WEST PARK PICTURES



WEST PARK PICTURES

FLY WITH ME

|ARCHIVE: WS AEROPLANE TAKES OFF OVER CAMERA |00:00 | |

|INT. DAY WS STEWARDESS GOES THROUGH SAFETY PROCEDURE |00:03 | |

| | | |

|WS HOOTERS STEWARDESS DOES SAME |00:04 | |

|WS STEWARDESS A/B |00:07 | |

|WS/2S HOOTERS GIRLS MIMIC SAFETY PROCEDURE |00:09 | |

| |00:11 |COMM: |

| | |This is |

|ARCHIVE: WS STEWARDESS WELCOMES PASSENGERS INTO AEROPLANE | |the story of 75 years – |

|LOUNGE | | |

|ARCHIVE: MS STEWARDESS ON INTERCOM |00:14 |COMM: |

| | |– of the trolley dolly. |

|ARCHIVE: LS STEWARDESS ON INTERCOM |00:16 |ARCHIVE STEWARDESS: |

| | |Non stop, New York to Los Angeles. |

|ARCHIVE: MS DRINKS TRAY IN HAND, PAN R TO MS PASSENGERS |00:19 | |

|BEING | | |

|SERVED |00:20 |COMM: |

| | |She was the perfect hostess; |

|ARCHIVE: WS STEWARDESS PERFORMS ‘AIR STRIP’ | |the sexy |

|ARCHIVE: STEWARDESS SEES TO PASSENGERS | |stewardess; |

| | |the caring nurse. |

|B/W ARCHIVE: STEWARDESSES SHOW OFF HANDBAGS |00:27 | |

| |00:28 |COMM: |

| | |She became one of the defining icons of the age. |

|ARCHIVE: MS STEWARDESSES PASS CAMERA L TO ENTER AEROPLANE |00:32 | |

|STILL MONTAGE: STEWARDESS GLAMOUR PHOTOS |00:33 | |

| |00:34 |COMM: |

| | |And the |

|VIDEO CLIP: BRITNEY SPEARS – TOXIC | |barometer of society’s attitude to sexual politics. |

|ARCHIVE: T/S MS AEROPLANE PASSES OVER CAMERA |00:39 | |

|ARCHIVE: STEWARDESS APPLIES EYELINER, PICKS UP LUGGAGE & |00:41 | |

|GETS IN CAR |00:44 |COMM: |

| | |Once, they had the most glamorous job in the world. |

| | | |

| |00:48 |COMM: |

| | |Today, |

|B/W ARCHIVE: O/S CU STEWARDESS | |it’s a little different. |

|B/W ARCHIVE: MS/4S MODELS RAISE CHAMPAGNE GLASSES |00:50 | |

| |00:52 |RENE FOSS V/O: |

| | |See I mean I thought I was going to be this big star – |

|CU FOSS INTERVIEW SYNC |00:54 |RENE FOSS: |

| | |– and here I am, you know, slinging hash, pouring |

| | |coffee and picking up garbage. |

|TITLE ON SCREEN: |00:58 |MUSIC |

|‘FLY | | |

|with | | |

|ME | | |

|The History | | |

|of the | | |

|Air Hostess’ | | |

|B/W ARCHIVE: NICHOLS CLIMBS DOWN FROM AEROPLANE |01:03 | |

| |01:06 |COMM: |

| | |It all began so well |

|B/W ARCHIVE: WS PILOT GETS INTO COCKPIT | |for women. The twenties and thirties were the |

|B/W ARCHIVE: LS WINGWALKER | |pioneering days of |

|B/W ARCHIVE: AEROPLANE CRASHES | |flight and men were not yet in control. |

|B/W ARCHIVE: WS AEROPLANE ON RUNWAY, PAN R |01:18 | |

|B/W ARCHIVE: WS CHEERING PEOPLE AT PARADE |01:20 | |

| |01:22 |COMM: |

| | |It |

|B/W ARCHIVE: FEMALE PILOTS WAVE TO CAMERA & NICHOLS | |was a cue for some of the bravest and most adventurous |

|FEATURE | |women of the time to make their mark. |

| | | |

| |01:29 |ARCHIVE COMM: |

| | |Here’s Ruth Nichols, another gal who proved that women |

| | |rate wings. |

|FADE TO | | |

|B/W STILL: MCU CHURCH, Z/I TO BCU |01:34 | |

| |01:35 |COMM: |

| | |In San Francisco, a young nurse called Ellen Church |

| | |watched the newsreels in awe. And taught herself to |

|FADE TO | |fly. This is what Ellen wanted to do for the rest of |

|B/W ARCHIVE: AEROPLANES IN FLIGHT |01:44 |her life. But the men who ran the new airlines weren’t |

|B/W ARCHIVE: MS MALE PILOT | |having any of it. The very idea of a woman piloting |

|B/W ARCHIVE: MS AEROPLANE ON RUNWAY, PAN L | |male passengers was absurd. Indeed, in those days, |

| | |even the cabin crews were male. |

|B/W ARCHIVE: WS MALE CABIN CREW MEMBER | | |

| | | |

| |02:00 | |

|B/W ARCHIVE: WS AEROPLANE FLIES OVER CITY |02:01 | |

| |02:02 |KATHLEEN BARRY V/O: |

| | |Aviation is seen as something that men do. We have |

| | |a man in the cockpit and a man in the cabin. |

|B/W ARCHIVE: WS MALE CABIN CREW MEMBER A/B | | |

|EXT. DAY L/A MCU BARRY INTERVIEW SYNC, CAPTION SUPERED: |02:07 |KATHLEEN BARRY: |

|‘DR KATHLEEN BARRY | |To control this new, fearsome technology of flight. |

|WOMEN AND AVIATION EXPERT’ | | |

| | | |

|B/W ARCHIVE: WS AEROPLANE FLIES OVER CITY A/B |02:10 |COMM: |

| | |There was a problem, though. Flying was still dangerous|

|B/W ARCHIVE: H/A MS/2S CHILDREN LOOK OUT AEROPLANE WINDOW | | |

|B/W ARCHIVE: MS AEROPLANE IN FLIGHT | |and uncomfortable. Nervous passengers needed |

|B/W ARCHIVE: WS MALE CABIN CREW MEMBER A/B | |reassuring and the |

| |02:17 |male stewards |

| | |just weren’t very good at it. |

| | |KATHLEEN BARRY V/O: |

| | |Early stewards – |

|L/A MS BARRY INTERVIEW SYNC |02:22 |KATHLEEN BARRY: |

| | |are seen as not terribly successful. There’s actually a|

| | |very funny review of in-flight service in 1930 that |

| | |suggests that stewards are really a disaster because |

| | |they actually are more prone to get airsick than the |

| | |passengers, sometimes, and the passengers have to take |

| | |care of them. |

|B/W STILL: BCU CHURCH |02:36 |MUSIC |

| |02:37 |COMM: |

|FADE TO | |Ellen saw her chance. If she |

|B/W ARCHIVE: PASSENGERS WALK THROUGH BOARDING GATE | |couldn’t fly as a pilot, perhaps she could fly as a |

|B/W ARCHIVE: H/A LS PASSENGERS ON APRON | |nurse. |

| | |KATHLEEN BARRY V/O: |

| | |She goes – |

|L/A MS BARRY INTERVIEW SYNC |02:45 |KATHLEEN BARRY: |

| | |– and sees Steve Stimpson who was an executive at |

| | |Boeing Air – |

|B/W STILL: BCU STIMPSON SMILING, Z/O TO MS STIMPSON |02:48 |KATHLEEN BARRY V/O: |

|HOLDING MODEL AEROPLANE | |– Transport – a predecessor of United Airlines – and |

| | |suggests that nurses could be very effective as flight |

|FADE TO | |attendants. |

|RECONSTRUCTION SEQUENCE: MEMO |02:55 | |

|BEING TYPED & REMOVED FROM TYPEWRITER |02:56 |COMM: |

| | |Stimpson was thrilled and fired off a memo. |

| | | |

| |02:59 |STIMPSON V/O: |

| | |There would be great psychological punch to have young |

| | |women stewardesses. Imagine the national publicity and |

| | |the tremendous effect it would have. |

| | |KATHLEEN BARRY V/O: |

| | |And Stimpson – |

|L/A MS BARRY INTERVIEW SYNC |03:09 |KATHLEEN BARRY: |

| | |– really elaborated the idea into a marketing blueprint|

| | |that airlines really would follow for the next several |

| | |– |

|B/W STILL: MCU MODEL AEROPLANE, Z/O TO MS STIMPSON |03:14 |KATHLEEN BARRY V/O: |

| | |– decades. |

| |03:16 |COMM: |

| | |The pattern was set. Ellen had offered herself as a |

| | |nurse and an aviator. The airline hired her as a |

|CU ‘NATIONAL PUBLICITY’ CIRCLED ON MEMO | |marketing tool. |

|FADE TO | | |

|B/W STILL: BCU CHURCH |03:26 | |

| |03:28 |ARCHIVE CHURCH V/O: |

| | |He picked up my suggestion and the next thing I – |

| | | |

|FADE TO | | |

|B/W ARCHIVE: WS CHURCH, I/V SYNC, Z/I TO MS. CAPTION |03:30 |ARCHIVE CHURCH: |

|SUPERED: | |– knew, his company – Boeing Air Transport – agreed to |

|‘ELLEN CHURCH | |give stewardess service a try. My initial assignment |

|FILMED IN THE 1950s’ | |was to recruit seven other girls – |

|STILL: MS/2S CHURCH & NURSE OUTSIDE PLANE, Z/O TO INCLUDE | |ARCHIVE CHURCH V/O: |

|ALL EIGHT | |– all registered nurses. And we began flying in May. |

| | |MUSIC |

| |03:43 |COMM: |

|FADE TO | |So these are the world’s first air |

|STILL: WS LINE OF HOSTESSES, PAN R | |hostesses. Their duties were both decorative and |

| | |practical. |

|FADE TO | | |

|SLO-MO B/W ARCHIVE: WS AEROPLANE IN FLIGHT OVER CITY |03:50 | |

| |03:52 |VOICE OVER: |

| | |…check the floor bolts on the wicker |

|B/W ARCHIVE: PASSENGERS IN AEROPLANE | |seats to make sure they are securely fastened down. |

| | |Swat flies in cabin after take off, warn passengers |

|B/W ARCHIVE: WS AEROPLANE IN FLIGHT OVER CITY A/B | |against throwing lighted smoking butts or other objects|

| | |out of the windows, particularly over populated areas. |

| | | |

| |04:07 |COMM: |

|FADE TO | |By the |

|B/W ARCHIVE: AEROPLANES ON RUNWAY & WIPE TO STEWARDESS ON | |1940s the airlines were still looking for nurses. But |

|PLANE | |when it came to the interviews, those nursing skills |

| | |sometimes didn’t seem to be particularly high on the |

| | |agenda. Or even on the agenda at all, as a young nurse |

| | |called Lillian Kinkela Keil discovered. |

| | | |

|INT. DAY MCU KEIL INTERVIEW SYNC | |LILLIAN KINKELA KEIL: |

|CAPTION SUPERED: | |He asked me just to walk across the room and walk back |

|‘LILLIAN KINKELA KEIL | |and he says well as far as I’m concerned, he says, you |

