Browse content similar to 1964. Check below for episodes and series from the same categories and more!
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'Previously...' A dealer in London got hold of a list of CIA assets. | 0:00:02 | 0:00:04 | |
Who's on that list? Bridget Pierce. | 0:00:04 | 0:00:06 | |
I've fallen in love with you and will do whatever it takes. Dean, I need to move on. | 0:00:06 | 0:00:09 | |
See the Trevi Fountain with me. | 0:00:09 | 0:00:11 | |
You don't know a thing about him. | 0:00:11 | 0:00:13 | |
You're a prince? | 0:00:13 | 0:00:15 | |
You're a smuggler? I need a partner, Maggie, someone to share in the rewards. | 0:00:15 | 0:00:18 | |
I am more comfortable with women. I want to be married to you. | 0:00:18 | 0:00:22 | |
How? It'll be perfect. | 0:00:22 | 0:00:23 | |
You can see whoever you want. | 0:00:23 | 0:00:25 | |
I can see who I want. | 0:00:25 | 0:00:27 | |
You can even have Laura. | 0:00:27 | 0:00:28 | |
ENGINES ROARING | 0:00:29 | 0:00:32 | |
CHUCKLES: Oh! Please. | 0:00:32 | 0:00:34 | |
Madam, now... | 0:00:34 | 0:00:36 | |
Ooh. That feels nice. It's nice. | 0:00:36 | 0:00:37 | |
How is your flight so far? | 0:00:37 | 0:00:39 | |
Very good. Very good. | 0:00:39 | 0:00:40 | |
I don't like too much sugar. Light sugar. | 0:00:40 | 0:00:42 | |
Omar seems very down-to-earth. You know, for a future king. | 0:00:42 | 0:00:45 | |
Mm. Despite buying out the entire first class | 0:00:45 | 0:00:47 | |
for himself and his entourage. | 0:00:47 | 0:00:49 | |
that wasn't his idea. It was his parents'. | 0:00:49 | 0:00:51 | |
MAGGIE: I dated a prince once. | 0:00:51 | 0:00:52 | |
You did? | 0:00:52 | 0:00:53 | |
Johnny Esposito. | 0:00:53 | 0:00:55 | |
His father was the muffler king of Clatsop County. | 0:00:55 | 0:00:57 | |
Every time we pulled into a filling station, we were royalty. | 0:00:57 | 0:01:01 | |
That's not exactly the stuff of fairy tales. | 0:01:01 | 0:01:04 | |
I'm done with fairy tales. Who needs 'em? | 0:01:04 | 0:01:06 | |
I do. | 0:01:06 | 0:01:08 | |
SHE CHUCKLES | 0:01:08 | 0:01:09 | |
Well, look who's beaming. | 0:01:09 | 0:01:10 | |
I feel like I'm floating on air. | 0:01:10 | 0:01:12 | |
We all are. We're at 30,000 feet. | 0:01:12 | 0:01:15 | |
OK. Um... Where did I leave off? | 0:01:15 | 0:01:20 | |
COLETTE AND LAURA CHUCKLE | 0:01:20 | 0:01:21 | |
It seems strange, doesn't it, not calling it Idlewild any more? | 0:01:21 | 0:01:24 | |
Airports are supposed to be named after places, not people. | 0:01:24 | 0:01:27 | |
Yeah, but it's Jack Kennedy. | 0:01:27 | 0:01:29 | |
What did Jackie say? "There will be other presidents, | 0:01:29 | 0:01:32 | |
"but there will never be another time quite like that." | 0:01:32 | 0:01:33 | |
Yeah, for "One brief, shining moment"... | 0:01:33 | 0:01:36 | |
LOWERED VOICE: "Known as Camelot." | 0:01:36 | 0:01:38 | |
Excuse me while I go jump out of this plane. | 0:01:38 | 0:01:42 | |
And yet they had a very unconventional marriage. | 0:01:44 | 0:01:47 | |
DOOR CLOSES | 0:01:47 | 0:01:48 | |
How do you mean? | 0:01:48 | 0:01:49 | |
CHUCKLES: Well, he was known to entertain a stewardess or two, | 0:01:49 | 0:01:52 | |
and they still made it work. | 0:01:52 | 0:01:53 | |
Oh...what, you're not thinking about messing around already? | 0:01:53 | 0:01:56 | |
You're not even married yet. | 0:01:56 | 0:01:58 | |
LOWERED VOICE: Amanda sort of gave me permission. | 0:01:58 | 0:02:00 | |
Seriously? | 0:02:00 | 0:02:02 | |
Well, she's a very modern girl. | 0:02:02 | 0:02:04 | |
It could be a test. | 0:02:05 | 0:02:06 | |
I definitely feel tested. | 0:02:06 | 0:02:08 | |
Well, as your captain and your friend, | 0:02:08 | 0:02:10 | |
I will just tell you to think about it before you do anything stupid. | 0:02:10 | 0:02:13 | |
I didn't. Now the woman I want to be with is back there in first class | 0:02:13 | 0:02:16 | |
getting fitted for a glass slipper. | 0:02:16 | 0:02:18 | |
All I've been doing is thinking. | 0:02:18 | 0:02:20 | |
I thought you said she was perfect. | 0:02:20 | 0:02:22 | |
She is. She is. Well, almost. I mean, nobody's perfect, right? | 0:02:22 | 0:02:25 | |
Yeah. For me... Colette comes close. | 0:02:25 | 0:02:29 | |
I guess, if you really love someone, that makes 'em perfect, | 0:02:29 | 0:02:32 | |
even if they don't necessarily feel the same way about you. | 0:02:32 | 0:02:35 | |
Coffee, gentlemen? Yes, please. | 0:02:35 | 0:02:37 | |
Thank you. Thanks. | 0:02:39 | 0:02:40 | |
You're welcome. | 0:02:40 | 0:02:42 | |
The lounge is reserved for first-class passengers only. | 0:02:48 | 0:02:52 | |
Shut the curtain. | 0:02:52 | 0:02:54 | |
CURTAIN RINGS SWOOSH | 0:02:57 | 0:02:59 | |
LOWERED VOICE: I need you to walk something through customs. | 0:02:59 | 0:03:02 | |
SIGHS: What is it this time? | 0:03:02 | 0:03:05 | |
Antique jewellery. Berber pendants. | 0:03:05 | 0:03:07 | |
More art than sparkle, but collectors pay top dollar. | 0:03:07 | 0:03:09 | |
Smuggling jewellery into the United States | 0:03:09 | 0:03:12 | |
is a little more serious | 0:03:12 | 0:03:13 | |
than sneaking cigarettes into North Africa. | 0:03:13 | 0:03:15 | |
Yeah, so is the money - | 0:03:15 | 0:03:17 | |
money you're going to need for your future plans. | 0:03:17 | 0:03:20 | |
My future died last month in Dallas. | 0:03:20 | 0:03:22 | |
Well, I guess I'm your future now. | 0:03:22 | 0:03:24 | |
SIGHS: How depressing. | 0:03:24 | 0:03:26 | |
CHUCKLES: Yeah, but lucrative. SIGHS | 0:03:26 | 0:03:29 | |
ENGINES ROARING MAN: 'Clipper Majestic, | 0:03:32 | 0:03:34 | |
