(calm music)
- [Narrator] The following dramatization of events
in the life of Audrey Hepburn
is based on published accounts.
("Moon River" music)
- How you doing back there?
- I'm scared if you want the truth.
- [Jimmie] You just gotta believe in yourself.
- Thank you, Jimmie, but if I don't get this right,
the next time they're going to make me drive the taxi
and let you wear the dress.
- You can do it.
(Audrey coughs)
- Cut.
- [Assistant Director] That's a cut.
- Ah, look what I've done.
Look what I've done.
Blake darling, it's hopeless.
- You will get it.
- Look, can I just please have an ice cream cone?
- It's called "Breakfast at Tiffany's", Audrey.
Nobody eats ice cream for breakfast.
- Oh, well I do.
Please, please, don't make me eat the pastry.
- Okay, I tell you what, we will get you one without sugar,
okay, okay? - All right.
- Be right back.
- I'm so sorry.
- See why I didn't want Hepburn for this?
She can't eat that's why.
Marilyn Monroe is who I wanted.
Marilyn Monroe knows how to eat.
- Audrey's the nicest star I ever worked.
- I don't write nice.
- He doesn't like me.
- Eh, he doesn't like anybody.
- Maybe I should tell him I like his books.
I do, you know?
I think he's a wonderful writer.
- You care what he thinks?
- Because I'd like to make him smile.
If I can make him smile, will you give me a quarter?
- If you could make Truman Capote smile,
give you standing ovation.
- Well then it's a bet.
- Excuse me, Audrey, places. - Yes.
- Places.
(crowd cheers)
- Audrey.
Audrey.
Audrey, where are you?
Audrey, what happened to the sugar buns?
Audrey?
What could happen to them?
Audrey?
- She shouldn't be eating sweets.
Neither should you.
If you don't care about your own appearance,
think about the terrible example you're setting for Audrey.
- You're hardly ever here, Joseph.
How could you know what's good for Audrey?
What kind of example are you setting, Joseph?
You spend more time with your secretary
than you do your family.
- [Joseph] Oh, I'm tired of just talk, Ella.
- [Ella] I'm tired of your behavior.
- [Joseph] Oh for God sake, leave me alone.
(pot clanks)
- [Ella] Audrey?
- [Joseph] Oh, here she is.
Come out of there, darling.
- What have you done now?
- This is no place for us, come on.
(bright music)
- Forgive me, Audrey.
I had some bank business to take care of.
- Would you dance with me, father?
- [Ella] Where do you think you're going this time?
- [Joseph] London.
- [Ella] To have your mother support you again?
- [Joseph] Can we talk about this later?
- [Ella] I half expected you to run off to Germany by now.
- I have been asked to head up the European Press Institute.
- [Ella] And what do they do, distribute Nazi propaganda?
- [Joseph] Information is not propaganda.
- You're on the wrong side of everything,
aren't you, Joseph?
Please don't leave us.
You're supposed to protect us.
We have a daughter.
I'm not letting you go.
You can't go.
- Leave it alone.
- Joseph, you can't go, please.
- [Joseph] Don't try to stop me.
- Joseph!
(sad music)
- Please don't leave us, father.
Father, father.
Father!
- When you're ready, first position.
First positions.
- Thank you, darling.
So good to me.
How's your little girl?
- My princess?
She got a birthday coming up.
You know what she wants to do?
She wants to go to a Yankee game.
- I didn't know if she liked baseball.
- I don't think she does, but she knows I do.
But just be the two of us at the game, you know?
Me and my princess screaming our lungs out
on the third baseline.
- Is she coming back to the set today?
- She's already here.
She woke up at five so she could be with me today.
You know what she said to me this morning?
She said she wanted to grow up to be just like you.
- Oh, just don't let her grow up to be as nervous as I am.
- [Assistant Director] Places.
- Here we go.
Thank you, thank you.
(calm music)
- You're supposed to be packing.
- I don't want to go.
Did father say I had to go?
- Your father has nothing to say about your education
or anything else for that matter.
A man who hasn't called his daughter in five years
doesn't have a say.
- Maybe he's angry that I haven't called him.
- Boarding school will be very good for you, darling.
You'll learn manners, independence, and proper English.
- Can I live with father in London?
- You'll live at the school, dear.
Your father will come to visit you whenever he can.
- How would he know where I am?
How can you tell him to come see me
if you don't know where he is?