|UNITED AIRLINES 1938–1950’ | |can come to work as soon as you can get – |

|B/W ARCHIVE: WS AERIAL TRACK OVER TOWN |04:32 |LILLIAN KINKELA KEIL V/O: |

| | |– away. |

| |04:34 |COMM: |

| | |Once up in the air though, |

|B/W ARCHIVE: MCU MAN AT WINDOW | |the men were a little less cocky. |

| | | |

|MCU KEIL INTERVIEW SYNC |04:40 |LILLIAN KINKELA KEIL: |

| | |Men at that time were very afraid to fly. They were not|

| | |very happy about it and – |

|B/W ARCHIVE: MCU MAN A/B |04:44 |LILLIAN KINKELA KEIL V/O: |

| | |– we had all of the ammonia when they felt faint – |

|MCU KEIL A/B, INTERVIEW SYNC |04:47 |LILLIAN KINKELA KEIL: |

| | |– and the oxygen pipettes if they needed oxygen. |

|B/W ARCHIVE: MS/2S HONEYMOONERS ON AEROPLANE |04:52 |MUSIC |

| |04:53 |COMM: |

| | |But there was still time for romance. |

| | |LILLIAN KINKELA KEIL V/O: |

| | |I was – |

|MCU KEIL INTERVIEW SYNC |04:57 |LILLIAN KINKELA KEIL: |

| | |– flying on my United flight and I had – |

|B/W ARCHIVE: MS GRANT & ENTOURAGE WAVE, PAN R |05:01 |LILLIAN KINKELA KEIL V/O: |

| | |– Cary Grant as my passenger. And he was very |

| | |delightful and I was very shocked when he asked me if I|

| | |would show him San Francisco. He took – |

|MCU KEIL A/B, INTERVIEW SYNC |05:10 |LILLIAN KINKELA KEIL: |

| | |– my name and telephone number and he called me – |

|B/W ARCHIVE: MS/3S CARY & MAN ON AEROPLANE |05:14 |LILLIAN KINKELA KEIL V/O: |

| | |– the next day, he sent a cab for me. I had just a – |

|MCU KEIL A/B, INTERVIEW SYNC |05:19 |LILLIAN KINKELA KEIL: |

| | |– wonderful, wonderful day and then it was late in the |

| | |evening when he sent me home in a cab. |

|B/W ARCHIVE: MCU/2S PILOTS |05:23 | |

| |05:24 |COMM: |

| | |But it was an event on a very different day that was to|

| | |change |

|B/W ARCHIVE: CU PROPELLOR SEEN FROM PLANE | |Lillian’s life forever. |

| |05:30 |LILLIAN KINKELA KEIL V/O: |

| | |We were flying to |

|B/W ARCHIVE: AERIAL TRACK OVER WOODLAND | |Santa Barbara, (MUSIC) |

|B/W ARCHIVE: MS MAN AT MIC | |California and then |

| |05:33 |we got the orders that there was a submarine sighted |

|B/W ARCHIVE: COCKPIT, INSTRUMENTS & PILOT | |off |

| | |the coast and that we were to diminish all of the |

| | |lights possible. |

|B/W ARCHIVE: PAYLOAD DROPPING FROM BOMBER |05:42 | |

| |05:43 |COMM: |

| | |The submarine was German. The Second World War |

| | |had come to America. |

|B/W ARCHIVE: VLS LINE OF EXPLOSIONS | | |

|FADE TO | | |

|ARCHIVE: P.O.V. STRAFING OF AEROPLANES ON GROUND & SHIPS |05:50 | |

| |05:51 |COMM: |

| | |Lillian volunteered as a combat flight nurse and began |

| | |training for the front line. |

| | | |

| |05:58 |LILLIAN KINKELA KEIL V/O: |

| | |We had very extensive training. Thompson submachine |

| | |guns, and Guran(?) rifles and crawling under – |

|MCU KEIL INTERVIEW SYNC |06:04 |LILLIAN KINKELA KEIL: |

| | |– barbed wire on our stomachs. So it was really very |

| | |extensive and learning about ocean survival, desert |

| | |survival so that, no matter where in the world we |

| | |landed we would be able to handle the situation. |

|ARCHIVE: P.O.V. STRAFING OF TRAIN |06:17 |MUSIC |

| |06:19 |COMM: |

|FADE TO | |Lillian flew hundreds of dangerous |

|B/W STILL: WS KEIL ATTENDS TO WOUNDED SOLDIER, Z/I TO MS | |missions rescuing wounded soldiers from the front line |

| | |and won more combat decorations than any |

|B/W STILL: MCU PATIENT, TILT UP TO MS KEIL | |woman in the US military. Not bad for a girl who got |

| |06:28 |her job because she looked good when she walked across |

| | |a room. |

|ARCHIVE: WS AIRLINER TAKES OFF, PAN R & Z/I |06:37 | |

|ARCHIVE: STEWARDESS PERFORMS |06:39 |MUSIC |

|BRANIFF ‘AIR STRIP’ |06:43 |COMM: |

| | |Looking good, however, was soon to become the key |

| | |criteria for anyone who wanted to be a hostess. |

|TITLE ON SCREEN: |06:52 | |

|‘FLY | | |

|with | | |

|ME | | |

|The History | | |

|of the | | |

|Air Hostess’ | | |

| | |END OF PART ONE |

|TITLE ON SCREEN: |08:00 |PART TWO |

|‘FLY | | |

|with | | |

|ME | | |

|The History | | |

|of the | | |

|Air Hostess’ | | |

|ARCHIVE: MS AEROPLANE ON APRON |08:03 | |

| |08:05 |ARCHIVE COMM: |

| | |War is over. But the battle of the great airlines is |

| | |only just beginning. |

| | | |

|ARCHIVE: AERIAL TRACK PAST HOUSES OF PARLIAMENT |08:08 |COMM: |

| | |As the Second World War ended, commercial flight took |

|ARCHIVE: LS AEROPLANE PASSES OVER STATUE OF LIBERTY | |off. On both sides of the pond the secret weapon was |

| | |the hostess. |

|ARCHIVE: CU STEWARDESS |08:17 |ARCHIVE STEWARDESS: |

| | |By the time you arrive at your destination, you’ll be a|

| | |seasoned flyer. |

| | | |

|ARCHIVE: L/A MS STEWARDESS HANDS PILLOW TO PASSENGER, TILT|08:20 |COMM: |

|DOWN | |In America they were sold on glamour. |

| | | |

|ARCHIVE: STEWARDESS AT AIRLINER DOORWAY |08:25 |ARCHIVE COMM: |

| | |When the trim smiling hostess appears in the doorway, |

| | |you know everything is shipshape on board. |

| | | |

|B/W ARCHIVE: WS STEWARDESS SHOWS PASSENGERS TO SEATS |08:31 |COMM: |

| | |In Britain, it was rather different. |

| | | |

| |08:33 |ARCHIVE STEWARDESS: |

| | |Good evening madam, this is your seat on the left. |

| | | |

| |08:37 |COMM: |

| | |Over here, |

|B/W ARCHIVE: STEWARDESSES HAND OUT NEWSPAPERS & BREAD | |the airlines bosses didn’t feel that too much glamour |

|ROLLS | |was, well, very proper – as one new recruit, Eve Lucas,|

| | |was told. |

| | |EVE LUCAS V/O: |

| | |You say well we don’t want – |

|CU LUCAS INTERVIEW SYNC |08:48 |EVE LUCAS: |

|CAPTION SUPERED: | |– anybody too glamorous. Because, he said, if anyone’s |

|‘EVE LUCAS | |too glamorous, the lady passenger doesn’t want to be |

|BSAA/BOAC 1948–1956’ | |ill in front of anybody too glamorous. |

|B/W ARCHIVE: BUS PULLS UP AT AEROPLANE ON APRON, |08:57 |MUSIC |

|PASSENGERS | | |

|BOARD, ‘ELIZABETH’ IN CONVERSATION AND WATCHES PLANE TAKE |08:58 |COMM: |

|OFF | |Partly, of course, the British attitude was a |

| | |reflection of post-war austerity. The country was broke|

| | |and British airlines had to make do with hastily |

| | |converted warplanes, bombers and transports. They |

| | |urgently wanted pretty girls to sugar the pill. One |

| | |company – British South American Airlines – even made a|

| | |film to recruit them. |

| | | |

| |09:20 |ARCHIVE COMM: |

| | |The silver wings of the planes draw her like a magnet. |

| | |When a girl like Elizabeth sets her heart on something,|

| | |all the notices and fences in the world won’t keep her |

| | |out. |

| | | |

| |09:30 |COMM: |

| | |They called their stewardesses star girls. |

| | | |

|B/W ARCHIVE: ‘ELIZABETH’ IN WAITING ROOM & INTERVIEW |09:34 |ARCHIVE COMM: |

| | |Her mind is made up, she’s going to get the job. |

| |09:38 |COMM: |

| | |For the post-war young woman, this was a job to die |

| | |for. |

| | | |

| |09:44 |ARCHIVE INTERVIEWER: |

| | |Good morning Miss Macintosh, please sit down. |

| | | |

| |09:48 |COMM: |

| | |And if not to die for, then at least to lie for. |

| | | |

| |09:51 |ARCHIVE INTERVIEWER: |

| | |Firstly, why do you want to become a star girl? |

| | |ARCHIVE ‘ELIZABETH’: |

| | |‘Cos I’m interested in people and in travel. |

| | |EVE LUCAS: |

| | |So I went before – |

|CU LUCAS INTERVIEW SYNC |10:01 |EVE LUCAS: |

| | |– the board and kind of lied my way through. Said I |

| | |could do everything. They said do you speak languages? |

| | |I said well I did learn French at school. Six years. |

| | |Well how was that? I said oh, very good. Not telling |

| | |him that actually I was bottom with 28 marks. |

|B/W ARCHIVE: CU INTERVIEWER |10:24 | |

| |10:25 |ARCHIVE INTERVIEWER: |

| | |And your nursing experience? |

| | |EVE LUCAS V/O: |

| | |And I said I have studied first aid. |

|CU LUCAS A/B, INTERVIEW SYNC |10:29 |EVE LUCAS: |

| | |And actually I’d only ever put a bit of elastoplast on.|

|B/W ARCHIVE: CU INTERVIEWER |10:32 | |

| |10:33 |ARCHIVE INTERVIEWER: |

| | |What about your catering experience? |

| | |EVE LUCAS V/O: |

| | |I said I’ve done all the cooking at home. |

|CU LUCAS A/B, INTERVIEW SYNC |10:37 |EVE LUCAS: |

| | |Naturally I have never, ever done anything except boil |

| | |an egg. |

|B/W ARCHIVE: CU INTERVIEWER |10:41 |ARCHIVE INTERVIEWER: |

| | |Thank you very much, that’ll be all for now. |

|CU LUCAS A/B, INTERVIEW SYNC |10:43 |EVE LUCAS: |

| | |Then they said well congratulations, you’re through the|

| | |board. |

|B/W ARCHIVE: DOCTOR INOCULATES |10:46 |MUSIC |

|‘ELIZABETH’ |10:47 |ARCHIVE COMM: |

| | |She got the job and her initiation began with |

| | |inoculation and a stiff medical. |

| | | |

| |10:53 |COMM: |

| | |Another early recruit was |

|LS CARLISLE IN AISLE | |Olive Carlisle. Though at her interview the selection |

| | |board had an additional requirement. |

| | | |

| | |OLIVE CARLISLE V/O: |

| | |At the selection board – |

|MS CARLISLE IN PASSENGER SEAT, I/V SYNC, CAPTION SUPERED: |11:01 |OLIVE CARLISLE: |

|‘OLIVE CARLISLE | |– I was made to parade up and down and give a twirl and|

|BSAA/BOAC 1947–1953’ | |that sort of thing. |

| | | |

|B/W ARCHIVE: EMPIRE FLYING BOAT BEING TOWED ACROSS APRON |11:06 |COMM: |

| | |Having twirled successfully, Olive was given a job. By |

| | |the fifties, Britain had the longest airline routes in |

| | |the world: reaching as far as Hong Kong and |

| | |Australasia. Olive was assigned to the fleet |

|B/W ARCHIVE: CARLISLE IN CONVERSATION WITH ATCs | |of Empire Flying Boats and, in 1948, she even starred |