'welcome home to John F Kennedy international.' | 0:03:34 | 0:03:36 | |
So New Year's Eve at my place. We'll help cook? | 0:03:38 | 0:03:41 | |
Well, you can see Times Square from Ted's apartment. | 0:03:41 | 0:03:44 | |
We could watch the ball drop without being trampled. | 0:03:44 | 0:03:45 | |
I don't cook. I don't help cook. CHUCKLES | 0:03:45 | 0:03:47 | |
We'll do everything and everyone can get to know Amanda better. | 0:03:47 | 0:03:50 | |
And Omar. I can't remember being this excited about a new year. | 0:03:50 | 0:03:54 | |
Oh. 1963 was pretty eventful. | 0:03:54 | 0:03:57 | |
1964 will be even better. Mm. We'll make it better. | 0:03:57 | 0:04:00 | |
CHUCKLES | 0:04:02 | 0:04:04 | |
What now? Juan Trippe offering you the moon route? | 0:04:09 | 0:04:12 | |
What is it? | 0:04:15 | 0:04:17 | |
Says I've been grounded. | 0:04:19 | 0:04:21 | |
BAG THUDS For what?! | 0:04:21 | 0:04:23 | |
"Pilot's license has been suspended | 0:04:23 | 0:04:25 | |
"pending the outcome of a hearing." | 0:04:25 | 0:04:28 | |
Well, that Haiti business was months ago. Why now? | 0:04:28 | 0:04:31 | |
PAPER RUSTLING | 0:04:31 | 0:04:33 | |
It doesn't say... | 0:04:33 | 0:04:35 | |
But I think I got a pretty good idea. | 0:04:36 | 0:04:38 | |
What took you so long? | 0:04:42 | 0:04:43 | |
I always flirt with the customs agents. | 0:04:43 | 0:04:45 | |
You wouldn't want me to change my routine now, would you? | 0:04:45 | 0:04:47 | |
You know, you're getting to be a real pro at this. | 0:04:47 | 0:04:48 | |
Oh, save the sweet talk. What's next? | 0:04:48 | 0:04:51 | |
HIGH-PITCHED VOICE: Oh. | 0:04:51 | 0:04:52 | |
So... I'm meeting the buyers tomorrow night. | 0:04:55 | 0:04:58 | |
I'll make the deal. You'll get your cut after that. | 0:04:58 | 0:05:00 | |
Unh-unh. Not so fast. I'm coming with you. | 0:05:00 | 0:05:03 | |
That's going to be a problem. | 0:05:03 | 0:05:04 | |
These guys aren't going to want to make a deal with a woman in the room. | 0:05:04 | 0:05:07 | |
Well, it's almost 1964. | 0:05:07 | 0:05:09 | |
They better get used to women with opinions. | 0:05:09 | 0:05:11 | |
Maggie, let me handle this. | 0:05:11 | 0:05:13 | |
You can't even handle me. | 0:05:13 | 0:05:15 | |
Let me make this perfectly clear. | 0:05:15 | 0:05:17 | |
Where the jewels go, I go. | 0:05:17 | 0:05:20 | |
So I got no choice. | 0:05:21 | 0:05:23 | |
You never did. | 0:05:23 | 0:05:25 | |
Pop. Edward. I called your apartment. | 0:05:41 | 0:05:43 | |
You didn't answer. I was out walking. | 0:05:43 | 0:05:44 | |
Important lunch popped up. | 0:05:44 | 0:05:46 | |
We gotta do ours next week. Oh, bring Amanda along. | 0:05:46 | 0:05:49 | |
OK. Did she tell you? | 0:05:49 | 0:05:51 | |
The governor has agreed to preside over your wedding. | 0:05:51 | 0:05:53 | |
Amanda's father is one of his poker buddies. | 0:05:53 | 0:05:56 | |
CHUCKLES: Your mother says this is shaping up to be | 0:05:56 | 0:05:58 | |
the social event of the year, | 0:05:58 | 0:06:00 | |
and guess who else is coming. | 0:06:00 | 0:06:02 | |
Juan Trippe. | 0:06:02 | 0:06:03 | |
Those captain wings are in the bag. | 0:06:03 | 0:06:05 | |
I'd like to earn 'em on my own. Oh, nonsense. | 0:06:05 | 0:06:09 | |
All this is damn exciting, if you ask me. | 0:06:09 | 0:06:11 | |
What about asking me? Well, isn't it? | 0:06:11 | 0:06:13 | |
Everything's moving kinda fast. Maybe we should slow it down. | 0:06:13 | 0:06:17 | |
I'm afraid the women on both sides of the aisle won't stand for that. | 0:06:17 | 0:06:20 | |
Hell, the Normandy invasion had less planning. | 0:06:20 | 0:06:22 | |
CHUCKLES: I mean, er, e-everything's OK, right? | 0:06:22 | 0:06:24 | |
Look, I-I don't want to make a mistake. | 0:06:24 | 0:06:27 | |
Mm-hmm. Some of the best marriages are not about love. | 0:06:27 | 0:06:30 | |
They're great partnerships. | 0:06:30 | 0:06:32 | |
Yeah, so whatever you're going through, you know, you'll- | 0:06:32 | 0:06:36 | |
you'll get through it, right? | 0:06:36 | 0:06:39 | |
Attaboy. OK. | 0:06:39 | 0:06:41 | |
I'm late, so I'll talk to you next week. | 0:06:41 | 0:06:43 | |
SIGHS | 0:06:43 | 0:06:46 | |
LOCK CLICKS | 0:06:53 | 0:06:56 | |
Richard. What's wrong? | 0:06:56 | 0:06:59 | |
I've been shot. | 0:06:59 | 0:07:01 | |
PANTS | 0:07:01 | 0:07:03 | |
SIGHS: This looks bad, Richard. You should go to a hospital. TAPE TEARING | 0:07:04 | 0:07:07 | |
No. Hospital's the first place they'd look. | 0:07:07 | 0:07:10 | |
"They"? You don't know who did this? | 0:07:10 | 0:07:13 | |
It was dark. I was on my way back to CIA headquarters... | 0:07:13 | 0:07:16 | |
INHALES DEEPLY: ..to deliver this microfilm. | 0:07:16 | 0:07:20 | |
SHE SIGHS | 0:07:20 | 0:07:21 | |
CLATTERS OK. We should call someone. | 0:07:21 | 0:07:23 | |
Don't you understand? It was somebody on the inside. | 0:07:23 | 0:07:27 | |
Nobody else knew about the drop. | 0:07:27 | 0:07:28 | |
HE SIGHS | 0:07:28 | 0:07:30 | |
SIGHS: A double agent. | 0:07:30 | 0:07:32 | |
Listen to me, Kate. | 0:07:32 | 0:07:33 | |
This has to be delivered to the CIA by noon tomorrow. | 0:07:33 | 0:07:36 | |
You're going to have to take it in for me. | 0:07:36 | 0:07:39 | |
SIGHS: OK. | 0:07:39 | 0:07:41 | |
Nobody knows I'm missing, | 0:07:41 | 0:07:42 | |
and if anybody from the agency contacts you, | 0:07:42 | 0:07:46 | |
if they ask about me, that person is the double agent. | 0:07:46 | 0:07:49 | |
Understand? | 0:07:49 | 0:07:51 | |
This can't all be for us. | 0:08:04 | 0:08:07 | |
No. For me, so I can learn all your favourite foods. | 0:08:07 | 0:08:11 | |