You don't know anything about him.
- Audrey, I don't understand his silence either,
but I know it has nothing to do with you.
(calm music)
- But when will I see you?
Would you come collect me for holidays?
- Audrey, the simple truth is
we can't afford for me to come back and forth
as often as I'd like now that I've moved back to Holland.
But I'm sure one of your classmates will invite you
to London for Easter and the like.
- Good afternoon, Baroness.
- [Ella] Good afternoon.
- Good afternoon, Audrey.
- Good afternoon, Miss. Rigden.
- I trust you're not too tired after your trip.
Let's get you settled then, shall we?
- Hello.
- I'm Clara.
- How do you do?
I'm Audrey Hepburn.
- I have to go to dance class.
- Don't let me keep you.
I'll just get settled in.
- Are you a dancer?
- I'm not anything that I know of.
(calm classical music)
- Isn't it beautiful?
- Do you study dance here?
- Of course I do.
Everyone does.
(calm classical music)
- It is beautiful.
- [Teacher] We'll begin with plies in fast position and.
- Hello, operator.
You have a listing in London for a Joseph Hepburn?
You have a Joseph Hepburn he living there?
Joseph Hepburn who used to live in Brussels?
I'm his daughter, could I leave a message for him please?
(lively classical music)
My father is there?
May I speak with him please?
I see.
- Your father was there and he didn't want to talk to you?
- He said he couldn't speak at the moment
and would call me back.
But he hasn't.
- I think you're lucky not seeing your parents.
Really I do.
All they do is complain anyway
and tell you how unacceptable you are.
- My mother doesn't do that.
She tells me I can be anything I want.
- I wish I had my parents in a glass case,
like in wax museum,
all dressed up to go out
but never actually going anywhere ever again.
- If I ever get married,
I'm going to marry a man with beautiful hair,
who looks marvelous in his tuxedo
and is utterly devoted to me and the children.
- I'm going to have two children.
One isn't enough.
- I think being a mother must be the best thing
in all the world.
I'm going to let my girls climb in bed with me
whenever they want.
And one day, our father will come home
and we'll be so happy.
(lively classical music)
- Very good, girls.
That was lovely, Audrey.
- Audrey, could I speak with your moment please?
- [Audrey] Of course.
- [Teacher] Ready girls?
And...
- I have just received this note from your mother.
After conferring with your uncle Willem,
she is taking you out of school.
Now that France and England have declared war on Germany,
she wants you with her in Holland.
- But if there is a war,
wouldn't we be safer here than in Holland?
- Holland is a neutral country.
My cousin is a cabin administer.
He assures me that we will not enter the war
even if England is leveled by the bombing.
- Do I have to leave?
- I'm afraid so.
Your mother has already been in touch with your father.
He'll meet you at the airport and put you on the plane.
- My father?
When do I leave.
- Tomorrow.
- [Announcer] British European airways is pleased
to announce the arrival of flight 24 from Paris.
- [Audrey] You ever been to Holland?
Mother says they grow the most beautiful flowers there.
- Please continue your dancing, Audrey.
It's very important not to stop at this stage
in your development.
- There he is, father.
- You're all grown up, Audrey.
- I've thought of you every day.
- I didn't realize how long it had been.
- Why didn't you visit me at school, father?
- I meant to of course, but...
I'm sorry we couldn't have seen each other
under better circumstances.
I am a British subject, yes,
and I don't see why my papers should be necessary.
- [Announcer] Ladies and gentlemen, flight 61 to Amsterdam
is now boarding.
- Is there a problem?
They're calling her flight.
- Your daughter may board the flight,
but then we have a few more questions
we want to ask you.
- [Announcer] Any person's holding tickets for flight 61
to Amsterdam, please report to gate five.
- After the war, things will be better.
We'll see each other then.
- Miss, time for you to go.
(sad music)
- I love you so much, father.
- Goodbye, princess.
- [Announcer] This will be the final call
for flight 61 to Amsterdam.
All passengers, please proceed to gate five.
- [Officer] Come along now sir.
Don't make any trouble, sir.
(calm lively music)
- I'll get you Mr. Frown all the time.
(calm lively music)
- Cut and let's print that.
It was perfect. - Thank you.
- You did it.
- Did he see it?
Where did he go? - Who?
- Truman Capote of course.
- I don't know what you're worried about.
- Oh, I just don't want to disappoint you.
I don't wanna let you down.
