | |
Well, you'd be turning that misery into happiness, | 0:25:13 | 0:25:15 | |
making a profit at the same time. | 0:25:15 | 0:25:17 | |
Come on, Maggie. Don't let me down. | 0:25:17 | 0:25:19 | |
I've had my eye on you since that incident with Dean. | 0:25:19 | 0:25:22 | |
What incident? | 0:25:22 | 0:25:24 | |
Don't play dumb. | 0:25:24 | 0:25:25 | |
You saved your job by exposing his fling | 0:25:25 | 0:25:28 | |
with a certain Pan Am VP's mistress. | 0:25:28 | 0:25:30 | |
That showed moxie. | 0:25:30 | 0:25:31 | |
I was afraid I'd have to threaten to tell Dean, | 0:25:31 | 0:25:33 | |
but... I'm pretty sure I know what your answer's gonna be. | 0:25:33 | 0:25:36 | |
And how do you know that? | 0:25:36 | 0:25:39 | |
Because, Maggie, you and I - we're the same. | 0:25:39 | 0:25:43 | |
Care for that Bellini now? | 0:25:45 | 0:25:47 | |
The modern kitchen is a fully automated kitchen. | 0:25:51 | 0:25:54 | |
Don't you think? | 0:25:54 | 0:25:55 | |
Teddy? | 0:25:55 | 0:25:56 | |
Hmm? | 0:25:56 | 0:25:58 | |
What's wrong? | 0:25:58 | 0:25:59 | |
You've been so... distracted. | 0:25:59 | 0:26:03 | |
Well, I don't care about China or highball glasses | 0:26:03 | 0:26:05 | |
or...or toast. I care about you. | 0:26:05 | 0:26:07 | |
Here...here you are, getting to know my friends. | 0:26:07 | 0:26:08 | |
I've never met any of yours. | 0:26:08 | 0:26:11 | |
I hardly know anything about ya. | 0:26:11 | 0:26:14 | |
SIGHS OK, Teddy. | 0:26:14 | 0:26:18 | |
Ask away. | 0:26:18 | 0:26:19 | |
Anything you want. | 0:26:19 | 0:26:20 | |
OK. OK, good. | 0:26:20 | 0:26:23 | |
Um... CHUCKLES | 0:26:23 | 0:26:25 | |
Let's catch up on the last 15 years. | 0:26:25 | 0:26:28 | |
Are there, um, | 0:26:28 | 0:26:29 | |
any old boyfriends I need to worry about? | 0:26:29 | 0:26:32 | |
No-one who compares to you. | 0:26:32 | 0:26:33 | |
I'm beginning to believe that's actually true. | 0:26:33 | 0:26:36 | |
What is that supposed to mean? | 0:26:36 | 0:26:39 | |
Um... | 0:26:39 | 0:26:41 | |
When I saw you today... with Laura, | 0:26:41 | 0:26:44 | |
you looked happier with her than you've ever been with me. | 0:26:44 | 0:26:47 | |
No. I am happier with you | 0:26:47 | 0:26:50 | |
than I have ever been in my life. | 0:26:50 | 0:26:54 | |
Come with me. | 0:27:00 | 0:27:01 | |
What are you doing? | 0:27:06 | 0:27:08 | |
SIGHS | 0:27:08 | 0:27:10 | |
I can't wait any longer. | 0:27:10 | 0:27:12 | |
GLASS CLATTERS | 0:27:13 | 0:27:14 | |
Where did you learn to dance like this? | 0:27:22 | 0:27:25 | |
Here and there. Oh. | 0:27:25 | 0:27:28 | |
I am well trained. | 0:27:28 | 0:27:30 | |
Clearly. | 0:27:30 | 0:27:31 | |
I ask you questions. You dance around them. | 0:27:31 | 0:27:35 | |
Your friend, the captain, | 0:27:35 | 0:27:37 | |
has made you more curious about me. | 0:27:37 | 0:27:41 | |
He was right. | 0:27:41 | 0:27:43 | |
We've spent the day together, | 0:27:43 | 0:27:44 | |
but I know next to nothing about you. | 0:27:44 | 0:27:47 | |
I am a man who cannot enjoy the same freedom as you. | 0:27:47 | 0:27:52 | |
And yet you woke up this morning, | 0:27:52 | 0:27:53 | |
hopped on a plane to Rome with no luggage or money, | 0:27:53 | 0:27:58 | |