I could have just told you. | 0:08:11 | 0:08:13 | |
LAUGHS: What's the fun in that? | 0:08:13 | 0:08:15 | |
Huh. I hope you don't mind. | 0:08:15 | 0:08:18 | |
I flew in the chef from, er, that restaurant you like in Paris. | 0:08:18 | 0:08:21 | |
Le Dome? Mm-hm. | 0:08:21 | 0:08:24 | |
Omar, that's too much. CHUCKLES | 0:08:24 | 0:08:26 | |
We could take the subway to Brooklyn for brick-oven pizza. | 0:08:26 | 0:08:30 | |
Uh, no, no. | 0:08:30 | 0:08:31 | |
This is wonderful. | 0:08:33 | 0:08:35 | |
Please. | 0:08:35 | 0:08:36 | |
Colette. | 0:08:40 | 0:08:42 | |
May I have your permission to court you? | 0:08:42 | 0:08:45 | |
Isn't this what you have been doing? For me, yes, | 0:08:45 | 0:08:47 | |
but for my parents and the Royal Family rules, no. | 0:08:47 | 0:08:51 | |
There are rules? I'm afraid so. | 0:08:53 | 0:08:55 | |
A formal courtship is a minimum of six months. | 0:08:55 | 0:08:59 | |
You'll have your own wing in the palace, | 0:08:59 | 0:09:01 | |
your own staff, an unlimited clothing allowance. | 0:09:01 | 0:09:04 | |
You want me to move to Wahran? | 0:09:04 | 0:09:07 | |
So my family can get to know you as a real person | 0:09:07 | 0:09:10 | |
and not the fantasy I've made you out to be. | 0:09:10 | 0:09:13 | |
Our personal physician will make sure | 0:09:13 | 0:09:15 | |
you are not made from fairy dust, | 0:09:15 | 0:09:17 | |
and-and others will be, er, dispatched to investigate | 0:09:17 | 0:09:21 | |
what magical land you are from. | 0:09:21 | 0:09:23 | |
And what about my job with Pan Am? | 0:09:25 | 0:09:27 | |
You could take a leave of absence, | 0:09:27 | 0:09:30 | |
but only if you wanted to, of course. | 0:09:30 | 0:09:34 | |
Please tell me you'll at least think about it. | 0:09:34 | 0:09:36 | |
I'll think about it. CHUCKLES | 0:09:39 | 0:09:42 | |
Another camera? We can't let the communists win. | 0:09:43 | 0:09:46 | |
No, I can't. It's-it's too expensive. | 0:09:46 | 0:09:50 | |
It's on Pan Am. I told 'em what happened in Moscow, | 0:09:50 | 0:09:52 | |
and they sprang for a new one. That is very sweet. | 0:09:52 | 0:09:55 | |
Thank you. PACKAGING RUSTLES | 0:09:55 | 0:09:58 | |
I want to show you something. | 0:09:58 | 0:10:01 | |
OK. | 0:10:01 | 0:10:03 | |
CHUCKLES: Oh. That was after I told you that... | 0:10:07 | 0:10:11 | |
Yeah. Right. I remember. I look like I'm sitting on the hot seat | 0:10:11 | 0:10:14 | |
and the warden just pulled the switch. | 0:10:14 | 0:10:16 | |
SIGHS | 0:10:16 | 0:10:18 | |
Er... SIGHS | 0:10:21 | 0:10:23 | |
When did you realise Greg wasn't the one? | 0:10:23 | 0:10:27 | |
I mean, you almost married the guy, right? | 0:10:27 | 0:10:31 | |
I think I always knew... | 0:10:33 | 0:10:35 | |
But my parents loved him. | 0:10:37 | 0:10:39 | |
Everyone said we were perfect together. Honestly, I... | 0:10:39 | 0:10:43 | |
I couldn't think of a reason to say no. | 0:10:43 | 0:10:46 | |
Except you wanted more. | 0:10:46 | 0:10:48 | |
Not wanted. | 0:10:48 | 0:10:50 | |
Needed. | 0:10:50 | 0:10:51 | |
HE CHUCKLES | 0:10:51 | 0:10:53 | |
PHOTOS RUSTLING | 0:10:55 | 0:10:56 | |
This one was Andy Warhol's favourite. | 0:10:56 | 0:10:59 | |
Uh, you showed me to Andy Warhol? | 0:10:59 | 0:11:02 | |
Mm-hm. He said that you looked like you were being hunted by the FBI. | 0:11:02 | 0:11:05 | |
Oh, what does he know? The guy paints soup cans. SHE LAUGHS | 0:11:05 | 0:11:07 | |
I think he's a genius. Plus he said that you were a fascinating subject | 0:11:07 | 0:11:11 | |
and that I had a very good eye for choosing you. | 0:11:11 | 0:11:14 | |
Yeah? Maybe he is a genius after all. SHE CHUCKLES | 0:11:14 | 0:11:17 | |
And this one is my favourite. Ohh. | 0:11:17 | 0:11:20 | |
SIGHS: I look like a goofball. CHUCKLES | 0:11:20 | 0:11:23 | |
I like the man in that picture. | 0:11:23 | 0:11:26 | |
HE CHUCKLES | 0:11:26 | 0:11:29 | |
Amanda's probably waiting. | 0:11:35 | 0:11:37 | |
WHISPERS: Yeah, you're probably right. | 0:11:39 | 0:11:41 | |
You must be lost, monsieur. | 0:11:54 | 0:11:57 | |
I know. SIGHS | 0:11:58 | 0:11:59 | |
I started walking. | 0:11:59 | 0:12:02 | |
Guess my inner guidance system brought me here. | 0:12:04 | 0:12:07 | |
So how's, er... | 0:12:15 | 0:12:17 | |
How's Prince Charming treating you? | 0:12:18 | 0:12:20 | |
He wants me to move to Wahran | 0:12:22 | 0:12:25 | |
to begin a formal courtship. | 0:12:25 | 0:12:28 | |
HE CHUCKLES | 0:12:28 | 0:12:30 | |
You think it's a little, er... | 0:12:30 | 0:12:33 | |
A little fast? | 0:12:33 | 0:12:35 | |
The purpose of a courtship is time. | 0:12:35 | 0:12:37 | |
Everything is moving so quickly, it will be nice to slow it down. | 0:12:37 | 0:12:40 | |
You're in love with him? | 0:12:40 | 0:12:42 | |
Love is not something I care to discuss with you. | 0:12:45 | 0:12:48 | |
Look, I-I just...I-I don't want you to get swept up | 0:12:48 | 0:12:52 | |
in some fantasy. SHE SIGHS | 0:12:52 | 0:12:54 | |
Well, I'm beginning to believe that love is a fantasy... | 0:12:54 | 0:12:58 | |
One day there... | 0:12:59 | 0:13:01 | |
..and the next, gone. | 0:13:02 | 0:13:04 | |
Look, Colette... Good luck with the hearing, Dean. | 0:13:07 | 0:13:11 | |
The microfilm should be safe inside the lining, | 0:13:20 | 0:13:23 | |
even if someone searches you. | 0:13:23 | 0:13:24 | |
Walk straight into CIA headquarters. | 0:13:24 | 0:13:26 | |
Alan O'Neill is on the 14th floor, last office on the left. | 0:13:26 | 0:13:29 | |
Don't stop. Don't say anything except the password. | 0:13:29 | 0:13:32 | |