| |11:22 |in a promotional film. |

| | | |

| |11:26 |ARCHIVE CONTROLLER: |

| | |Speedbird calling Southampton Pinnace. Speedbird |

| | |calling Southampton Pinnace, do you read? Over. |

| | |ARCHIVE 2ND CONTROLLER: |

| | |Southampton Pinnace calling Speedbird, here are takeoff|

| | |instructions. |

| | | |

|B/W ARCHIVE: FLYING BOAT ON WATER |11:36 |COMM: |

| | |These craft were the height of luxury. On the other |

| | |hand, actually flying in them could be a bit of a |

| | |hair-raising experience. |

| | | |

| | |OLIVE CARLISLE V/O: |

| | |As – |

|MS CARLISLE INTERVIEW SYNC |11:44 |OLIVE CARLISLE: |

| | |– the engines revved up, so the back part of the |

| | |aeroplane would dip rather more so that the – |

|B/W ARCHIVE: SEA BOAT TAKES OFF & BOY LOOKS FROM PORTHOLE |11:51 |OLIVE CARLISLE V/O: |

| | |– portholes would be covered by the water. Which was |

| | |very frightening for – |

|MS CARLISLE A/B, INTERVIEW SYNC |11:56 |OLIVE CARLISLE: |

| | |– a passenger taking their first trip. As we speeded |

| | |up, a lot of green bubbles would come tearing – |

|B/W ARCHIVE: HANDS ON COCKPIT CONTROLS, SEA BOAT TAKES OFF|12:02 |OLIVE CARLISLE V/O: |

|& BOY LOOKS THROUGH PORTHOLE | |– past. As we broke surface, the water would flap very |

| | |hard against the window and then, suddenly, you got the|

| | |final uplift. And it was – |

|MS CARLISLE A/B, INTERVIEW SYNC |12:12 |OLIVE CARLISLE: |

| | |– just like a point of exultation, almost, that they |

| | |were out and it was like a bird coming out of the sea. |

| | |And everything went that much quieter afterwards. |

|B/W ARCHIVE: L/A WS SEA PLANE IN FLIGHT, TILT UP |12:24 |OLIVE CARLISLE V/O: |

| | |Though sickbags, really, in those days were a |

| | |necessity. Captain used to like to go down low, very |

|B/W ARCHIVE: JOYSTICK IN HAND, STEWARDESS LOOKS OUT OF | |often we would |

|PORTHOLE & TRACK OVER AFRICAN RIVER |12:30 |go down low to chase a herd of elephant or the |

| | |crocodiles, go down the river and see them all. The |

| | |hippopotamuses submerge. It was all – |

|MS CARLISLE A/B, INTERVIEW SYNC |12:42 |OLIVE CARLISLE: |

| | |– very exciting if you were up front, but if you were |

| | |at the back trying to serve a meal or anything like |

| | |that, it was a bit tricky. And I always remember a |

| | |passenger saying to me I don’t know how you manage it, |

| | |you’ve always got a smile and you’re never sick like |

| | |the rest of us. And I thought I’m glad you don’t know |

| | |what just happened back in the ladies’ dressing room. |

| | | |

|B/W ARCHIVE: AERIAL TRACK OVER AFRICAN WILDLIFE |13:03 |COMM: |

|FADE TO | |But while Olive juggled sick bags over Africa, her |

|ARCHIVE: O/S WS VIEW FROM COCKPIT | |counterparts in America |

|ARCHIVE: PASSENGER IS |13:08 |were being |

| | |recruited |

| | |with a rather different message. |

|SHOWN MAP BY STEWARDESS & | | |

|STEWARDESSES SERVE MEALS TO PASSENGERS |13:12 |ARCHIVE COMM: |

| | |It is your personal attention to the individual needs |

| | |of each passenger. The warmth of your smile, your quick|

| | |understanding of his problems. It’s how you serve his |

| | |meal, how you answer his questions. The personal |

| | |impression that you make on him that will make him |

| | |decide to fly American on his next trip. |

| | | |

|ARCHIVE: PASSENGERS IN CONVERSATION |13:33 |ARCHIVE ‘PASSENGER’: |

| | |These girls must be born with it. |

| | | |

| | |ARCHIVE 2ND ‘PASSENGER’: |

| | |I hope I was born with it because American Airlines are|

| | |sending me to their stewardess college. That’s where |

| | |I’m going now. |

|ARCHIVE: COME FLY WITH ME ADVERT – TRAINEE HOSTESS |13:47 | |

|ARRIVES AT COLLEGE, IN DORM & IN CLASS |13:55 |COMM: |

| | |The American post-war boom saw an explosion in |

| | |commercial flight. And to go with their shiny new fleet|

| | |of passenger craft, they wanted to train up a corps of |

| | |shiny new hostesses. Wholesome, happy and saccharin |

| | |sweet. |

| | | |

| |14:16 |COMM: |

| | |In this excruciatingly contented Neverland, your dreams|

| | |came true. |

| | | |

| | |ARCHIVE ‘PASSENGER’: |

| | |I really do want to fly and travel. It’s what I’ve |

| | |dreamed about all my life. |

| | | |

| |14:29 |COMM: |

| | |There was even the promise of romance. |

| | | |

| |14:32 |ARCHIVE TEACHER: |

| | |There are many advantages in this job for you. You’ll |

| | |meet interesting new people on your flights |

| | |and at your new base. |

|ARCHIVE: WS HOSTESS PUTS BLANKET OVER SLEEPING PASSENGER | | |

| | | |

| | |KATHLEEN BARRY V/O: |

| | |They’re surrounded by pilots and male passengers so |

| | |they’re surrounded – |

|EXT. DAY L/A MS BARRY IN FRONT OF PROPELLER, INTERVIEW |14:43 |KATHLEEN BARRY: |

|SYNC | |– essentially, by very eligible bachelors. So the job |

|CAPTION SUPERED: | |has a real appeal in that sense that it gets women out |

|‘DR KATHLEEN BARRY | |to see the world and, at the same time, provides really|

|WOMEN AND AVIATION EXPERT’ | |great marriage opportunities. |

|ARCHIVE: MS AEROPLANE ON APRON, PAN L |14:52 |MUSIC |

| |14:54 |COMM: |

| | |In the fifties air fares were controlled by the |

| | |government, so airlines couldn’t compete on price. |

| | |But they could – and did – compete to produce the |

|ARCHIVE: STEWARDESS FITTED FOR UNIFORM, STEWARDESSES HAVE | |perfect stewardess. |

|HAIR DONE & DESCEND STAIRS | | |

| |15:09 |PEGGY ALLEN V/O: |

| | |They wanted an all-American look. You had to be a |

| | |white, single female – |

|FADE TO | | |

|INT. DAY MS/2S ALLEN & STEWARDESS, I/V SYNC |15:16 |PEGGY ALLEN: |

|CAPTION SUPERED: | |– between the ages of 21 and 27. 5ft 2 to 5ft 7, 105 to|

|‘PEGGY ALLEN | |130 pounds, in proportion to your height. You could not|

|AMERICAN AIRLINES 1952–2002’ | |wear glasses. Just an all-American fresh look. Not |

| | |married. No children. Think you could be divorced, but |

| | |you weren’t supposed to talk about it. |

|ARCHIVE: AMERICAN STEWARDESSES AT PASSING OUT CEREMONY |15:43 | |

| |15:51 |COMM: |

| | |By the time the girls completed their course – marked |

| | |by a slightly disturbing cleansing ritual in the |

| | |gardens of the college – they’d been groomed ruthlessly|

| | |into the perfect fifties woman: docile, domestic and |

| | |glamorous. |

|B/W STILL: WS STEWARDESS IN MIRROR, TILT DOWN LIST OF |16:08 | |

|REQUIREMENTS NEXT TO MIRROR |16:09 |COMM: |

| | |From that moment on, they were subjected to constant |

| | |quality |

|B/W STILL: MS STEWARDESS, TILT DOWN TO WS FEET ON SCALES | |control. Their weight was monitored. Exceed the limit |

|B/W STILL: WS LINE OF STEWARDESSES | |and they didn’t get |

|B/W STILL: MS/2S STEWARDESSES LOOK AT REFLECTION IN MIRROR|16:17 |paid. They had to wear girdles, high heels and |

|B/W STILL: H/A WS/2S STEWARDESSES CHECK SEAMS, TILT DOWN | |regulation |

| | |hair. Most important of all, they had to stay single |

| | |until they reached the ripe old age of 32 and then they|

| | |were sacked. |

|ARCHIVE: STEWARDESS ATTENDS TO PASSENGER |16:33 | |

| |16:35 |ARCHIVE SYNC: |

| | |Oh miss. |

| | | |

| | |Yes? |

| |16:37 |COMM: |

| | |It was a tough regime, but the girls tolerated it, the |

| | |passengers loved it, and it left the poor old British |

| | |stewardess in the shade. |

| | |ARCHIVE PASSENGER: |

| | |Thank you. |

|B/W ARCHIVE: L/A WS CARNABY STREET SIGN |16:46 |MUSIC |

| |16:47 |COMM: |

| | |But then, |

|B/W ARCHIVE: L/A MS ‘GEAR’ SHOP SIGN | |something happened. |

|B/W ARCHIVE: BAND PLAYS & PEOPLE DANCE AT NIGHT CLUB |16:49 | |

| |16:51 |COMM: |

| | |The sixties. And the sixties were British. All eyes |

| | |were on Europe and, suddenly, the fuddy duddy old |

|B/W ARCHIVE: MS QUANT SHOP WINDOW, TILT UP | |British airlines who’d struggled to compete with |

|ARCHIVE: WOMEN IN QUANT SHOP | |the American glamour, found themselves in the middle of|

| |17:02 |a cultural revolution. And some of the gloss rubbed |

| | |off. |

|B/W ARCHIVE: ‘AIRPORT PICKS A BEAUTY’ TITLE | |Along with the |

|B/W ARCHIVE: SIXTIES STEWARDESSES CHECK OUT |17:09 |new jet planes |

| | |came jet-age design. |

|UNIFORMS |17:15 |ARCHIVE COMM: |

| | |The glamour girls who fly in them will charm their 340 |

| | |passengers with a complete new wardrobe designed by |

| | |London Couturier Clive. Stewardesses are reported to be|

| | |delighted with their trendy ensembles which are suited |

| | |to every whim of the weather in far-flung locations. |

| | | |

| |17:30 |BARBARA ANDERSON V/O: |

| | |They were dresses with a little white collar, an insert|

| | |that went round the top. And they were sort of A line |

| | |and, of – |

|MCU ANDERSON INTERVIEW SYNC |17:38 |BARBARA ANDERSON: |

|CAPTION SUPERED: | |– course, we used to go home and cut a bit off, which |

|‘BARBARA ANDERSON | |we weren’t supposed to do. |

|BOAC/BA 1957–1976’ | | |

|B/W ARCHIVE: WS/2S STEWARDESSES |17:43 |BARBARA ANDERSON V/O: |

| | |We did wear them quite short. We shouldn’t have done, |

| | |but we did. |

|MCU ANDERSON A/B, INTERVIEW SYNC |17:46 |BARBARA ANDERSON: |

| | |So, of course, all the passengers could see straight up|

| | |your drawers as you were putting things up on the rack.|

|B/W ARCHIVE: MS/4S MODELS RAISE CHAMPAGNE GLASSES |17:54 |MUSIC |

| |17:55 |COMM: |

| | |This was when the swinging sixties was still young and |

| | |the political |

|B/W ARCHIVE: AERIAL TRACK OVER LONDON. FADE TO | |upheavals that defined the decade were still in the |

|B/W ARCHIVE: MS TRACK L ALONG LINE OF STEWARDESSES | |future. In Britain too, |

| |18:04 |no one thought to challenge the right of the airlines |

| | |to sack you if you got married. |

| | | |

| | |BARBARA ANDERSON V/O: |

| | |A lot of the girls, you know, |

|CU ANDERSON INTERVIEW SYNC |18:11 |BARBARA ANDERSON: |

| | |– met people. Crew or whatever and got married, but |

| | |well I was having too much fun, really. I didn’t want |

| | |to settle down. I was quite happy to go on flying. |

|ARCHIVE: L/A MS AIRCREW BOARD AEROPLANE |18:23 |MUSIC |

| |18:24 |COMM: |

| | |The Americans had to catch up. And they did so with a |

| | |vengeance. They launched a style counteroffensive led |

| | |by Dallas-based Braniff Airlines. |

|ARCHIVE: LS AEROPLANE TAKES OFF OVER CAMERA | | |

| | | |

|ARCHIVE: BRANIFF END OF THE PLAIN PLANE ADVERT |18:38 |ARCHIVE COMM: |

| | |The end of the plain plane. |

| | | |

| |18:40 |ARCHIVE SYNC: |

| | |We hired Alexander Gerrard to do our planes. We have |

| | |blue planes, orange planes, yellow planes. You can fly |

| | |with us seven times and never fly the same colour |

| | |twice. Cha-cha-cha. |

|STILL: L/A CU WELLS |18:53 | |

| |18:54 |COMM: |

| | |But it was a woman, Braniff’s PR boss Mary Wells, who |

| | |took the look one stage further. |

| | | |

| |19:00 |KATHLEEN BARRY V/O: |

| | |Wells comes along and |

|ARCHIVE: BUSINESSMAN BEING SERVED FROM DRINKS TROLLEY AND | |devises a whole new message for Braniff and her idea is|