and you are now wearing an expensive new suit. | 0:27:58 | 0:28:01 | |
I am not without friends in Rome. CHUCKLES | 0:28:01 | 0:28:04 | |
Dancing again. | 0:28:04 | 0:28:08 | |
OMAR: Today has been a fantasy for me. | 0:28:08 | 0:28:11 | |
I suppose I wanted to enjoy it for a little while longer. | 0:28:11 | 0:28:16 | |
And just like that, our dance must come to an end. | 0:28:16 | 0:28:21 | |
Right. That's him. | 0:28:21 | 0:28:23 | |
Dean, what are you doing? | 0:28:23 | 0:28:24 | |
He's a smuggler, Colette. | 0:28:24 | 0:28:25 | |
No, he's not. That's not possible. | 0:28:25 | 0:28:27 | |
Oh, then let's let the carabinieri decide | 0:28:27 | 0:28:28 | |
whether or not he's a wanted man. | 0:28:28 | 0:28:30 | |
Oh, he's most definitely a wanted man. | 0:28:30 | 0:28:32 | |
Your family's been very worried about you, Your Highness. | 0:28:32 | 0:28:35 | |
"Your Highness"? | 0:28:37 | 0:28:39 | |
This is Prince Omar III of the Kingdom of Wahran. | 0:28:39 | 0:28:44 | |
You're a prince? | 0:28:44 | 0:28:48 | |
A prince? | 0:28:48 | 0:28:51 | |
You're absolutely certain? | 0:28:51 | 0:28:53 | |
Interpol has been circulating his photo for days. | 0:28:53 | 0:28:56 | |
Dean, could you give us a minute? | 0:28:56 | 0:28:59 | |
I apologise for my deception. | 0:29:07 | 0:29:10 | |
I needed to escape my life... | 0:29:10 | 0:29:13 | |
Obligations. | 0:29:13 | 0:29:15 | |
You smile, greet people, | 0:29:15 | 0:29:19 | |
make them feel welcome? | 0:29:19 | 0:29:21 | |
There. You see? | 0:29:21 | 0:29:22 | |
My life is not so different than yours. | 0:29:22 | 0:29:24 | |
Well, there is the Royal Palace. | 0:29:24 | 0:29:28 | |
A palace can be a prison as well. | 0:29:28 | 0:29:31 | |
Omar, why didn't you say... | 0:29:31 | 0:29:34 | |
Tell you sooner? | 0:29:34 | 0:29:35 | |
Would you have treated me the same if I had? | 0:29:35 | 0:29:39 | |
Your Highness, | 0:29:39 | 0:29:41 | |
we have a police escort waiting to take you to the airport. | 0:29:41 | 0:29:45 | |
What are you doing a week from this Friday? | 0:29:50 | 0:29:54 | |
I am to dine at the White House, | 0:29:54 | 0:29:55 | |
and it occurs to me I have no-one to bring. | 0:29:55 | 0:29:58 | |
You won't make me beg, will you? | 0:29:58 | 0:30:01 | |
No more begging. | 0:30:01 | 0:30:03 | |
I would love to. | 0:30:04 | 0:30:06 | |
You again. | 0:30:16 | 0:30:17 | |
You're following me, Alessandro? | 0:30:17 | 0:30:20 | |
Martini. Due olive. | 0:30:20 | 0:30:22 | |
Well, I suppose I cannot help myself. | 0:30:22 | 0:30:25 | |
How are those new shoes? | 0:30:25 | 0:30:26 | |
Oh, it's nothing a martini can't fix. | 0:30:26 | 0:30:29 | |
You're a friend of the ambassador? | 0:30:29 | 0:30:31 | |
I'm a Pan Am stewardess. We're friends to the world. | 0:30:31 | 0:30:35 | |
That must include me, then. | 0:30:35 | 0:30:38 | |
Well... | 0:30:38 | 0:30:40 | |
A few more drinks, and... | 0:30:40 | 0:30:44 | |
Maybe you'll find out. | 0:30:44 | 0:30:47 | |
Grazie. | 0:30:49 | 0:30:51 | |
Shoot! | 0:30:59 | 0:31:01 | |
SIGHS | 0:31:01 | 0:31:02 | |
SIGHS | 0:31:14 | 0:31:16 | |
It's my fault. | 0:31:16 | 0:31:18 | |