"Albatross." | 0:13:33 | 0:13:35 | |
Alan will know what to do. | 0:13:35 | 0:13:37 | |
Oh! Kate. | 0:13:45 | 0:13:47 | |
Ohh. Sorry. I frightened you. | 0:13:47 | 0:13:49 | |
SIGHS: Anderson. What are you doing in new York? | 0:13:49 | 0:13:52 | |
Little trouble with Richard, I'm afraid. | 0:13:52 | 0:13:54 | |
You haven't heard from him, have you? | 0:13:54 | 0:13:56 | |
Has Richard been in contact with you? | 0:13:58 | 0:14:00 | |
No. | 0:14:00 | 0:14:02 | |
Not since Rome. Why? | 0:14:02 | 0:14:05 | |
Well, he's disappeared. | 0:14:05 | 0:14:07 | |
No-one at MI6 or the CIA has heard from him. | 0:14:07 | 0:14:09 | |
He has in his possession a very valuable microfilm. | 0:14:09 | 0:14:11 | |
If it were to fall into the wrong hands, | 0:14:11 | 0:14:13 | |
it would be devastating to both our countries. | 0:14:13 | 0:14:16 | |
Well, do you think he's all right? | 0:14:16 | 0:14:18 | |
Well, our fear is that he's gone rogue | 0:14:18 | 0:14:20 | |
and is arranging a sale to the Russians. | 0:14:20 | 0:14:23 | |
If you hear from him, call me immediately. | 0:14:23 | 0:14:26 | |
Where? I'm staying at the Plaza Hotel. | 0:14:27 | 0:14:30 | |
Either there or CIA headquarters. | 0:14:30 | 0:14:33 | |
SIGHS | 0:14:34 | 0:14:37 | |
PANTING, CLOSES DOOR | 0:14:38 | 0:14:40 | |
Richard? KEYS JANGLE, PURSE CLATTERS | 0:14:40 | 0:14:42 | |
I couldn't make it to the CIA. | 0:14:42 | 0:14:45 | |
I got stopped by someone, | 0:14:45 | 0:14:47 | |
just like you said. | 0:14:47 | 0:14:50 | |
SIGHS | 0:14:53 | 0:14:54 | |
PANTING | 0:14:54 | 0:14:56 | |
THREADS TEAR | 0:14:57 | 0:14:58 | |
TAPS CANISTER ON TABLE | 0:15:03 | 0:15:06 | |
GASPS | 0:15:08 | 0:15:09 | |
PANTING | 0:15:11 | 0:15:13 | |
Teddy. CHUCKLES | 0:15:21 | 0:15:22 | |
Hi, Amanda. Did you hear about the governor? | 0:15:22 | 0:15:26 | |
CHUCKLES: Do you know how many people he's married? | 0:15:26 | 0:15:29 | |
None. We're the first. | 0:15:29 | 0:15:31 | |
Uh, Amanda, just, um... let me talk. | 0:15:31 | 0:15:35 | |
This isn't easy to say. | 0:15:35 | 0:15:37 | |
Then don't say it. | 0:15:37 | 0:15:39 | |
CHUCKLES | 0:15:39 | 0:15:41 | |
SIGHS: Come upstairs. | 0:15:41 | 0:15:44 | |
I missed you. | 0:15:44 | 0:15:46 | |
Uh... | 0:15:46 | 0:15:48 | |
No. | 0:15:48 | 0:15:50 | |
"No"? CHUCKLES | 0:15:52 | 0:15:55 | |
I don't understand. | 0:15:55 | 0:15:58 | |
I can't share my wife. | 0:15:58 | 0:16:00 | |
I still want an old-fashioned marriage. Fine. | 0:16:01 | 0:16:05 | |
Then I will be your devoted, faithful wife. | 0:16:05 | 0:16:10 | |
But every morning you'll wake up wishing I was someone else. | 0:16:10 | 0:16:14 | |
SIGHS: Isn't it the other way around? | 0:16:16 | 0:16:18 | |
This is about Laura, isn't it? | 0:16:20 | 0:16:22 | |
What? No. | 0:16:22 | 0:16:24 | |
SIGHS | 0:16:24 | 0:16:25 | |
Amanda, I'm sorry. I-I'm sorry. Look, Teddy, don't do this. | 0:16:25 | 0:16:30 | |
I can't marry you. | 0:16:30 | 0:16:32 | |
SIGHS | 0:16:38 | 0:16:39 | |
Why are you taking your Pan Am bag? | 0:16:39 | 0:16:42 | |
Oh. Gets me the best table in town. KNOCK ON DOOR | 0:16:42 | 0:16:45 | |
Oh! Amanda. | 0:16:46 | 0:16:49 | |
Maggie. | 0:16:49 | 0:16:50 | |
SIGHS: Oh. Uh, darn. I was just on my way out. | 0:16:50 | 0:16:52 | |
Uh, we'll have to catch up later. | 0:16:52 | 0:16:54 | |
Actually, I wanted to talk to Laura. | 0:16:54 | 0:16:57 | |
Oh! | 0:16:57 | 0:16:58 | |
Amanda, hi. This is a nice surprise. | 0:17:00 | 0:17:03 | |
DOOR CLOSES | 0:17:03 | 0:17:05 | |
I made an investment in a friendship. | 0:17:05 | 0:17:07 | |
I hope it's about to pay off in the form of a favour. | 0:17:07 | 0:17:11 | |
Oh, yeah. Of course. Anything. | 0:17:11 | 0:17:14 | |
I'd like you to be Ted's mistress. | 0:17:14 | 0:17:17 | |
SHE LAUGHS | 0:17:17 | 0:17:20 | |
LAUGHS: That's...the funniest thing I've ever heard. You... | 0:17:20 | 0:17:24 | |
I'm serious. | 0:17:24 | 0:17:25 | |
CHUCKLES: You can't be. That's-that's- | 0:17:25 | 0:17:28 | |
I-I don't want to be anyone's mistress. | 0:17:28 | 0:17:31 | |
I've noticed the way you two look at each other. | 0:17:31 | 0:17:35 | |
There's definitely an attraction. | 0:17:35 | 0:17:38 | |
No. No. Ted is in love with you. | 0:17:38 | 0:17:40 | |
You're about to get married. | 0:17:40 | 0:17:42 | |
Look, he's running away from our wedding. | 0:17:42 | 0:17:44 | |
I think the main reason is you... | 0:17:44 | 0:17:48 | |
SIGHS: So if it will get Ted to marry me... | 0:17:48 | 0:17:52 | |
..I'm willing to share him. | 0:17:53 | 0:17:55 | |
If Ted's getting cold feet, | 0:17:55 | 0:17:57 | |
this is not the way to get him back. | 0:17:57 | 0:18:00 | |
No, it'll be perfect. CHUCKLES | 0:18:00 | 0:18:03 | |
While I'm home enjoying the things that you ran away from, | 0:18:03 | 0:18:06 | |
you and Teddy can be off circling the globe together. | 0:18:06 | 0:18:09 | |
Those things I ran away from I still want, | 0:18:09 | 0:18:12 | |
just at the right time with the right guy. | 0:18:12 | 0:18:14 | |
Well, it won't be with Teddy. | 0:18:14 | 0:18:17 | |
Fine. | 0:18:17 | 0:18:18 | |
DOOR OPENS | 0:18:24 | 0:18:27 | |
DOOR CLOSES | 0:18:27 | 0:18:29 | |
SHE SIGHS | 0:18:29 | 0:18:30 | |
My parents' names were Oscar and Rachel Valois. | 0:18:32 | 0:18:35 | |
They were in the French Resistance, | 0:18:35 | 0:18:38 | |
killed while fighting the Nazis. | 0:18:38 | 0:18:41 | |
And you were raised in an orphanage? | 0:18:42 | 0:18:45 | |
By Ursuline nuns in Le Chambord. | 0:18:45 | 0:18:49 | |
And you remained in Le Chambord until you were 23? | 0:18:49 | 0:18:52 | |