|STEWARDESS’S FACE IN HAND | |a tired businessman ought to be able to look at a |

| | |pretty girl. |

|CU BARRY ON AEROPLANE, I/V SYNC |19:08 |KATHLEEN BARRY: |

| | |Which I think really encapsulates this new era of |

| | |advertising because – |

|POSTER: WS MAN AT BRANIFF CHECK IN |19:11 |KATHLEEN BARRY V/O: |

| | |– essentially, airline passengers had always been able |

| | |to look at a pretty girl because airlines have been |

| | |hiring pretty girls for decades. |

|POST: WE WOMAN IN FRONT OF BRANIFF 747 | |But it’s now become an entitlement of the tired |

| | |businessman. |

|ARCHIVE: H/A WS PUCCI AT MIC, Z/I TO MCU |19:18 |MUSIC |

| |19:19 |COMM: |

| | |Wells turned to one of the sixties’ hottest style |

| | |gurus. |

|ARCHIVE: BRANIFF PUCCI ADVERT – |19:24 |MUSIC |

|BOSS ARRIVES AT AEROPLANE WITH CABIN CREW |19:25 |ARCHIVE COMM: |

| | |So to make our girls smoochy, we called in Emilio |

| | |Pucci. Pucci, I love to say that name. |

| | | |

| |19:33 |ARCHIVE SYNC: |

| | |Braniff International is creating the most beautiful |

| | |airline in the world. We hired Emilio Pucci to design |

| | |our uniforms. Our hostesses wear reversible coats of |

| | |almond green and apricot, space helmets to keep out the|

| | |rain, red space suits and, sometimes, something a |

| | |little more comfortable. |

|STILL MONTAGE: STEWARDESS GLAMOUR PHOTOS |19:52 | |

| |19:57 |COMM: |

| | |So Pucci supplied the clothes. But it was Mary |

| | |Wells who came up with the killer punch. |

|B/W STILL: L/A CU WELLS, Z/O | | |

|ARCHIVE: BRANIFF AIR STRIP ADVERT |20:06 | |

| |20:14 |COMM: |

| | |With the invention of the air strip, the die was cast. |

| | | |

| |20:21 |ARCHIVE COMM: |

| | |When a Braniff International hostess meets you on the |

| | |airplane, she’ll be dressed like this. |

| | | |

| |20:27 |COMM: |

| | |No one was pretending any more. When you sold your |

| | |airline on its air hostesses, you sold it on sex. |

| | | |

| |20:38 |ARCHIVE COMM: |

| | |When she brings you your dinner, she’ll be dressed this|

| | |way. After dinner, on those long flights, she’ll slip |

| | |into something a little more comfortable. The air strip|

| | |is brought to you by Braniff International who believes|

| | |that even an airline hostess should look like a girl. |

|B/W ARCHIVE: LOVE FIELD, TEXAS ADVERT |21:04 | |

| |21:05 |COMM: |

| | |Even the airport’s Dallas hub followed the theme. |

| | | |

| |21:09 |ARCHIVE COMM: |

| | |This lovely building is where we teach our pretty |

| | |girls. It’s the Braniff Hostess College and it’s the |

| | |envy of every other airline. |

|ARCHIVE: BRANIFF STEWARDESSES POSE FOR CAMERA & ON SEATS |21:16 |MUSIC |

| |21:18 |COMM: |

| | |The Braniff girls were the elite of the world’s |

| | |hostesses. And the appeal shouldn’t be underestimated. |

| | |The clothes, the lifestyle, this was as near as you |

| | |could get to a film star’s |

| | |life without actually being one. |

|EXT. DAY WS/5S STEWARDESSES WALK TOWARDS CAMERA, |21:26 | |

|DISTRESSED FILM | | |

| | | |

|FADE TO | | |

|WS/5S STEWARDESSES, PAN L AS THEY PASS CAMERA |21:30 | |

| |21:31 |COMM: |

| | |And, to this day, the girls still gather to celebrate |

| | |those halcyon days. They call their group |

| | |the Clipped Bees. |

|INT. DAY MS/2S STEWARDESSES | | |

| | | |

| |21:40 |STEWARDESS: |

| | |This is Terri Labus Wilcox and she’s got a special |

| | |treat for us for the uniform with the bubble. |

|MS WILCOX WEARS BUBBLE HELMET |21:46 | |

| |21:47 |COMM: |

| | |Terri – complete with Pucci bubble helmet – takes a |

| | |strip down memory lane. |

|MS/4S STEWARDESSES LOOK ON | | |

|WS WILCOX TAKES OFF JACKET |21:53 | |

|MS/3S STEWARDESSES LOOK ON, PAN R |21:55 | |

|WS WILCOX TAKES OFF SKIRT |21:57 | |

|CU STEWARDESS LOOKS ON |22:00 | |

| |22:01 |COMM: |

| | |These days the girls |

|MCU 2ND STEWARDESS, PAN R | |are in no doubt about Braniff’s secret. |

| | | |

|MS WILCOX |22:06 |STEWARDESS: |

| | |Sex sells. |

| | |WILCOX: |

| | |Well naturally. |

|Z/O TO MS/3S WILCOX & STEWARDESSES | | |

|ARCHIVE: BRANIFF BIKINI ADVERT |22:10 |ARCHIVE COMM: |

| | |More beautiful news… |

| | | |

| |22:12 |COMM: |

| | |On the back of the air strip, Braniff grew and grew. |

| | | |

| |22:16 |ARCHIVE COMM: |

| | |Uncle Sam awards Braniff International more routes to |

| | |South America from all over the United States. |

|EXT. DAY L/A WS ROTATE R TO COLLEGE BUILDING |22:22 | |

| |22:23 |COMM: |

| | |After the reunion, the Clipped Bees take a walk round |

| | |the old Braniff stewardess college. |

|INT. DAY WS STEWARDESSES IN | | |

|CORRIDOR, PAN R AS THEY REACH | | |

|LOBBY | |STEWARDESS: |

| | |Here is the main lobby area, remember? |

|ARCHIVE: DÉCOR & PAN OVER INTERIOR |22:31 | |

| |22:32 |COMM: |

| | |The Braniff college was run with a rule of iron. |

| | | |

|WS/4S STEWARDESSES, TRACK TO FOLLOW |22:35 |STEWARDESS: |

| | |We’re going into the cafeteria and the dining area. Now|

| | |remember, when you were here, you were – |

|SLO-MO ARCHIVE: VLS STEWARDESS ENTERS COLLEGE | |STEWARDESS V/O: |

| | |– weighed every day. |

| | | |

| | |2ND STEWARDESS V/O: |

| | |We had a table set aside – |

|WS/4S STEWARDESSES |22:44 |2ND STEWARDESS: |

| | |– and if you were close to your weight range, you had |

| | |to sit at that table and they monitored what you ate. |

|STILL: WS CAFETERIA INTERIOR, Z/I |22:51 | |

| |22:52 |COMM: |

| | |The college told the girls they were monitored every |

| | |second of the day. |

| | |STEWARDESS V/O: |

| | |Oh and don’t you – |

|MS/4S STEWARDESSES IN CAFETERIA |22:57 |STEWARDESS: |

| | |– remember? Oh, you all do remember this. There were |

| | |microphones everywhere. |

| | |3RD STEWARDESS: |

| | |Yes. |

| | |STEWARDESS: |

| | |The salt and pepper shakers had microphones. |

| | |2ND STEWARDESS: |

| | |Yeah, they just said that… |

| | |WILCOX: |

| | |Sure. |

|MS STEWARDESS, Z/O TO MS/3S WILCOX & STEWARDESSES |23:07 |STEWARDESS: |

| | |We believed our rooms were bugged. We believed there |

| | |were cameras in the halls. They led us to believe that |

| | |they had cameras set up everywhere. The ladies that |

| | |served our meals could evaluate you. |

|WS STEWARDESS EXITS CANTEEN, I/V SYNC |32:19 |3RD STEWARDESS: |

| | |Here we are, exiting. And as we exited with our trays, |

| | |there were instructors here or here watching what was |

| | |on our tray. Monitoring our food intake constantly, |

| | |daily. |

|EXITS FRAME L AS OTHERS EXEUNT CAFETERIA | | |

|ARCHIVE: WS STEWARDESSES WALK AROUND FOUNTAIN |23:34 | |

| |23:35 |COMM: |

| | |Braniff controlled how they ate, how they looked and |

| | |even how they walked. |

| | | |

| | |STEWARDESS V/O: |

| | |They said – |

|MS STEWARDESS INTERVIEW SYNC |23:40 |STEWARDESS: |

| | |– pretend you have a dime between your buttocks and |

| | |walk that way, because they wanted that models walk, |

|PAN L & Z/O TO WS/4S STEWARDESSES | |you know, without too much movement and head – |

|ARCHIVE: WS/3S STEWARDESSES POSE IN STUDIO |23:47 |STEWARDESS V/O: |

| | |– bobbing. |

| | | |

| |23:48 |COMM: |

| | |But it was a price the girls were willing to pay. |

| | |2ND STEWARDESS V/O: |

| | |They – |

|WS/4S STEWARDESSES |23:52 |2ND STEWARDESS: |

| | |– would say jump and you’d ask them how high? |

| | |STEWARDESS: |

| | |But really I think… |

| | |2ND STEWARDESS: |

| | |It was a privilege to get to do that. |

| |23:59 |3RD STEWARDESS: |

| | |And once you were in flight, it was so much fun because|

| | |the passengers were great, the aircraft were beautiful.|

|TRACK IN TO MS 3RD STEWARDESS | |I mean they were beautiful. |

| | | |

|FADE TO | | |

|ARCHIVE: WS AEROPLANE TAKES OFF, PAN R |24:06 | |

| |24:07 |COMM: |

| | |But for some of the girls, that beautiful time |

|ARCHIVE: MS AEROPLANE TAKES OFF, PAN L | |was coming to an end. |

| | |MUSIC |

|ARCHIVE: HELICOPTERS TAKE OFF & TANK DRIVES THROUGH STREET|24:12 | |

| |24:16 |COMM: |

| | |Events were unfolding in the outside world for which no|

| | |amount of training could prepare the girls. Once again,|

| | |stewardesses were going to war. |

| | | |

| | |BARBIE ALLEN CONN V/O: |

| | |During the escalation – |

|MCU CONN INTERVIEW SYNC |24:29 |BARBIE ALLEN CONN: |

|CAPTION SUPERED: | |– in ’65 and on, in the war in Vietnam, the military – |

|‘BARBIE ALLEN CONN | | |

|BRANIFF INTERNATIONAL 1963–1970’ | | |

|ARCHIVE: AIRLINERS ON RUNWAY, SOLDIERS BOARD AEROPLANE & |24:34 |BARBIE ALLEN CONN V/O: |

|TROOPS MARCH PAST CAMERA R | |– signed contracts with several of the commercial and |