No. Teddy, it was...nice. | 0:31:18 | 0:31:22 | |
It'll...it'll get better. | 0:31:22 | 0:31:23 | |
Of course it will. | 0:31:23 | 0:31:25 | |
My first time was with Theresa Miller | 0:31:25 | 0:31:27 | |
in our boathouse, in a rowboat, no less, | 0:31:27 | 0:31:28 | |
which is much more difficult than it sounds. | 0:31:28 | 0:31:30 | |
There were oars everywhere... | 0:31:30 | 0:31:33 | |
My point is, is everybody has a story | 0:31:34 | 0:31:38 | |
about their first time, and this will be ours. | 0:31:38 | 0:31:41 | |
I really should go. | 0:31:41 | 0:31:45 | |
Why? | 0:31:45 | 0:31:46 | |
Well, we're not married yet. People will talk. | 0:31:46 | 0:31:49 | |
Who cares what people say? | 0:31:49 | 0:31:50 | |
I do, Ted. | 0:31:50 | 0:31:53 | |
Can you... | 0:31:56 | 0:31:57 | |
turn around? | 0:31:57 | 0:31:58 | |
Yeah. | 0:32:01 | 0:32:02 | |
INDISTINCT CONVERSATIONS | 0:32:08 | 0:32:10 | |
Oh, wow. It's you. | 0:32:13 | 0:32:15 | |
You're the model. | 0:32:15 | 0:32:16 | |
No, no, you must have the wrong person. | 0:32:16 | 0:32:18 | |
No, it's...it's you. How cool. | 0:32:18 | 0:32:21 | |
You must be so proud. I could never be this brave. | 0:32:21 | 0:32:24 | |
It was nothing, really. | 0:32:24 | 0:32:27 | |
Nothing? These are empowering. | 0:32:27 | 0:32:29 | |
Thank you. | 0:32:31 | 0:32:33 | |
You know, the art critic from the Village Voice | 0:32:33 | 0:32:35 | |
said these photos are transcendent. | 0:32:35 | 0:32:38 | |
Really. Are you sure? | 0:32:38 | 0:32:40 | |
Very sure. | 0:32:40 | 0:32:41 | |
That critic was me. | 0:32:41 | 0:32:43 | |
How does it feel to be a pioneer? | 0:32:43 | 0:32:46 | |
Uh... | 0:32:46 | 0:32:48 | |
When the buyer heard that you wanted the prints back, | 0:32:48 | 0:32:50 | |
he asked to meet you. | 0:32:50 | 0:32:52 | |
Who's the buyer? | 0:32:52 | 0:32:53 | |
Local artist. Maybe you've heard of him. | 0:32:53 | 0:32:56 | |
Andy Warhol. | 0:32:56 | 0:32:57 | |
So I figure we start in Vienna. | 0:33:07 | 0:33:09 | |
Work our way east. | 0:33:09 | 0:33:11 | |
The Soviet Bloc - they're crazy for American whiskey. | 0:33:11 | 0:33:13 | |
Broyles... We trade for Beluga caviar and vodka. | 0:33:13 | 0:33:15 | |
We make a profit coming and going. | 0:33:15 | 0:33:17 | |
Then we can open up a new South American route. | 0:33:17 | 0:33:19 | |
I can't do this. | 0:33:19 | 0:33:21 | |
Go ahead and tell Dean. Tell him everything. | 0:33:21 | 0:33:23 | |
Maggie, let's not get crazy. | 0:33:23 | 0:33:25 | |
What's the worst that can happen? | 0:33:25 | 0:33:26 | |
You lose Pan Am. You lose everything. | 0:33:26 | 0:33:29 | |
I'll take that risk. | 0:33:29 | 0:33:31 | |
And why would you do that? | 0:33:31 | 0:33:32 | |
Because you got the wrong Maggie. | 0:33:32 | 0:33:33 | |
Because I can always go back to changing the world, | 0:33:33 | 0:33:36 | |
one doorbell at a time, | 0:33:36 | 0:33:37 | |
and because most of all, I'm nothing like you. | 0:33:37 | 0:33:42 | |
You're leaving so soon? | 0:33:52 | 0:33:55 | |
I was having such a good time. | 0:33:55 | 0:33:57 | |
I almost forgot I have an early flight. | 0:33:57 | 0:33:59 | |
Let me at least walk you out. | 0:33:59 | 0:34:01 | |