Yes. | 0:18:52 | 0:18:54 | |
Too long... CHUCKLES | 0:18:54 | 0:18:57 | |
because the one thing I remembered was my mother saying, | 0:18:57 | 0:19:00 | |
"If you are lost, stay where you are. We will find you." | 0:19:00 | 0:19:05 | |
So I stayed, hoping one day I would cross the street | 0:19:05 | 0:19:09 | |
and see my mother buying bread | 0:19:09 | 0:19:12 | |
or pass a cafe where my father was reading the paper... | 0:19:12 | 0:19:15 | |
Even though I was told they were dead and I no longer remembered | 0:19:18 | 0:19:23 | |
what they looked like. SIGHS | 0:19:23 | 0:19:27 | |
I think that's enough questions for today. | 0:19:27 | 0:19:30 | |
SIGHS: Mmm. | 0:19:30 | 0:19:33 | |
There's a bar around the corner. | 0:19:38 | 0:19:41 | |
Maybe your girlfriend would be more comfortable waiting there. | 0:19:41 | 0:19:44 | |
I'm fine right here. | 0:19:44 | 0:19:46 | |
She gets emotional. You know how women are. | 0:19:46 | 0:19:49 | |
Once they get their claws in, you're hooked for life. | 0:19:49 | 0:19:52 | |
Onde eles estao? | 0:19:57 | 0:19:59 | |
Fique tranquilo. Eles estao aqui. | 0:19:59 | 0:20:01 | |
SPEAKS PORTUGUESE | 0:20:01 | 0:20:05 | |
Deal's off. What the hell are you doing? | 0:20:05 | 0:20:08 | |
Wait. Wait. We want to make an offer. Let's go. Now. | 0:20:08 | 0:20:11 | |
Uh...I-I'm sorry. She's crazy. I'll be right back. | 0:20:11 | 0:20:14 | |
What the hell are you doing? LOWERED VOICE: It's a rip-off. | 0:20:15 | 0:20:18 | |
How the hell do you know that? | 0:20:18 | 0:20:20 | |
They were speaking in Portuguese about stealing the jewels. That's ridiculous. | 0:20:20 | 0:20:23 | |
DOOR CREAKS, GASPS, PANTING | 0:20:23 | 0:20:26 | |
Nice people you deal with. | 0:20:38 | 0:20:39 | |
I've never dealt with 'em before. It was set up through a friend. | 0:20:39 | 0:20:41 | |
Now you tell me. I didn't want you to be nervous! | 0:20:41 | 0:20:43 | |
You could've gotten us killed. It won't happen again, all right? | 0:20:43 | 0:20:46 | |
Just give me the bag. I'll come up with another plan. | 0:20:46 | 0:20:48 | |
You do that, but the jewels stay with me. | 0:20:48 | 0:20:50 | |
SIGHS | 0:20:50 | 0:20:51 | |
LOCK TURNING | 0:20:55 | 0:20:56 | |
TELEPHONE CLATTERS | 0:20:56 | 0:20:58 | |
Safety tip - don't leave a key lying around | 0:21:03 | 0:21:06 | |
with a tag that says "spare key." | 0:21:06 | 0:21:09 | |
KEY CLATTERS Where did you go? | 0:21:09 | 0:21:11 | |
Let me sit first. The room is spinning. | 0:21:11 | 0:21:14 | |
HE COUGHS | 0:21:14 | 0:21:15 | |
I followed you to make sure you were safe. | 0:21:15 | 0:21:17 | |
I needed to be sure Anderson didn't double back. | 0:21:17 | 0:21:20 | |
Where's the microfilm, Richard? | 0:21:20 | 0:21:22 | |
SIGHS: Right here. Sorry. I had to be sure. | 0:21:22 | 0:21:25 | |
So you were testing me? | 0:21:25 | 0:21:27 | |
That bottle in your hand says you don't completely trust me, either. | 0:21:27 | 0:21:30 | |
So you knew about Anderson? | 0:21:34 | 0:21:37 | |
Suspected. | 0:21:37 | 0:21:38 | |
Ever since the two of you had that little escapade in London. | 0:21:38 | 0:21:42 | |
He was after the list for himself. | 0:21:42 | 0:21:44 | |
The Soviets put a premium on it. Anderson decided to cash in. | 0:21:44 | 0:21:48 | |
Anderson told me that you're the double agent. | 0:21:48 | 0:21:51 | |
Classic spycraft. Accuse your accuser. | 0:21:51 | 0:21:55 | |
I came here because I wanted to trust you, Kate. | 0:21:55 | 0:21:59 | |
Now you have to decide who you trust. | 0:21:59 | 0:22:03 | |
What am I supposed to do with this? | 0:22:06 | 0:22:08 | |
Do with what? | 0:22:08 | 0:22:09 | |
Amanda and her ridiculous offer - | 0:22:09 | 0:22:12 | |
marry her and get me in the bargain? | 0:22:12 | 0:22:13 | |
I'm sorry. She's just used to getting her way, | 0:22:13 | 0:22:16 | |
but d-do you really think I'd ever accept that | 0:22:16 | 0:22:17 | |
or think for a second that you would? | 0:22:17 | 0:22:19 | |
Why did you call off the wedding? | 0:22:19 | 0:22:21 | |
To tell the truth, Amanda is great... | 0:22:23 | 0:22:26 | |
on paper, | 0:22:26 | 0:22:28 | |
a-and I've always... | 0:22:28 | 0:22:30 | |
wanted someone like her, o-only not her. | 0:22:30 | 0:22:33 | |
Why not? | 0:22:35 | 0:22:36 | |
Well-well, to be perfectly honest, there's someone else. | 0:22:36 | 0:22:39 | |
There is? Yeah. | 0:22:41 | 0:22:44 | |
CHUCKLES: Yeah. | 0:22:44 | 0:22:46 | |
Someone I've, er, come to know quite well, | 0:22:46 | 0:22:49 | |
and I think I've fallen in love with her. | 0:22:49 | 0:22:52 | |
VOICE BREAKS: And wh-when did this...happen? | 0:22:55 | 0:22:58 | |
I-I don't really know. | 0:22:58 | 0:23:00 | |
She just sorta grew on me... | 0:23:00 | 0:23:03 | |
..holding a TV antenna out a window in Jakarta, | 0:23:05 | 0:23:08 | |
watching Jack Kennedy speak in Berlin. | 0:23:08 | 0:23:10 | |
It's always been you, Laura, | 0:23:13 | 0:23:15 | |
ever since that first flight in London. | 0:23:15 | 0:23:18 | |
Ted. | 0:23:18 | 0:23:19 | |
CHUCKLES: I know. | 0:23:19 | 0:23:21 | |
Do you? Don't I? | 0:23:21 | 0:23:24 | |
CHUCKLES | 0:23:24 | 0:23:25 | |
INHALES DEEPLY | 0:23:29 | 0:23:32 | |
HORN HONKS | 0:23:39 | 0:23:41 | |
During a medical emergency, | 0:23:41 | 0:23:43 | |
I am required to land at the nearest airport. | 0:23:43 | 0:23:46 | |
In a country hostile to Americans? | 0:23:46 | 0:23:48 | |
Uh, this was a life-or-death situation. | 0:23:48 | 0:23:50 | |
Not for long. The passenger died. | 0:23:50 | 0:23:52 | |