| | |non-scheduled airlines who become troop haulers. We |

| | |flew our Vietnam shuttles. Fly them over there, unload,|

| | |take another load, bring them back. |

|MCU CONN INTERVIEW SYNC |24:47 |BARBIE ALLEN CONN: |

| | |Going out was obviously very subdued. Here were these, |

| | |you know, 18 to 19 year olds that were going to war and|

| | |– |

|ARCHIVE: INJURED SOLDIERS CARRIED TO HELICOPTER |24:54 |BARBIE ALLEN CONN: |

| | |– might not come back. |

| | |SUZANNE JOHNSON V/O: |

| | |Then, when – |

|MS JOHNSON INTERVIEW SYNC |24:59 |SUZANNE JOHNSON: |

|CAPTION SUPERED: | |– I brought them home, a lot of them were underneath |

|‘SUZANNE C JOHNSON | |the airplane. |

|NATIONAL AIRLINES 1963–1977’ | | |

|ARCHIVE: T/S MS COFFINS PASS UNDERNEATH CAMERA, TILT UP AS|25:03 |SUZANNE JOHNSON V/O: |

|THEY ARE DRIVEN AWAY | |And we saw the coffins come out and the parents were |

| | |there and military and it just was heartbreaking. |

| | | |

| |25:18 |COMM: |

| | |And how did the airlines respond to this change in |

| | |national |

|FADE TO BLACK. FADE UP TO | |mood? |

|ARCHIVE: MCU AEROPLANE PASSES OVER CAMERA AFTER TAKE OFF | |They came up |

|SLO-MO ARCHIVE: MS AEROPLANE FLIES AWAY FROM CAMERA | |with the most |

| |25:26 |outrageous advertising campaign yet. |

|FADE TO | | |

|ARCHIVE: NATIONAL FLY ME ADVERT – JENNIFER ON BEACH & |25:28 |ARCHIVE ‘JENNIFER’: |

|NATIONAL CAPTION CARD | |We’re going to fly you like you’ve never been flown |

| | |before. You remember that now, okay? Let’s fly me. |

| | |ARCHIVE COMM: |

| | |Fly Jennifer. Fly National. |

|TITLE ON SCREEN: |25:43 |END OF PART TWO |

|‘FLY | | |

|with | | |

|ME | | |

|The History | | |

|of the | | |

|Air Hostess’ | | |

|TITLE ON SCREEN: |27:00 |PART THREE |

|‘FLY | | |

|with | | |

|ME | | |

|The History | | |

|of the | | |

|Air Hostess’ | | |

|ARCHIVE: NATIONAL ADVERT – JUDY IN CAR, ON BEACH & |27:03 | |

|NATIONAL | | |

|CAPTION CARD |27:04 |ARCHIVE ‘JUDY’: |

| | |Everything you’ve heard about us Miami girls is true. |

| | |We’re always on the move. I’m Judy and I was born to |

| | |fly. Fly me to Miami today, tomorrow… |

| | | |

| |27:15 |COMM: |

| | |In 1972, National Airlines lent new meaning to the F |

| | |word. |

| | | |

| | |ARCHIVE ‘JUDY’: |

| | |I’m Judy and I was born to fly. Fly me. |

| | |ARCHIVE COMM: |

| | |Fly Judy, fly National. |

|ARCHIVE: WS AEROPLANE PASSES OVER CAMERA, TILT UP |27:26 | |

| |27:29 |COMM: |

|FADE TO | |It was the culmination of a decade in which hostesses |

|ARCHIVE: H/A MCU TRACK OVER AIRLINER | |had been put in the front line of the battle for |

|ARCHIVE: STEWARDESSES PUT ON MAKE UP | |airline supremacy. The airlines groomed and the |

| |27:37 |stewardesses preened until flying began to seem like |

| | |one long beauty competition. |

| | | |

| | |KATHLEEN BARRY V/O: |

| | |By the late 1960s the airlines are – |

|L/A MCU BARRY ON AEROPLANE, I/V SYNC |27:49 |KATHLEEN BARRY: |

| | |– putting them in a much more explicitly provocative |

| | |light. The glamour image always had a sexual element to|

| | |it but, by the late 1960s, you start to see airline |

| | |slogans that suggest love at first flight and, |

| | |eventually, you get to fly me, which is really a very |

| | |blatant sexual tease. |

|ARCHIVE: NATIONAL ADVERT – CU JENNIFER TO CAMERA & |28:04 | |

|NATIONAL | | |

|CAPTION CARD |28:05 |ARCHIVE ‘JENNIFER’: |

| | |I’m Jennifer, fly me to Miami and all over Florida. |

| | |I’ve got more good flights going for you. |

| | |ARCHIVE COMM: |

| | |Fly Jennifer. Fly National. |

| | |HOSTESS V/O: |

| | |I didn’t – |

|MS HOSTESS INTERVIEW SYNC |28:15 |HOSTESS: |

| | |– care for the ad in my youth. Now I can see how much |

| | |money it brought in. It was a very smart thing. |

|ARCHIVE: NATIONAL ADVERT – WANDA PTC & NATIONAL CAPTION |28:21 |ARCHIVE ‘WANDA’: |

|CARD | |I’m Wanda, fly me to Los Angeles. I’m the best way |

| | |west. Fly me. |

| | |ARCHIVE COMM: |

| | |Fly Wanda. |

|MS STEWARDESS A/B, INTERVIEW SYNC |28:29 |STEWARDESS: |

| | |Women hated the ad. Men loved it. |

|ARCHIVE: NATIONAL ADVERT – CU MAGGIE PTC & NATIONAL |28:33 |ARCHIVE ‘MAGGIE’: |

|CAPTION CARD | |I’m Maggie, fly me to New York. You’ll love my two 747s|

| | |to Kennedy. Fly me. |

| | |ARCHIVE COMM: |

| | |Fly Maggie. |

| | |STEWARDESS V/O: |

| | |They were – |

|MCU STEWARDESS INTERVIEW SYNC |28:40 |STEWARDESS: |

| | |– bringing it in for sex appeal. Get the passengers on |

| | |and it worked. |

| | | |

|ARCHIVE: NATIONAL ADVERT CU STEWARDESS, PAN L TO CU 2ND |28:48 |COMM: |

|STEWARDESS PTC | |But for many stewardesses, the adverts also meant an |

| | |increase in harassment. |

| | | |

| | |STEWARDESS V/O: |

| | |We had to stay at the gate, |

|MS STEWARDESS INTERVIEW SYNC |28:55 |STEWARDESS: |

| | |– and I had a bunch of young teenagers and businessmen|

| | |and they were snickering and going yeah, fly me, baby. |

| | |Sure. |

|ARCHIVE: NATIONAL ADVERT – MS JENNIFER PTC & NATIONAL |29:05 |STEWARDESS V/O: |

|CAPTION CARD | |It just was like a couple of months that it was really |

| | |rough for some of us. |

| | | |

| |29:11 |ARCHIVE ‘JENNIFER’: |

| | |Whether it’s me or Kathy or Cheryl, we’re going to fly |

| | |you like you’ve never been flown before. You remember |

| | |that now, okay? And fly me. |

| | | |

| | |ARCHIVE COMM: |

| | |Fly Jennifer. |

| | | |

| |29:28 |COMM: |

| | |But this campaign didn’t happen in isolation. |

| | | |

|FADE TO BLACK | | |

|FADE UP TO | | |

|B/W ARCHIVE: ANTI-WAR DEMONSTRATORS CAPTION & |29:31 |MUSIC |

|DEMONSTRATORS AT WASHINGTON MEMORIAL |29:36 |ARCHIVE COMM: |

| | |Thousands of demonstrators opposed to the Vietnam War |

| | |assemble in the nation’s capital for a mass protest. |

| | | |

|B/W ARCHIVE: LS/3S DEMONSTRATOR LED AWAY BY POLICE |29:42 |COMM: |

| | |America was in melt down. |

|ARCHIVE: BOMBING OF TRANG BANG & KIM PHUC RUNS PAST CAMERA|29:45 |MUSIC |

| |29:48 |COMM: |

| | |The shocking energies from Vietnam, the growing toll of|

|ARCHIVE: WS/4S MEN PLACE WOUNDED COMRADE ON STRETCHER | |American dead and America’s eventual |

|ARCHIVE: FLEEING AMERICANS AT FINAL EVACUATION | |humiliating defeat led a whole new generation |

|ARCHIVE: DEMONSTRATORS AT WASHINGTON MEMORIAL |29:54 |to question everything their parents stood for. |

| | | |

| |30:04 |COMM: |

| | |Women had thrown off the sexual shackles of the fifties|

|FADE TO | |– epitomised by the |

|POSTER: MS 1950s UNITED STEWARDESS. FADE TO | |Docile, charming |

|ARCHIVE: WS STEWARDESS SERVES TEA | |image of the |

| | |ideal fifties stewardess. |

|ARCHIVE: R/A WS STEWARDESS TAKES AWAY TRAY |30:15 | |

| | | |

|ARCHIVE: WS WOMAN AT MIC & PROTESTORS AT MEMORIAL |30:17 |ARCHIVE WOMAN: |

| | |I want the freedom not to have a husband. |

| | | |

| |30:23 |COMM: |

| | |On a personal level, many stewardesses were in a good |

| | |position to experiment with their new sexual freedom |

| | |and assertiveness. |

|ARCHIVE: MS 2ND WOMAN AT MIC |30:31 | |

| |30:34 |2ND WOMAN: |

| | |I want the freedom to choose my own lifestyle. |

| | | |

| |30:39 |COMM: |

| | |But |

|B/W STILL: MCU WOMAN, TILT DOWN TO CU ‘GO FLY YOURSELF’ | |they didn’t think that gave the airlines the right to |

|PLACARD | |exploit it as a marketing tool. |

| | | |

|B/W ARCHIVE: WS PROTESTING STEWARDESSES ON STREET |30:48 |COMM: |

| | |One of the women who began to ask questions was a young|

| | |Pan Am stewardess called Pat Ireland. |

| | | |

| |30:55 |PAT IRELAND V/O: |

| | |When I applied for the job with the airlines, I really |

| | |thought it was a way of |

|B/W STILL: MCU IRELAND IN UNIFORM, Z/I TO CU |30:59 |getting out of small town Indiana where I had grown up.|