Where is that ticket? | 0:34:03 | 0:34:04 | |
Oh, er, is this... is this yours? | 0:34:08 | 0:34:12 | |
Oh, yes, 47. It's mine. | 0:34:12 | 0:34:15 | |
Are you sure it's yours? | 0:34:15 | 0:34:16 | |
You wouldn't be trying to swipe some poor stranger's jacket. | 0:34:16 | 0:34:19 | |
I would never do that. | 0:34:19 | 0:34:22 | |
Oh, here. | 0:34:22 | 0:34:23 | |
Please, allow me to help? | 0:34:23 | 0:34:24 | |
Oh. | 0:34:24 | 0:34:28 | |
Are all American women this accommodating? | 0:34:28 | 0:34:32 | |
Oh, well, you'll have to come to America to find out. | 0:34:32 | 0:34:35 | |
Oh, I'm sorry. Where is your coat? | 0:34:35 | 0:34:38 | |
You know, I think I left my ticket in the powder room. | 0:34:38 | 0:34:41 | |
I guess this is goodbye. | 0:34:41 | 0:34:43 | |
In Rome, we never say goodbye. Arrivederci. | 0:34:45 | 0:34:50 | |
Until we meet again. | 0:34:50 | 0:34:52 | |
The guy was a prince. | 0:35:12 | 0:35:14 | |
SIGHS That's just my luck. | 0:35:14 | 0:35:17 | |
He fit a profile. | 0:35:17 | 0:35:19 | |
Now it's back to me. | 0:35:19 | 0:35:23 | |
You fit another profile. | 0:35:23 | 0:35:24 | |
Many of these smugglers work from the inside. | 0:35:24 | 0:35:28 | |
Who has better access to the cargo hold than a pilot? | 0:35:28 | 0:35:32 | |
If you really want to catch this guy, | 0:35:32 | 0:35:35 | |
I would look within your company. | 0:35:35 | 0:35:37 | |
Excuse me. | 0:35:41 | 0:35:44 | |
Ah, Captain Lowrey, just the man I'm looking for. | 0:35:48 | 0:35:51 | |
Uhh! | 0:35:51 | 0:35:52 | |
GUESTS GASP | 0:35:52 | 0:35:53 | |
Find another ride home. | 0:35:53 | 0:35:56 | |
Colette. | 0:36:11 | 0:36:13 | |
Hey, could you hear me out? | 0:36:13 | 0:36:15 | |
I don't want another discussion. | 0:36:15 | 0:36:16 | |
I was wrong. OK? | 0:36:16 | 0:36:19 | |
I was wrong about Omar, | 0:36:19 | 0:36:20 | |
and I've been wrong about a lot of things, and I'm sorry. | 0:36:20 | 0:36:23 | |
I thought that I could protect you, | 0:36:23 | 0:36:25 | |
but I understand that I can't do that anymore, so... | 0:36:25 | 0:36:29 | |
I'm gonna respect your wishes, and I'll leave you alone. | 0:36:29 | 0:36:35 | |
I'm sorry. These are already spoken for. | 0:36:50 | 0:36:53 | |
I can see why. She looks so brave. | 0:36:53 | 0:36:56 | |
A pioneer. | 0:36:56 | 0:36:58 | |
I think she has a pretty bright future. | 0:36:58 | 0:36:59 | |
Can I take your coat? Thank you. | 0:36:59 | 0:37:02 | |
So are you ready to meet Andy? | 0:37:02 | 0:37:04 | |
Yes. Yes, I am. | 0:37:04 | 0:37:06 | |
Good, good, cos word on the street | 0:37:06 | 0:37:08 | |
is he's looking for a new model... | 0:37:08 | 0:37:09 | |
someone brave, you know, a pioneer. | 0:37:09 | 0:37:13 | |
He wants me? | 0:37:13 | 0:37:15 | |
We'll see. He'll be here in a minute. | 0:37:15 | 0:37:18 | |
AMANDA: Hi. TED: Hi. | 0:37:25 | 0:37:27 | |
Do you wanna sit down? Sure. | 0:37:29 | 0:37:31 | |
BOTH SIGH | 0:37:34 | 0:37:36 | |
Teddy,I've been thinking about last night. | 0:37:36 | 0:37:37 | |
So have I. | 0:37:37 | 0:37:39 | |
And I think you were right. | 0:37:39 | 0:37:41 | |
It gets better. | 0:37:41 | 0:37:43 | |