Yeah, despite the heroic efforts of my crew to find a doctor. | 0:23:52 | 0:23:55 | |
You were informed the airport was closed. | 0:23:55 | 0:23:58 | |
Did they give you a reason? | 0:23:58 | 0:24:00 | |
I landed without incident, | 0:24:01 | 0:24:03 | |
and I got my passengers and my aircraft home safely. | 0:24:03 | 0:24:06 | |
We have an affidavit from a Pan Am passenger, Miguel Ortiz. | 0:24:06 | 0:24:10 | |
He claims you threatened him | 0:24:10 | 0:24:12 | |
and that your decision to take the refugee was based | 0:24:12 | 0:24:16 | |
on a personal relationship with one of your crew - Colette Valois. | 0:24:16 | 0:24:20 | |
In the end, I made the decision that I felt was right. | 0:24:25 | 0:24:30 | |
Sorry I didn't call first. I was trying to avoid another setup. | 0:24:34 | 0:24:38 | |
What are you doing here? | 0:24:38 | 0:24:40 | |
Where is Captain Broyles? | 0:24:40 | 0:24:42 | |
Oh, he gets so emotional. You know how men are. | 0:24:42 | 0:24:45 | |
Women are much more practical, don't you think? | 0:24:45 | 0:24:47 | |
I'm willing to forgive and forget. | 0:24:47 | 0:24:50 | |
What are you proposing? | 0:24:50 | 0:24:52 | |
Well, you still want to buy the jewels, don't you? | 0:24:52 | 0:24:55 | |
Very much. | 0:24:55 | 0:24:56 | |
Vamos fazer negocios. | 0:24:56 | 0:24:59 | |
TONY BENNETT: # What I couldn't do with plenty of money and you! # | 0:24:59 | 0:25:03 | |
How? | 0:25:03 | 0:25:05 | |
Surprise is a great negotiator. | 0:25:05 | 0:25:07 | |
Isn't it beautiful? | 0:25:07 | 0:25:09 | |
Even more so with you on top of it. | 0:25:09 | 0:25:11 | |
SHE CHUCKLES | 0:25:11 | 0:25:12 | |
# And it's the root of all evil Of strife and upheaval | 0:25:12 | 0:25:16 | |
# But I'm certain, honey that life would be sunny | 0:25:16 | 0:25:19 | |
# With plenty of money and you! # | 0:25:19 | 0:25:22 | |
That painting is beautiful. | 0:25:31 | 0:25:34 | |
The background investigation has revealed something. | 0:25:36 | 0:25:39 | |
Am I an escaped murderer? | 0:25:39 | 0:25:41 | |
Your name is not the same as your parents. | 0:25:41 | 0:25:46 | |
How could that be? No, your investigators made a mistake. | 0:25:47 | 0:25:51 | |
No mistake. | 0:25:51 | 0:25:53 | |
The nuns changed your name to protect you and themselves. | 0:25:53 | 0:25:57 | |
But why? | 0:25:57 | 0:25:59 | |
Because they would have been killed | 0:25:59 | 0:26:01 | |
for sheltering a child with the name Halevy. | 0:26:01 | 0:26:04 | |
It is a Jewish name. | 0:26:06 | 0:26:07 | |
My parents were Jewish? | 0:26:09 | 0:26:11 | |
Yes. | 0:26:11 | 0:26:13 | |
They weren't part of the resistance? | 0:26:13 | 0:26:15 | |
Maybe. I don't know, but that is not how they died. | 0:26:15 | 0:26:19 | |
How? | 0:26:19 | 0:26:21 | |
Does it matter? How did they die? | 0:26:23 | 0:26:25 | |
Dachau. | 0:26:28 | 0:26:29 | |
I stayed awake all night wondering how I would tell you. | 0:26:35 | 0:26:39 | |
All my life, I've only known lies... | 0:26:39 | 0:26:43 | |
Even my own name. | 0:26:43 | 0:26:45 | |
This doesn't change who you are now. | 0:26:47 | 0:26:49 | |
No, but it changes us, doesn't it? | 0:26:49 | 0:26:55 | |
SIGHS: Here. | 0:26:58 | 0:27:00 | |
RUSTLES Look at this. | 0:27:00 | 0:27:02 | |
Is this...? Your family. | 0:27:06 | 0:27:09 | |
It was taken by the friends who gave you to the orphanage. | 0:27:09 | 0:27:13 | |
But there's a baby. | 0:27:13 | 0:27:16 | |
A boy. | 0:27:16 | 0:27:18 | |
He was adopted from the orphanage a few days after you both arrived. | 0:27:18 | 0:27:22 | |
We tried to locate him, but couldn't. | 0:27:22 | 0:27:25 | |
I had a brother. SNIFFLES | 0:27:27 | 0:27:30 | |
You still have a brother. | 0:27:30 | 0:27:33 | |
As far as we know, he survived. | 0:27:33 | 0:27:35 | |
One of the conditions to settle the lawsuit | 0:27:46 | 0:27:48 | |
with Mr Belson's family is that you be terminated. | 0:27:48 | 0:27:52 | |
Although you were acting under extreme circumstances... DOOR OPENS > | 0:27:52 | 0:27:55 | |
Permission to speak. | 0:27:55 | 0:27:57 | |
Of course, Captain Broyles. | 0:27:57 | 0:28:00 | |
On the subject of Haiti, | 0:28:00 | 0:28:02 | |
Captain Lowrey left that body behind to ensure the safety | 0:28:02 | 0:28:05 | |
of his passengers, by the book. | 0:28:05 | 0:28:07 | |
Not Pan Am's book. Then I suggest an addendum. | 0:28:07 | 0:28:10 | |
But he took on a stowaway. | 0:28:10 | 0:28:11 | |
Once on board, she was his passenger, too. It was his duty to protect her. | 0:28:11 | 0:28:15 | |
And I talked to his navigator. | 0:28:15 | 0:28:16 | |
That take-off out of Port-au-Prince was a thing of beauty. | 0:28:16 | 0:28:19 | |
Instead of standing here being judged, | 0:28:19 | 0:28:20 | |
Captain Lowrey ought to be showing other Pan Am pilots how it's done. | 0:28:20 | 0:28:23 | |
At a party in Rome, didn't Captain Lowrey assault you? | 0:28:23 | 0:28:27 | |
Justified. I would have hit me, too, and harder. | 0:28:27 | 0:28:30 | |
That's all I have to say. | 0:28:30 | 0:28:32 | |
Thank you, Captain Broyles, for your...testimony. | 0:28:32 | 0:28:36 | |
If that's all... It's not. | 0:28:36 | 0:28:38 | |
Addressed to you, from Juan Trippe. | 0:28:39 | 0:28:42 | |
You may want to read that now. | 0:28:44 | 0:28:47 | |
LOWERED VOICE: That's from Maggie, and I want a rematch. | 0:28:47 | 0:28:51 | |
LOWERED VOICE: You're on. | 0:28:51 | 0:28:52 | |
CLEARS THROAT | 0:28:55 | 0:28:58 | |
Well, you're very fortunate, Captain Lowrey. | 0:28:59 | 0:29:02 | |
It seems that Mr Trippe has made an investment in your future, | 0:29:02 | 0:29:06 | |