|FADE TO | |I – |

|MS IRELAND INTERVIEW SYNC |31:05 |PAT IRELAND: |

|CAPTION SUPERED: | |– grew up watching Westerns and, in the Westerns, on |

|‘PATRICIA IRELAND | |television and at the movies, there were only two roles|

|PAN AM 1968–1975’ | |for women. You could be the school ma’am who was very |

| | |proper and led a very boring life, or you could be the |

| | |saloon girl who had a lot of fun and who almost always |

| | |got shot in the end because she was sort of sinful. I |

| | |always wanted to be the saloon girl. |

|ARCHIVE: MS AEROPLANE PASSES OVER CAMERA, TILT UP |31:26 | |

| |31:27 |COMM: |

| | |Patricia bought the idea that maybe the air hostess |

| | |was the modern saloon girl. But the questions soon |

|B/W ARCHIVE: PAN AM ADVERT – CU STEWARDESS GREETS | |began. |

|PASSENGERS BOARDING AEROPLANE | | |

| | |PAT IRELAND V/O: |

| | |It was – |

|MCU IRELAND INTERVIEW SYNC |31:37 |PAT IRELAND: |

| | |– a little troubling that they sold us for our smiles |

| | |when, in fact, I could deliver a baby at 30,000 feet |

| | |and really wanted to. I could never get a pregnant |

| | |woman to co-operate, but I just lived for a medical |

| | |emergency and I could evacuate an aeroplane in three |

| | |different languages. So there was that edge of |

| | |irritation to it, but it was such a wonderful job for a|

| | |young woman and there weren’t that many fun jobs out |

| | |there when – |

|ARCHIVE: MS STEWARDESSES PASS CAMERA L TO ENTER AEROPLANE |32:08 |PAT IRELAND V/O: |

| | |– I was getting out of college. |

| | | |

| |32:11 |COMM: |

| | |But the airlines’ hypocritical attitude to women’s |

| | |sexuality began to grate |

|ARCHIVE: R/A WS STEWARDESSES ENTER AEROPLANE | |on Patricia. |

| | |PAT IRELAND V/O: |

| | |There were a number of paradoxes in – |

| |32:19 |PAT IRELAND: |

| | |– working for the airlines in the late sixties and |

| | |early seventies. Among them were that while we were |

| | |supposed to be a flirtatious diversion for some man who|

| | |was flying, we also were supposed to wear girdles that,|

| | |I don’t know, they were sort of a modern day chastity |

| | |belt as nearly as I could tell. |

|ARCHIVE: STEWARDESSES WALK THROUGH AIRPORT |32:37 |PAT IRELAND V/O: |

| | |So I would not wear my girdle. And you had to walk |

| | |across from the grooming supervisor and she would – |

|MS IRELAND INTERVIEW SYNC |32:44 |PAT IRELAND: |

| | |– say Patricia, Miss Ireland, come in here. And I would|

| | |go in and she would say you don’t have your girdle on, |

| | |you are jiggling. |

|ARCHIVE: STEWARDESSES LOUNGE AROUND POOL |32:51 | |

| |32:52 |COMM: |

| | |In public, though, the airlines’ justification for |

| | |their use of hostesses was nothing to do with |

| | |what they looked like. |

|ARCHIVE: H/A LS AEROPLANE IN FLIGHT | | |

| | |PAT IRELAND V/O: |

| | |The airline argued – |

|MS IRELAND INTERVIEW SYNC |33:01 |PAT IRELAND: |

| | |– that they had women flight attendants because women –|

|ARCHIVE: MS STEWARDESS CARRIES CHILD DOWN STEPS FROM |33:05 |PAT IRELAND V/O: |

|AEROPLANE, TILT DOWN | |– were so much more maternal. Now mind – |

| | | |

|MS IRELAND A/B, INTERVIEW SYNC |33:08 |PAT IRELAND: |

| | |– you, if you were actually maternal – that is if you |

| | |got pregnant, whether married or not – you would be |

| | |fired in a heartbeat. |

|ARCHIVE: WS STEWARDESS WELCOMES PASSENGERS ONBOARD |33:16 |PAT IRELAND V/O: |

|AEROPLANE | |And so there were a lot of – |

| | | |

|MS IRELAND A/B, INTERVIEW SYNC |33:20 |PAT IRELAND: |

| | |– mixed messages there about who we were supposed to |

| | |be. Between the Madonna and the whore. |

|ARCHIVE: WS WOMEN IN OFFICE, PAN R TO WS IRELAND |33:25 | |

| |33:26 |COMM: |

| | |Stewardesses like Patricia began to organise. |

| | | |

| | |PAT IRELAND V/O: |

| | |It wasn’t as if the civil – |

|MS IRELAND INTERVIEW SYNC |33:32 |PAT IRELAND: |

| | |– rights and women’s rights and free speech and |

| | |anti-war movement were not swirling all around us, and |

| | |here we were in this little bubble, including our hair |

| | |which was sprayed into submission with a pillbox hat on|

| | |top of it. |

|ARCHIVE: ANCHORMAN PTC & INTERVIEW WITH STEWARDESS |33:45 | |

| |33:46 |COMM: |

| | |And so, a new movement was born. |

| | | |

| |33:49 |ARCHIVE ANCHORMAN: |

| | |It’s called Stewardesses For Women’s Rights. What |

| | |effect does the sexy advertising, so called, have upon |

| | |you personally for instance? |

| |33:58 |ARCHIVE STEWARDESS: |

| | |Well, let’s put it this way, when a passenger comes on |

| | |the airplane and makes snide remarks about, you know, |

| | |our appearance, you know, this tells me that I am just |

| | |a sex object and it immediately puts me on the |

| | |defensive, I just personally dislike this type of thing|

| | |and I think other stewardesses do too. |

|B/W STILL: H/A WS AMERICAN AIRLINES STEWARDESSES ON |34:19 | |

|STAIRS, | | |

|TILT DOWN TO GIBBS |34:22 |COMM: |

| | |Another young stewardess was also beginning to fight |

| | |back. Her name was Patt Gibbs. She and her colleagues |

| | |decided to take their grievance to the top. |

| | |PATT GIBBS V/O: |

| | |We all went to Washington in our – |

|FADE TO | | |

|MCU GIBBS INTERVIEW SYNC |34:33 |PATT GIBBS: |

|CAPTION SUPERED: | |– miniskirts and we went and visited the Hill. And it |

|‘PATT GIBBS | |became very – |

|AMERICAN AIRLINES’ | | |

|B/W STILL: WS STEWARDESSES ON STEPS OF WHITE HOUSE, Z/I TO|34:38 |PATT GIBBS V/O: |

|WS GIBBS | |– obvious that, you know, that sex discrimination in |

| | |the airlines in the sixties, it was just a wholesale |

| | |marketing plan. Fly me, I’m Linda. I really – |

|FADE TO | | |

|MCU GIBBS A/B, INTERVIEW SYNC |34:49 |PATT GIBBS: |

| | |– move my tail for you at Continental. Love is my fuel |

| | |at Southwest. PSA in the hotpants and, you know. So we |

| | |viewed that as long as that vision of the flight |

| | |attendant was a sex symbol, this job would never, ever |

| | |be a career. |

|ARCHIVE: H/A LS BRANIFF AEROPLANE ON APRON, Z/I ON |35:07 | |

|BAGGAGE TRAIN |35:08 |COMM: |

| | |Of course that kind of attitude was likely to get a |

| | |hearing |

|ARCHIVE: WS/4S BRANIFF STEWARDESSES | |with the Pucci-clad beauties of Braniff. Or was it? |

| | | |

| | |PAM RIDDLE V/O: |

| | |But we were really treated as second class citizens. It|

| | |was – |

|MCU RIDDLE INTERVIEW SYNC |35:21 |PAM RIDDLE: |

|CAPTION SUPERED: | |– across the board, although Braniff and Northwest |

|‘PAM RIDDLE | |Airlines had the reputation of being the worst. It was |

|FORMER BRANIFF STEWARDESS’ | |like we didn’t matter and what we thought didn’t matter|

| | |and oh they could just violate our contract and that |

| | |was okay. Because we were just girls. |

| | | |

|ARCHIVE: WS STEWARDESESS WALK PAST FOUNTAIN |35:40 |COMM: |

| | |Braniff underestimated the girls at its peril. The |

| | |girls began to organise. |

| | | |

| | |ELIZABETH BOYER V/O: |

| | |My parents were absolutely – |

|CU BOYER INTERVIEW SYNC | |ELIZABETH BOYER: |

|CAPTION SUPERED: | |– shocked that I was involved in a union. |

|‘ELIZABETH BOYER | | |

|FORMER BRANIFF STEWARDESS’ | | |

| | |PAM RIDDLE: |

| | |A union, right. |

| |35:49 |ELIZABETH BOYER: |

| | |We had no union background in our family at all and it |

| | |was just inconceivable to them that I had done that. |

|ARCHIVE: PROTESTORS OUTSIDE WHITE HOUSE |35:56 | |

| |35:57 |COMM: |

| | |The new union activists turned to the law for help. |

| | | |

|CU BOYER INTERVIEW SYNC |36:01 |ELIZABETH BOYER: |

| | |The Civil Rights Act was passed in 1964 which |

| | |prohibited employment discrimination among other |

| | |things. And – |

|ARCHIVE: WS PROTESTING WOMEN WALK PAST CAMERA |36:09 |ELIZABETH BOYER V/O: |

| | |– by the late sixties and the early seventies, the |

| | |flight attendant organisations had really – |

|CU BOYER A/B, INTERVIEW SYNC |36:15 |ELIZABETH BOYER: |

| | |– begun to see this as an instrument they could use. |

| | |MUSIC |

|B/W ARCHIVE: STEWARDESS PROTESTORS CARRY PLACARD |36:19 |COMM: |

| | |By forcing the airlines to comply with equal rights |

| | |legislation, the stewardesses successfully defeated the|

| | |age limit and the marriage ban. |

|STILL: MS/2S ROBERTSON & STEWARD ONBOARD AEROPLANE | |Even men were allowed to become stewards and, for the |

|ARCHIVE: WS/3S STEWARDESSES WALK THROUGH TERMINAL, BACK |36:28 |first time, black stewardesses began to appear. |

|TRACK | | |

|ARCHIVE: BCU BLACK STEWARDESS |36:38 | |

|FADE TO | | |

|ARCHIVE: WS AEROPLANE IN FLIGHT ENTERS FRAME L AT SUNSET |36:40 | |

| |36:41 |COMM: |

| | |Of course, once the changes were forced on the |

| | |airlines, they found a way to exploit them. Pan Am, for|

| | |example, suddenly came over all multicultural: though |

| | |in their own sweet way, of course. |

|ARCHIVE: PAN AM ADVERT – STEWARDESSES PUT ON MAKE UP, |36:52 | |

|ADJUST UNIFORMS & HEAD FOR AIRPORT IN TAXIS |36:55 |ARCHIVE COMM: |

| | |How do you like your stewardesses? Most airlines |

| | |specialise in stewardesses from one country. One |

| | |airline specialises in stewardesses from all kinds of |

| | |countries. The airline is Pan Am and they can take you |

| | |just about anywhere and everywhere you’ve ever wanted |

| | |to go. |

| | | |

|ARCHIVE: H/A LS AEROPLANE IN FLIGHT |37:13 |COMM: |

|ARCHIVE: STEWARDESSES LOUNGE AT POOLSIDE | |Social attitudes were changing and |

| | |Sex-based advertising campaigns were under attack. But |

| | |the airlines had no desire to give them up. For a |

| | |start, they worked. |

|ARCHIVE: OZARK ADVERT – STEWARDESSES SMILE TO CAMERA & |37:23 |MUSIC |

|OZARK AEROPLANE IN FLIGHT |37:24 |ARCHIVE COMM: |

| | |These girls, these lovely girls, are not models. Every |

| | |one of them is an Ozark Airlines hostess… |

| | | |

| |37:31 |COMM: |

| | |As long as sexy stewardesses sold tickets, the airlines|

| | |would go on selling sexy stewardesses. |

| | | |

| |37:37 |ARCHIVE COMM: |

| | |…why your next trip on Ozark will be nice going all the|

| | |way. |

| | | |

| |37:42 |COMM: |

| | |But there was another reason for selling the glamour of|

| | |flying. It kept passengers’ minds off more serious |

| | |matters. |

| | | |

|L/A MS BARRY IN AEROPLANE, I/V SYNC |37:50 |KATHLEEN BARRY: |

| | |As flight attendants are very keenly aware themselves |

| | |part of what they do is safety. Airlines are never |

| | |eager to market that aspect of their job because it |

| | |only reminds people of what might go – |

|ARCHIVE: CABIN CREW REHEARSE SEABORNE ESCAPE PROCEDURE |38:00 |KATHLEEN BARRY V/O: |

| | |– wrong in flying. |

| | | |

| |38:03 |COMM: |

| | |So the airlines concentrated on making safety seem like|

| | |fun. Even ditching at sea was a bit of a bikini-clad |

| | |frolic. |

| | | |

| | |KATHLEEN BARRY V/O: |

| | |For flight attendants, the more the airlines treat them|

| | |in – |

|L/A MS BARRY INTERVIEW SYNC |38:15 |KATHLEEN BARRY: |

| | |– what they perceive is a patronising way, the more |

| | |that angers them that they’re not taken seriously for |

| | |this whole side of their job. That’s a very specific, |

| | |skilled kind of work about safety. |

|ARCHIVE: MS STEWARDESSES DISEMBARK FROM BUS & PASS |38:24 | |

|CAMERA L |38:25 |COMM: |

| | |But in the end it wasn’t the campaign for equal rights |

| | |that finally did for the era of the sexy stewardess. |

|ARCHIVE: LS 747 ON RUNWAY, PAN R | | |

|ARCHIVE: MS UNDERCARRIAGE OF AEROPLANE AS IT TAKES OFF |38:31 | |

|ARCHIVE: WS AEROPLANE TAKES OFF, PAN R |38:33 |COMM: |

| | |It was commercial reality. A combination of soaring |

| | |fuel prices and the deregulation of the US industry in |

| | |1978 changed the whole economics |

|ARCHIVE: STEWARDESSES SERVE COCKTAILS & FOOD TO PASSENGERS| |of flight. |

| | | |

| |38:45 |COMM: |

| | |Suddenly the airlines were no longer competing on the |

| | |basis of their stewardesses or their service, |

| | |but their price. |

|ARCHIVE: L/A MS AEROPLANE PASSES OVER CAMERA, TILT UP | | |

| | |MUSIC |

|ARCHIVE: PASSENGERS EAT & PLAY CARDS |38:53 |COMM: |

| | |To reduce costs, the airlines turned on their flight |

|ARCHIVE: MS TWA AEROPLANES ON APRON | |attendants. Cutting wage costs and conditions. |