And that's marriage, right? | 0:37:43 | 0:37:45 | |
You start with something, | 0:37:45 | 0:37:48 | |
and you build on it, grow it. | 0:37:48 | 0:37:51 | |
No, that's not marriage. | 0:37:51 | 0:37:53 | |
You can't...build on something if there's no honesty. | 0:37:53 | 0:37:57 | |
SIGHS | 0:38:00 | 0:38:03 | |
OK. | 0:38:03 | 0:38:06 | |
You want honesty. | 0:38:06 | 0:38:07 | |
Yeah. | 0:38:07 | 0:38:09 | |
Yes. | 0:38:09 | 0:38:13 | |
I am...more comfortable with women than men. | 0:38:13 | 0:38:18 | |
And I don't know why... | 0:38:18 | 0:38:21 | |
or how it happened. | 0:38:21 | 0:38:25 | |
It's something I always felt. | 0:38:25 | 0:38:27 | |
But what I do know, | 0:38:27 | 0:38:30 | |
Teddy... | 0:38:30 | 0:38:32 | |
is that I love you, | 0:38:32 | 0:38:34 | |
and I want to be married to you. | 0:38:34 | 0:38:37 | |
How? | 0:38:37 | 0:38:39 | |
Don't you see? | 0:38:39 | 0:38:42 | |
It'll be perfect. | 0:38:42 | 0:38:44 | |
You can... see whoever you want, | 0:38:44 | 0:38:48 | |
and...I can see who I want. | 0:38:48 | 0:38:52 | |
But we'll still have us... | 0:38:52 | 0:38:54 | |
our life, our family, | 0:38:54 | 0:38:59 | |
the house and the white picket fence. | 0:38:59 | 0:39:01 | |
We can still have everything. | 0:39:01 | 0:39:04 | |
You can even have Laura. | 0:39:04 | 0:39:06 | |
Laura? | 0:39:06 | 0:39:08 | |
I see the way you look at each other. | 0:39:08 | 0:39:12 | |
A woman knows. | 0:39:12 | 0:39:14 | |
WOMAN: Oh, my God! WOMAN: What is it? | 0:39:14 | 0:39:16 | |
MAN: It can't be. | 0:39:16 | 0:39:18 | |
TELEPHONE RINGING: What's going on? | 0:39:18 | 0:39:19 | |
MULTIPLE TELEPHONES RINGING | 0:39:19 | 0:39:22 | |
What's wrong? | 0:39:22 | 0:39:23 | |
I don't know. | 0:39:23 | 0:39:27 | |
NEWS PROGRAMME: We interrupt this programme | 0:39:27 | 0:39:30 | |
for a CBS News emergency bulletin. | 0:39:30 | 0:39:32 | |
This is Walter Cronkite in our newsroom. | 0:39:32 | 0:39:35 | |
There has been an attempt, as perhaps you know now, | 0:39:35 | 0:39:37 | |
on the life of President Kennedy. | 0:39:37 | 0:39:38 | |
He was wounded in an automobile | 0:39:38 | 0:39:40 | |
driving from Dallas airport into downtown Dallas, | 0:39:40 | 0:39:43 | |
along with Governor Connally of Texas. | 0:39:43 | 0:39:45 | |
They've been taken to Parkland Hospital there, | 0:39:45 | 0:39:47 | |
where their condition is as yet unknown. | 0:39:47 | 0:39:50 | |
He was cut down by bullets | 0:39:50 | 0:39:52 | |
as his motorcade approached downtown Dallas. | 0:39:52 | 0:39:55 | |
He is now in the emergency room of Parkland Hospital. | 0:39:55 | 0:39:59 | |
He is remaining in the emergency room | 0:39:59 | 0:40:00 | |
because, er, Secret Service aides | 0:40:00 | 0:40:03 | |
say that the facilities there are as good as elsewhere. | 0:40:03 | 0:40:05 | |
As of ten minutes ago, a White House aide | 0:40:05 | 0:40:08 | |
says that the President was still alive. | 0:40:08 | 0:40:11 | |
The extent of his injury, | 0:40:11 | 0:40:13 | |
whether it is indeed critical or not, | 0:40:13 | 0:40:15 | |
is not...has not been officially confirmed by... | 0:40:15 | 0:40:18 | |
He'll be fine. He has to be fine. | 0:40:18 | 0:40:22 |