and taking this and Captain Broyles' testimony into consideration, | 0:29:06 | 0:29:10 | |
you will not be terminated at this time. | 0:29:10 | 0:29:13 | |
Thank you. However, your flying privileges | 0:29:13 | 0:29:16 | |
will be suspended for six months. | 0:29:16 | 0:29:18 | |
< There'll be a plane waiting for you in June. | 0:29:18 | 0:29:20 | |
Consider yourself very lucky, Captain. | 0:29:20 | 0:29:23 | |
Thank you, gentlemen. | 0:29:25 | 0:29:26 | |
Is everything OK? You pulled me out of a meeting! Yeah. | 0:29:38 | 0:29:41 | |
SIGHS: I called off the wedding. | 0:29:41 | 0:29:43 | |
Amanda wasn't the right woman, so it's over. | 0:29:43 | 0:29:46 | |
What are you talking about? She's perfect for you. | 0:29:46 | 0:29:48 | |
No, she's perfect for that plan you have for me, but I don't need that. | 0:29:48 | 0:29:52 | |
I've got Laura. Who's-who's Laura? | 0:29:52 | 0:29:55 | |
The woman I love, | 0:29:55 | 0:29:56 | |
and it turns out she loves your huge disappointment of a son, too. | 0:29:56 | 0:29:59 | |
I never said you were a disappointment. | 0:29:59 | 0:30:01 | |
You didn't have to. | 0:30:01 | 0:30:03 | |
Just wait. Think about it. I'll come by the house. Let's talk. | 0:30:03 | 0:30:06 | |
Tell mom I'm sorry. | 0:30:08 | 0:30:10 | |
Happy new year, pop. | 0:30:12 | 0:30:13 | |
Edward, we're not done here. | 0:30:15 | 0:30:18 | |
Edward. | 0:30:18 | 0:30:19 | |
VARIOUS ANNOUNCEMENTS VIA TANNOY | 0:30:20 | 0:30:23 | |
I talked to Richard. | 0:30:36 | 0:30:38 | |
Where is he? My apartment, asleep on my couch. | 0:30:38 | 0:30:42 | |
He trusts me. Good. All right. Stay here. | 0:30:42 | 0:30:46 | |
I've got to get to him before he contacts the Soviets. | 0:30:46 | 0:30:49 | |
Anderson, it doesn't matter if he does. | 0:30:49 | 0:30:51 | |
I have the microfilm. I lifted it from his pocket. | 0:30:51 | 0:30:56 | |
Good girl! | 0:30:56 | 0:30:58 | |
I knew I could count on you. Give it to me. I'll keep it safe. | 0:30:58 | 0:31:01 | |
Just one thing. The mission in London - | 0:31:01 | 0:31:05 | |
why me and not a female MI6 agent? | 0:31:05 | 0:31:08 | |
We can talk about that later. Just give me the microfilm. | 0:31:08 | 0:31:12 | |
They're trained agents. I'm a stewardess. | 0:31:12 | 0:31:15 | |
Don't undervalue your abilities. | 0:31:15 | 0:31:17 | |
A worldwide intelligence agency | 0:31:17 | 0:31:19 | |
is looking for that microfilm, | 0:31:19 | 0:31:22 | |
and you were the one to retrieve it. | 0:31:22 | 0:31:24 | |
Now I must insist that you give it to me. | 0:31:24 | 0:31:26 | |
Let's take it to CIA headquarters...together. | 0:31:28 | 0:31:31 | |
Kate, this is not a game. Are you sure? | 0:31:31 | 0:31:34 | |
GUN COCKS | 0:31:34 | 0:31:36 | |
PANTING: What are you going to do? | 0:31:36 | 0:31:38 | |
Are you going to shoot me in front of all these people? | 0:31:38 | 0:31:41 | |
It's easily explained. The Soviets turned you when you were in Moscow. | 0:31:41 | 0:31:46 | |
You shot Richard. You stole the microfilm. | 0:31:46 | 0:31:49 | |
I caught you. Unfortunately, you resisted. | 0:31:49 | 0:31:52 | |
all right. Let's go. A little unfinished business. | 0:32:00 | 0:32:05 | |
Get on the ground! | 0:32:08 | 0:32:09 | |
I'm a special agent for MI6! | 0:32:10 | 0:32:12 | |
I'm arresting that woman for espionage. She's a spy! | 0:32:12 | 0:32:15 | |
GUNS COCK | 0:32:15 | 0:32:17 | |
I hate to break it to you. | 0:32:18 | 0:32:20 | |
We're all spies. | 0:32:20 | 0:32:22 | |
LOWERED VOICE: This is how I always want to remember you, Anderson. | 0:32:24 | 0:32:28 | |
Get up. | 0:32:34 | 0:32:36 | |
MEN SPEAK INDISTINCTLY | 0:32:36 | 0:32:38 | |
DOOR CLOSES | 0:32:43 | 0:32:45 | |
KEYS JANGLE | 0:32:47 | 0:32:49 | |
Amanda. KEYS CLATTER | 0:32:49 | 0:32:51 | |
CRYING: You know, at my summer home... | 0:32:52 | 0:32:54 | |
SNIFFLES AND SIGHS | 0:32:54 | 0:32:56 | |
I used to push you off the dock just to see you cry. | 0:32:56 | 0:33:00 | |
I'm a better swimmer now. CHUCKLES | 0:33:02 | 0:33:04 | |
I'm the one being thrown in the deep end. | 0:33:06 | 0:33:10 | |
Amanda. | 0:33:10 | 0:33:11 | |
We talked about this. | 0:33:11 | 0:33:13 | |
There's been a slight detour. | 0:33:13 | 0:33:16 | |
SNIFFLES | 0:33:16 | 0:33:18 | |
SIGHS: I've just come from the doctor. | 0:33:18 | 0:33:22 | |
SIGHS: I'm pregnant, Teddy. | 0:33:24 | 0:33:27 | |
Well, don't just stand there. | 0:33:28 | 0:33:31 | |
You're-you're going to be a father. Hug me. | 0:33:31 | 0:33:35 | |
Uh... | 0:33:35 | 0:33:37 | |
SNIFFLES | 0:33:39 | 0:33:40 | |
We'll get married right away. You'll see. | 0:33:40 | 0:33:43 | |
This is the best thing that could have happened. | 0:33:44 | 0:33:47 | |
CRYING | 0:33:48 | 0:33:50 | |
What are you doing here? It's New Year's Eve. | 0:34:02 | 0:34:05 | |
Don't you have a party to run off to? | 0:34:05 | 0:34:09 | |
I do. SIGHS | 0:34:09 | 0:34:11 | |
I couldn't leave you here all alone. | 0:34:11 | 0:34:14 | |
Well, for people in our business, alone is our natural state. | 0:34:14 | 0:34:18 | |
You have come a long way from the stewardess | 0:34:23 | 0:34:26 | |
who didn't think she could switch a passport. | 0:34:26 | 0:34:29 | |
That was a lifetime ago. | 0:34:29 | 0:34:32 | |
My biggest problem was my sister on the cover of a magazine, | 0:34:32 | 0:34:36 | |
my parents were the enemy... | 0:34:36 | 0:34:40 | |
and this country was Camelot. | 0:34:40 | 0:34:43 | |
The world has changed. It's getting more dangerous every day. | 0:34:43 | 0:34:46 | |
That's why we need people like you. | 0:34:48 | 0:34:50 | |