|ARCHIVE: STEWARDESSES ON PICKET LINES & STEWARDESS VOX | |Their |

|POPS | |newly militant workforce fought back, culminating in a |

| | |1986 strike which lasted for 72 days. |

| | | |

| |39:09 |ARCHIVE STRIKING STEWARDESS: |

| | |We’ve today extended our picket lines to Pan American |

| | |and American Airlines. So far it seems as though there |

| | |are no more flights leaving Pan American and American |

| | |Airlines. |

|ARCHIVE: MS TWA AEROPLANES ON APRON, Z/O TO LS |39:20 | |

| |39:21 |COMM: |

| | |The boom days were over. It was a far cry from the |

| | |sixties – that bullish age when companies like |

| | |Braniff believed the future promised only progress and |

|ARCHIVE: BRANIFF ADVERT – AIR TRAVEL OF THE FUTURE | |profits. |

| | |MUSIC |

| |39:35 |ARCHIVE COMM: |

| | |The things you are about to see won’t look familiar |

| | |because they haven’t happened yet. |

| | | |

| |39:41 |COMM: |

| | |Indeed, so confident was Braniff that, in the mid |

| | |sixties, they even made a sci-fi advert predicting |

| | |their glorious future. |

| | | |

| |39:50 |ARCHIVE COMM: |

| | |You arrive at the jetport in a train that’s almost as |

| | |fast as some of the planes flying now. Robot porters |

| | |carry your luggage for customs. Automatically. |

| | | |

| |40:08 |ARCHIVE COMM: |

| | |This supersonic flight was arranged by Braniff |

| | |International to show you what our future is going to |

| | |be like. |

|FADE TO BLACK | | |

|FADE UP TO | | |

|ARCHIVE: LS MAN TURNS ON LIGHT IN OFFICE |40:16 |COMM: |

|ARCHIVE: WS EMPTY BRANIFF CHECK IN, PAN L | |In reality, Braniff went bust in |

|ARCHIVE: NATIONAL ADVERT – CU | |1982. And National |

| | |Airlines fared little |

| | |better. |

|STEWARDESSES SING FLY ME | | |

| |40:28 |COMM: |

| | |The company that launched the most audacious campaign |

| | |of the seventies had to change its tune. |

| | | |

|ARCHIVE: CU PAN R OVER PAN AM LOGO ON AEROPLANE |40:39 |COMM: |

|ARCHIVE: WS AEROPLANE TAKES OFF, TILT UP AS IT PASSES OVER| |Pan Am consumed |

|CAMERA | |National. Only to fold itself in 1991. |

| | | |

| |40:45 |COMM: |

| | |But it wasn’t just economics which were changing the |

|ARCHIVE: WS AEROPLANE IN FLIGHT, TRACK L | |way the airlines operated – or how stewardesses were |

| | |regarded. It was a new threat to air safety. |

| | | |

|CU ROBERTSON INTERVIEW SYNC |40:57 |TC ROBERTSON: |

| | |On the way from Oklahoma City to Dallas we were |

| | |hijacked. |

| | | |

|STILL: CU ROBERTSON & STEWARD, Z/I TO CU ROBERTSON |41:01 |COMM: |

| | |It was 1972 and TC Robertson was one of American’s |

| | |first black stewardesses. |

| | |MUSIC |

|CU ROBERTSON INTERVIEW SYNC |41:08 |TC ROBERTSON: |

|CAPTION SUPERED: | |This is prior to people having to go through security |

|‘TC ROBERTSON | |checkpoints. And there was a gentleman on board, and I |

|AMERICAN AIRLINES 1971–2003’ | |noticed him as I was walking through the aisle, and he |

| | |seemed to be busy kind of digging in his bag. And – |

|ARCHIVE: MS AEROPLANE IN FLIGHT |41:26 |TC ROBERTSON V/O: |

| | |– I saw him pull a gun. |

| | | |

| |41:28 |COMM: |

| | |The hijacker demanded money and a new destination. This|

| | |was unknown territory and the lives of every passenger |

| | |on board depended on how TC and the crew handled him. |

| | |TC ROBERTSON V/O: |

| | |We – |

|CU ROBERTSON INTERVIEW SYNC |41:41 |TC ROBERTSON: |

| | |– spent lots of time, during the course of the evening,|

| | |talking to him, trying to impress upon him the |

| | |seriousness of what he was doing. And trying, really, |

| | |to get him to give himself up. |

|ARCHIVE: MS AEROPLANE IN FLIGHT |41:55 | |

| |41:56 |COMM: |

| | |The hijacker took TC to the cockpit. For the next few |

| | |hours they kept him talking. |

|FADE TO | | |

|STILL: CU ROBERTSON, Z/I TO BCU |42:03 |TC ROBERTSON V/O: |

| | |We were making chit chat. The captain, he said – |

|CU ROBERTSON A/B, INTERVIEW SYNC |42:06 |TC ROBERTSON: |

| | |– I meant to ask you, what does TC stand for? |

|ARCHIVE: LS AEROPLANE APPROACHES LANDING STRIP |42:10 | |

| |42:12 |TC ROBERTSON V/O: |

| | |And before I could answer |

|ARCHIVE: L/A WS AEROPLANE PASSES OVER RIDGE | |the captain, the hijacker – |

| | | |

|CU ROBERTSON INTERVIEW SYNC |42:16 |TC ROBERTSON: |

| | |– chimed in and said it stands for tough cookie, |

| | |because she is a tough cookie. |

|ARCHIVE: WS VIEW THROUGH COCKPIT WINDSCREEN |42:21 | |

| |42:22 |COMM: |

| | |Eventually TC’s calmness and |

|ARCHIVE: WS AEROPLANE COMES INTO LAND, PAN L AS IT PASSES | |bravery helped persuade the hijacker to give himself |

|CAMERA | |up. A spate of seventies hijackings led the airlines to|

| | |introduce a whole set of procedures to stop armed |

| | |hijackers getting on board. And, for a time, they |

| | |worked. But then, in 2001, |

|ARCHIVE: H/A WS PEOPLE STAND ON NEW YORK STREET, WHIP PAN | |something happened which no one was ready for. |