You have me. | 0:34:50 | 0:34:53 | |
Right now, like most women who work for us, | 0:34:53 | 0:34:55 | |
you're just an asset, but that is about to change. | 0:34:55 | 0:34:59 | |
We want you to become a real agent, Kate. | 0:34:59 | 0:35:02 | |
You'll have to go through training at Langley. | 0:35:03 | 0:35:05 | |
A new class starts next month. | 0:35:05 | 0:35:07 | |
What about Pan Am? | 0:35:07 | 0:35:09 | |
Life is all about making choices. | 0:35:09 | 0:35:13 | |
WHISPERS: Happy new year, Richard. | 0:35:19 | 0:35:21 | |
TED: As we speak, little Teddy Jr Is growing inside of her. | 0:35:23 | 0:35:26 | |
A guy has gotta do the right thing, right? | 0:35:26 | 0:35:29 | |
Yeah, absolutely. Mm. Oh, man! | 0:35:29 | 0:35:32 | |
What will I do in that right seat for six months without you in the left? | 0:35:32 | 0:35:37 | |
IMITATES WHOOSH | 0:35:37 | 0:35:39 | |
BOTTLES CLINK AND CLATTER | 0:35:39 | 0:35:41 | |
What's your gut telling you? I've had too many of those. | 0:35:41 | 0:35:44 | |
Yeah? Good. Have another. | 0:35:44 | 0:35:46 | |
Oh, boy. | 0:35:46 | 0:35:48 | |
HE SIGHS | 0:35:50 | 0:35:53 | |
What does the gut know anyway? | 0:35:55 | 0:35:58 | |
It keeps changing its mind. Until Colette. | 0:35:58 | 0:36:00 | |
Yeah. Until Colette. | 0:36:02 | 0:36:04 | |
You're going to get her back. | 0:36:04 | 0:36:06 | |
No. She's going to be a princess. No. no, no, no, no, no, no. | 0:36:06 | 0:36:10 | |
The royal courtship is kaput. | 0:36:10 | 0:36:13 | |
It's what? It's over. When? | 0:36:13 | 0:36:15 | |
Last night. Laura told me. The runway's clear, my friend. | 0:36:15 | 0:36:19 | |
Yeah, but, see, she'd still have to forgive me. | 0:36:19 | 0:36:22 | |
Right. That's highly doubtful. | 0:36:22 | 0:36:24 | |
At least you have a chance. | 0:36:24 | 0:36:27 | |
Huh? | 0:36:27 | 0:36:29 | |
I'm going to be a father and lose Laura forever. | 0:36:29 | 0:36:33 | |
Oh, hell. HE SIGHS | 0:36:36 | 0:36:38 | |
It's New Year's Eve. | 0:36:38 | 0:36:40 | |
CHUCKLES Tomorrow's a new year. | 0:36:40 | 0:36:43 | |
Yeah. | 0:36:43 | 0:36:45 | |
COLETTE: He's 21. He might in college. | 0:36:45 | 0:36:48 | |
He might be married. I might be an aunt. | 0:36:48 | 0:36:50 | |
ALL CHUCKLE | 0:36:50 | 0:36:51 | |
You lose a prince. You gain a brother. | 0:36:51 | 0:36:54 | |
Without knowing it, all my life I've been looking for him, | 0:36:54 | 0:36:57 | |
but all I seemed to find were the men I shouldn't have. | 0:36:57 | 0:37:00 | |
Oh, those kind are easier to find. Mm. Yes. | 0:37:00 | 0:37:03 | |
Sometimes the right one's there and you just don't know it. | 0:37:03 | 0:37:05 | |
Until he's gone. | 0:37:05 | 0:37:06 | |
Or you wish they were. Mm-hm. | 0:37:06 | 0:37:08 | |
Where's Ted and Dean. The ball's going to drop in a minute. | 0:37:08 | 0:37:11 | |
Who needs more champagne? ALL: Me. | 0:37:11 | 0:37:13 | |
LAUGHTER | 0:37:13 | 0:37:15 | |
Maggie. Did you pilfer all those bottles from Pan Am? | 0:37:16 | 0:37:19 | |
No! This is legitimate cargo. | 0:37:19 | 0:37:22 | |
Really? I recently came into a little money. | 0:37:22 | 0:37:26 | |
Thank you. | 0:37:26 | 0:37:27 | |
Uh, a toast. Oh. Yeah, yeah. | 0:37:27 | 0:37:29 | |
To Pan Am, for bringing us all together. | 0:37:29 | 0:37:32 | |
ALL: Pan Am. GLASSES CLINK | 0:37:32 | 0:37:34 | |
ALL LAUGH | 0:37:34 | 0:37:36 | |
- Hey! Traffic was crazy. - Oh, they're here! | 0:37:36 | 0:37:40 | |
Hi. DOOR CLOSES | 0:37:40 | 0:37:42 | |
Hey. Mm. | 0:37:42 | 0:37:44 | |
When did that happen?! | 0:37:44 | 0:37:45 | |
Um...isn't he engaged to somebody else? | 0:37:45 | 0:37:48 | |
To Amanda. She kissed me. | 0:37:48 | 0:37:51 | |
BOTH: What? On the mouth. It wasn't half bad. | 0:37:51 | 0:37:54 | |
Oh. | 0:37:54 | 0:37:56 | |
Congratulations. | 0:37:57 | 0:37:59 | |
I hear you're still a Pan Am pilot. | 0:37:59 | 0:38:01 | |
Yeah... with a six-month suspension. | 0:38:01 | 0:38:05 | |
Well, still better than being fired. Mm. | 0:38:05 | 0:38:07 | |
Sorry about... you and the prince. | 0:38:07 | 0:38:10 | |
Don't be. I'm not. | 0:38:10 | 0:38:12 | |
CHUCKLES | 0:38:12 | 0:38:14 | |
That's my family. | 0:38:15 | 0:38:16 | |
That's me standing in front of my father. | 0:38:16 | 0:38:19 | |
Well, who's, er, who's the boy? That's my brother. | 0:38:21 | 0:38:25 | |
Tomorrow I start looking for him. | 0:38:27 | 0:38:29 | |
Let me help you. | 0:38:29 | 0:38:31 | |
Dean. WHISPERS: Oh, come on. | 0:38:31 | 0:38:34 | |
NORMAL VOICE: Hey, it just so happens that I have six months off of work. | 0:38:34 | 0:38:38 | |
WHISPERS: Come on. Please. | 0:38:38 | 0:38:40 | |
CHUCKLES | 0:38:40 | 0:38:41 | |
I missed you. | 0:38:41 | 0:38:43 | |
Um, listen, er, Laura, I have to tell you something. | 0:38:43 | 0:38:47 | |
MAGGIE: Hey, everybody! The countdown's about to begin. | 0:38:47 | 0:38:49 | |
Tell me next year. Let's watch the ball drop. OK. | 0:38:49 | 0:38:52 | |
CHEERS AND APPLAUSE | 0:38:52 | 0:38:54 | |
NOISEMAKERS JINGLING | 0:38:56 | 0:38:58 | |
Goodbye, 1963. | 0:39:05 | 0:39:08 | |
It was the best of times. It was the worst of times. | 0:39:08 | 0:39:11 | |
I loved every minute of it. | 0:39:11 | 0:39:13 | |
I love us. And this. I love this. | 0:39:13 | 0:39:16 | |
I hope that ball never lands. CROWD COUNTS DOWN | 0:39:16 | 0:39:19 | |
..three, two, one! | 0:39:19 | 0:39:22 | |
CROWD CHEERING Happy new year! | 0:39:22 | 0:39:25 | |
Happy new year! ALL: Happy new year! | 0:39:25 | 0:39:27 | |
INAUDIBLE SPEECH | 0:39:41 | 0:39:43 | |
"Auld Lang Syne" PLAYS ON THE SOUNDTRACK | 0:39:43 | 0:39:46 |