|L TO LS TRADE CENTRE TOWER COLLAPSES | | |

|FADE TO BLACK | | |

|TITLE ON SCREEN: |42:50 |END OF PART THREE |

|‘FLY | | |

|with | | |

|ME | | |

|The History | | |

|of the | | |

|Air Hostess’ | | |

|TITLE ON SCREEN: |45:00 |PART FOUR |

|‘FLY | | |

|with | | |

|ME | | |

|The History | | |

|of the | | |

|Air Hostess’ | | |

|ARCHIVE: VLS AEROPLANE, PAN R AS IT CRASHES INTO WORLD |45:03 | |

|TRADE | | |

|CENTRE |45:09 |COMM: |

| | |When four planes were hijacked on the 11th of September|

| | |2001, the flight crews found themselves in the front |

| | |line of the desperate and tragically unsuccessful |

| | |attempts to prevent disaster. |

|ARCHIVE: VLS BURNING WORLD TRADE CENTRE | | |

| | | |

| | |PATT GIBBS V/O: |

| | |After 9/11 I think what happened – |

|MCU GIBBS INTERVIEW SYNC |45:27 |PATT GIBBS: |

|CAPTION SUPERED: | |– was this awakening that the flight attendant was |

|‘PATT GIBBS | |going to be the most instrumental part in defending the|

|AMERICAN AIRLINES’ | |cockpit in the future. |

|O.O.F. LS STEWARDESS IN AISLE, Z/I TO WS |45:37 | |

| |45:38 |PATRICIA IRELAND V/O: |

| | |They ended up making the flight attendants the first |

| | |line of defence. |

|MS IRELAND INTERVIEW SYNC |45:44 |PATRICIA IRELAND: |

|CAPTION SUPERED: | |Their job is to slow down anybody who’s heading for the|

|‘PATRICIA IRELAND | |cockpit. |

|PAN AM 1968–1975’ | | |

|O.O.F. TRACKING WS STEWARDESS WALKS ALONG AISLES |45:48 |PATRICIA IRELAND V/O: |

| | |And, for instance, when the pilots come out to use the |

|O.O.F. MONTAGE: TROLLEY PLACED TO BLOCK AISLE | |bathroom, they |

| | |put one of those carts |

|FADE TO | |across the aisleway and you can’t get up. And they have|

| | |one person – |

|MS IRELAND INTERVIEW SYNC |45:58 |PATRICIA IRELAND: |

| | |– on one side of the cart and the other one in front. |

| | |And their eyes are constantly scanning. Now who do you |

| | |think is going to get protected if somebody comes |

| | |charging them? You know, the one in the front is going |

| | |to go first and then the one who’s behind the cart’s |

| | |going to go second and, by that time, the pilot’s in |

| | |the cockpit with the door locked. |

|WS STEWARD CLOSES OVERHEAD LOCKER & TAKES JACKET FROM |46:15 | |

|PASSENGER |46:16 |COMM: |

| | |This new role fundamentally changed the relationship |

| | |between flight attendants and their passengers. Once |

| | |pampered guests, passengers have become walking |

| | |security hazards and potential terrorists. |

|CU PHONE HOLDER, PAN R TO MS | | |

|LARGE ON INTERNAL PHONE | | |

| |46:30 |ANGELA LARGE: |

| | |Oh hi Tony, it’s Angela. Just to let you know that |

| | |on-the-hour security checks are all – |

|MS LARGE WALKS THROUGH AISLE CURTAIN. TRACK TO FOLLOW |46:34 |ANGELA LARGE V/O: |

| | |– A-Ok. |

| | | |

| |46:36 |COMM: |

| | |Angela Large, senior BA attendant on a flight to New |

| | |York, still likes her job. But her duties today are as |

| | |much to do with security as serving passengers. |

| | | |

|MS LARGE IN GALLEY, INTERVIEW SYNC, CAPTION SUPERED: |46:46 |ANGELA LARGE: |

|‘ANGELA LARGE | |We have 20-minute checks that have to be performed. So |

|BRITISH AIRWAYS’ | |every twenty minutes it’s a walk around the aircraft - |

| | |particularly with post 9/11. |

|MONTAGE: STEWARDESS OPENS DOOR IN SECURITY DRILL & SECOND |46:52 | |

|STEWARDESS OVERSEES EVACUATION |46:54 |COMM: |

| | |And training has changed too. |

| | |2ND STEWARDESS: |

| | |Two at a time, come on, double line, stay close |

| | |together. |

| | | |

| |47:00 |COMM: |

| | |Where once attendants learned deportment, today |

| | |they learn survival. |

|WS/4S CABIN CREW IN FIRST AID | | |

|LESSON | | |

|FADE TO | | |

|GVs PASSENGERS & ARMED POLICE IN TERMINAL |47:07 |COMM: |

| | |And with three and a half billion passengers flying |

| | |every year, the first lesson is that security comes |

| | |before comfort. |

| | | |

| | |RENE FOSS V/O: |

| | |Some days I feel like I’m a policeman now. |

|MCU FOSS INTERVIEW SYNC |47:20 |RENE FOSS: |

|CAPTION SUPERED: | |Passengers are told where they’re going to sit, they’re|

|‘RENE FOSS | |told when they have to sit, that they have to put a |

|NORTHWEST AIRLINES’ | |seatbelt on. When they have to turn off their phone, |

| | |when they have to turn off their computer. When they’re|

| | |going to eat, when they’re allowed to stand up. I mean |

| | |they completely are at the mercy of the pilot and – |

|WS STEWARDESS WALKS ALONG AISLE. TRACK TO FOLLOW AS SHE |47:34 |RENE FOSS V/O: |

| | |– the flight attendant. |

|HANDS PASSENGER DRINK | | |

| |47:35 |COMM: |

| | |But it’s not much more fun for the flight attendants, |

| | |either. Staff cuts, extra duties and fast turnarounds, |

| | |unthinkable twenty years ago, have made the job far |

| | |tougher than ever before. |

| | | |

|MS LARGE INTERVIEW SYNC |47:47 |ANGELA LARGE: |

| | |The reality is it’s long working days now. Many, many |

| | |nights out of bed and probably the hardest part is the |

| | |really big time changes. |

| | | |

|ARCHIVE: MS HOSTESS CARRIES MEALS, PAN L AS SHE SERVES |47:55 |COMM: |

|PASSENGERS | |The days of jetset glamour and gracious service have |

| | |gone. |

| | |RENE FOSS V/O: |

| | |Well my mother was – |

|MCU FOSS INTERVIEW SYNC |48:01 |RENE FOSS: |

| | |– a stewardess. I’m a flight attendant and she was an |

| | |airline stewardess. She flew from 1951 to 1959. |

|ARCHIVE: PASSENGERS SERVED AT GALLEY & FOOD ON DISPLAY |48:07 |RENE FOSS V/O |

| | |She would say oh we used to wear white gloves and we |

| | |had to learn to serve lobster thermidor at tableside on|

| | |the aircraft. When I – |

|MCU FOSS INTERVIEW SYNC |48:15 |RENE FOSS: |

| | |– began my career in 1985, instead of wearing white |

| | |gloves, we’re wearing rubber gloves. And instead of |

| | |learning to serve lobster thermidor tableside on the |

| | |aircraft, we’re going to put handcuffs on unruly |

| | |passengers. |

|STILL: WS LINE OF STEWARDESSES, Z/O TO VLS |48:25 | |

| |48:26 |COMM: |

| | |For the older generation of stewardesses, it all seems |

| | |rather dreadful. |

| | | |

| | |OLIVE CARLISLE V/O: |

| | |They are so – |

|MS CARLISLE IN SEAT, INTERVIEW SYNC, CAPTION SUPERED: |48:32 |OLIVE CARLISLE: |

|‘OLIVE CARLISLE | |– rushed off their feet, they have so many things to |

|BSAA/BOAC 1947–1953’ | |do, so many passengers. |

| | | |

|MCU FOSS INTERVIEW SYNC |48:36 |RENE FOSS: |

| | |I’m just flinging these meals out, five bucks, five |

| | |bucks, meals for sale, meals for sale. I mean I do, I |

| | |feel like I work at a baseball stadium. |

| | | |

|MCU LUCAS INTERVIEW SYNC |48:42 |EVE LUCAS: |

|CAPTION SUPERED: | |These days, the poor girls and the stewards, they’re |

|‘EVE LUCAS | |just rushing with their trolley thing and they’ve just |

|BSAA/BOAC 1948–1956’ | |go no time. They can hardly say hello and goodbye to |

| | |you. |

|MCU FOSS INTERVIEW SYNC |48:55 |RENE FOSS: |

| | |Instead of practising the art of polite conversation, |

| | |we’re practising, you know, self defence in case |

| | |someone gets out of hand in the main cabin. |

|WS STEWARDESSES WALK THROUGH AIRPORT, BACK TRACK |49:01 | |

| |49:02 |COMM: |

| | |For Olive, it’s all a bit perplexing. |

| | |OLIVE CARLISLE V/O: |

| | |I’m – |

|MS CARLISLE INTERVIEW SYNC |49:04 |OLIVE CARLISLE: |

| | |– quite sure there’s an awful lot to be enjoyed about |

| | |being a stewardess now. I just don’t know what it is. |

|B/W ARCHIVE: WS STEWARDESS WALKS DOWN AISLE OF SEA BOAT |49:10 |MUSIC |

| |49:12 |COMM: |

| | |It’s 75 years since the air hostess was invented by |

| | |Ellen Church because no one would give her a job as a |

|B/W STILL: BCU CHURCH | |pilot. |

| | |But in that time, the air hostess has become such a |

|STILL: L/A LS LINE OF STEWARDESSES STAND ON STAIRS, TILT | |powerful and complex modern icon, we can’t |

|DOWN | |bear to let her go. For men, she is still, perhaps, the|

|FADE TO | |perfect |

|ARCHIVE: NATIONAL ADVERT – LS STEWARDESS RUNS INTO SEA |49:26 |fantasy woman. Sexy, |

|STILL: CU ‘NAUGHTY STEWARDESSES’ POSTER. FADE TO | |fun and there to |

|STILL A/B: CU PAN R OVER CHARACTERS | |serve. But she is just as powerful a fantasy for young |

|VIDEO CLIP: BRITNEY SPEARS – TOXIC | |women: romantic, independent and, yes, sexually |

| | |emancipated. That’s an ideal which has lost none of its|

| | |potency today and is being served up fresh to a new |

| |49:38 |generation. |

|FADE TO | | |

|EXT. EVE WS HOOTERS AEROPLANE PULLS UP ON APRON |49:52 | |

| |49:55 |COMM: |

| | |But in reality, of course, the sexy stewardess |

| | |has gone forever. |

|INT. DAY MS STEWARD ON TANNOY | |Or has she? |

|WS STEWARDESS GOES THROUGH | | |

|SAFETY PROCEDURE | | |

| |50:02 |STEWARD: |

| | |…there are two door exits at the front of the aircraft,|

| | |two window exits over the wing and two – |

|WS/2S HOOTERS GIRLS MIMIC SAFETY PROCEDURE |50:06 |STEWARD V/O: |

| | |– door exits… |

| | | |

| |50:07 |COMM: |

| | |Welcome to the whacky world of Hooters Air. |

| | |STEWARD V/O: |

| | |Once again – |

|MS STEWARD ON TANNOY |50:11 |STEWARD: |

| | |– all carry-on luggage brought on board must be placed |

| | |underneath the seats to ensure… |

| | | |

|WS/2S HOOTERS GIRLS WALK DOWN AISLE, BACK TRACK |50:14 |COMM: |

| | |Of course Hooters girls aren’t flight attendants any |

| | |more than the flight attendants are hostesses. The job |

| | |has been split in two. |

|MS STEWARD |50:25 |STEWARD: |

| | |With illuminated cabin signs. |

| | | |

|MS/2S HOOTERS GIRLS AT TANNOY |50:26 |1ST HOOTERS GIRL: |

| | |We will be your Hooters girls on your flight today and |

| | |if there’s anything we can do to make your flight more |

| | |enjoyable, please do not hesitate to call upon us. And |

| | |we’ll see – |

|SLO-MO EXT. EVE WS HOOTERS AEROPLANE, BACK TRACK |50:34 |1ST HOOTERS GIRL V/O: |

| | |– you once we’re in the air. |

| | | |

| |50:36 |COMM: |

| | |The irony, perhaps, is that the Hooters staff put up a |

| | |convincing show of being the only cabin crews left |

| | |still having fun. |

| | | |

| | |STEWARDESS V/O: |

| | |It’s pretty – |

|INT. DAY MS/5S HOOTERS CABIN CREW, INTERVIEW SYNC |50:44 |STEWARDESS: |

| | |– interesting. I’ve flown for other airlines before and|

| | |I really enjoy it as a concept. The girls are very |

| | |active on board with helping us and assisting us. Our |

| | |passengers love that and they seem to enjoy us more |

| | |too. They bring us more into the fun part of it. It’s |

| | |much more enjoyable. |

| | |2ND STEWARDESS: |

| | |The atmosphere, yes. |

|ARCHIVE: HOOTERS VIDEO – HOOTERS GIRLS WITH PASSENGERS & |50:59 | |

|WAVE | | |

|TO CAMERA, CAPTION SUPERED: |51:00 |COMM: |

|‘HOOTERS PROMOTIONAL VIDEO’ | |But Hooters have another surprise up their sleeve. |

| | | |

| | |STEWARD V/O: |

| | |Well she’s blonde and she comes outside all the time |

| | |and – |

|CU STEWARD INTERVIEW SYNC |51:07 |STEWARD: |

| | |– everybody’s like a Hooters girl’s flying the plane. |

|EXT. EVE, L/A WS AEROPLANE NOSE, TRACK R |51:10 | |

| |51:11 |COMM: |

|FADE TO | |The Hooters pilot is a woman. |

|BW STILL: CU CHURCH, Z/I TO BCU E YES | |Ellen Church, the air hostess who wanted to fly, would |

| | |have been proud. |

| |51:21 |MUSIC |

|END CREDITS |51:23 | |

DIRECTORS

CALLUM MACRAE

AMIR AMIRANI

WRITER & NARRATOR

CALLUM MACRAE

EDITOR

JOHN GIBB

DIRECTOR OF PHOTOGRAPHY

DAVID BENSON

MUSIC SUPERVISOR

STEPHANIE PIGOTT

ORIGINAL MUSIC

SIX DEGREES

ALEC HARRISON

DAVEY RAY

WRITERS

DAVID GULLASON

VERN THIESSEN

SOUND RECORDIST

CAREY OPPER

HEAD OF PRODUCTION FOR WEST PARK PICTURES

PAT FOOTER

ASSOCIATE PRODUCER

BERNADETTE ROSS

PRODUCTION MANAGER

ELIZABETH KJELLBOTN

RESEARCH

ANDREW PRENTICE

SUSAN AMERONGEN

POST PRODUCTION

EDITWORKS

ON-LINE EDITOR

TIM MILLS

DUBBING MIXER

MATT RAMSAY

ARCHIVE MATERIALS COURTESY OF:

AMERICAN AIRLINES

UNITED AIRLINES CREATIVE SERVICES

UNITED AIRLINES ARCHIVES

BROOKE WATTS/THE BRANIFF PAGES

HOOTERS AIR

SINGAPORE AIRLINES

BRITISH AIRLINES ARCHIVE

BAA

EASYJET AIRLINE COMPANY LIMITED

THE BOEING COMPANY

NATIONAL SUNDOWNERS ASSOCIATION

US AIRWAYS

HISTORY OF AVIATION COLLECTION,

THE UNIVERSITY OF TEXAS AT DALLAS

ABCNEWS VIDEOSOURCES

CNN

GETTY IMAGES

FILM IMAGES

FOOTAGE FARM

HUNTLEY FILM ARCHIVES

ITN ARCHIVE/REUTERS

BRITISH PATHE/ITN ARCHIVE

MACDONALD ASSOCIATES

NATIONAL ARCHIVES

SILVERMAN STOCK FOOTAGE

STREAMLINE FILMS, INC

“COFFEE, TEA OR ME!” BOOK COVER AND CARTOONS,

COURTESY OF PENGUIN PUBLISHERS

“NAUGHTY STEWARDESSES” COURTESY OF

INDEPENDENT-INTERNATIONAL PICTURES CORP.

MARY WELLS PHOTOGRAPH © BERT STERN

“AIRLINE: IDENTITY, DESIGN AND CULTURE”,

BY KEITH LOVEGROVE

“AROUND THE WORLD IN A BAD MOOD”, RENE FOSS

BARBARA ANDERSON

OLIVE CARLISLE

GARY CORDRAY

PATT GIBBS

PATRICIA IRELAND

SUZANNE JOHNSON

TC ROBERSON

PRODUCERS

DEB PROC

LYNETTE SINGER

DAVID GULLASON

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FOR DISCOVERY TIMES

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DIANA SPERAZZA

FOR CHANNEL 5

EXECUTIVE PRODUCER

ALEX SUTHERLAND

FOR HISTORY TELEVISION

DIRECTOR OF ORIGINAL PRODUCTION

MICHAEL KOT

FOR HISTORIA

PRODUCTION EXECUTIVE

JACQUES MATHIEU

| |51:34 | |

A SKY BOUND PRODUCTIONS INC.

AND

WEST PARK PICTURES LTD.

PRODUCTION

PRODUCED WITH THE PARTICIPATION OF

THE ALBERTA FILM DEVELOPMENT PROGRAM

OF THE ALBERTA FOUNDATION FOR THE ARTS

AND

CANADA

The Canadian Film or Video Production Tax Credit

IN ASSOCIATION WITH

| |51:36 | |

DISCOVERY TIMES

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| |51:39 | |

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| |51:43 | |

HISTORY

TELEVISION

HistoryTelevision.ca

| |51:45 | |

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| |51:47 | |

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