- Audrey, that would be impossible.
You were big.
- Thank you.
- Miss. Hepburn, you remember my daughter, Irene?
- Oh, of course.
- These are for you Miss. Hepburn.
I chose them myself.
- Thank you darling, they're beautiful.
Here you are. - Thank you.
- [Audrey] You're welcome.
(sad music)
- [Announcer] In an act of unprecedented
and undeserved hostility,
the army of the third Reich has invaded Holland
taking the entire country captive.
Radio Free Netherlands reports
that the Dutch Queen, Wilhelmina,
after strong recommendations from her advisors,
boarded ship for London this morning.
Over the past two weeks,
battalions of German soldiers occupied several cities.
(sad music)
- You said Germany would never invade Holland.
- I thought we would be safer here.
I was wrong.
- There is no safe place while this monster is alive.
- What about my ballet lessons?
Will we have to stay inside and until the war is over?
- I'm not staying inside,
I can tell you that much.
- No, no.
Your uncle Willem is right.
In time, things will get easier.
We'll be able to move around the city.
We just have to obey the Germans
till they feel they're in control.
(announcer speaks in foreign language)
- All over Holland, there are small rooms like this
where artists are painting and writing
and dreaming of the world after the war.
And.
(calm music)
Three and four.
Plie, tendu, plie, tendu.
- Here you are, Hannah. - Thank you.
- And grand plie,
penche,
and one and two, three and four.
(people conversing)
- We continue to strengthen our underground operations
to disrupt enemy troop movements.
- Is there going to be any flour this week?
- There is, but we are destroying it at the border.
The last thing we want to do is feed the Germans,
even if it means starving ourselves.
(intense music)
(siren wails)
(dog barks)
(soldier yells)
(sad music)
- God protect you, Hannah.
Mother?
(Ella cries)
What's wrong?
Is it father?
What's wrong?
- [Ella] It's uncle Willem.
- What happened?
- A train carrying German soldiers was blown up
at the resistance.
The Gestapo suspected your uncle Willem
had something to do with it.
So they arrested him and five others
and shot them.
- Uncle Willem...
(Audrey cries)
I'm so sorry, mother.
- Good evening, friends.
Thank you for your efforts
during this difficult period.
The retaliation for the destruction
of the troop train continues.
It is therefore critical that we alert our supporters
outside of town that raids on civilian homes
are continuing without warning.
- I have repaired the printing press.
The material will be ready by tomorrow.
- Good, we need someone new to deliver our message.
We can provide a bicycle,
but it will have to be someone whose presence will not be--
- I will do it.
- Audrey.
- I want to help.
- Ella?
(singer sings in foreign language)
(calm music)
(calm music continues)
- Miss, come quickly.
Must talk to you.
They have another job for you.
- To market, to market, to buy fat pig.
Home again, home again, jiggidy...
(twig snaps)
(intense music)
Jig.
♪ London bridge is falling down, falling down ♪
♪ Falling down ♪
♪ London bridge is falling down ♪
(twig snaps)
♪ My fair lady. ♪
- I have a message for you.
Tonight at midnight,
go to the bend in the stream,
then cross out to the marsh.
The wrath will be waiting there.
- [Stranger] Thank you.
- You're welcome.
Be careful.
- You too.
(intense music)
- [Soldier] Yett.
- Do you live here?
- No.
- What were you doing in the woods?
- I went to meet my boyfriend.
- And what did you do with that boy?
- He didn't come.
He doesn't love me.
Please, take these.
(Audrey sniffs)
Your girlfriend will like them.
- Thank you.
- [Soldier] It's him, over here.
(soldier speaks foreign language)
(intense music)
(gun shot bangs)
(sad music)
(soldiers speak foreign language)
(sad music continues)
- Maybe she's at the ballet studio or the school.
I've been up all night waiting for her.
- Please go home, Ella.
Our people are looking for Audrey.
They know what they're doing.
- I can't stay inside any longer.
- You think the Germans keep their prisoners
on the street corner for the families to claim them?
- I just can't-- - No, they don't.
They just wait for the families to come looking
and then they capture them too.
Now go home and stay there
so she has someone to come home to.
(airplane engine roars)
(soldiers speak foreign language)
(intense music)
(intense music continues)
(dogs bark)
- Audrey?
Audrey!
(Ella sobs)
I thought you were...
You're burning up. - Mother.
- [Announcer] German troops have retreated
across the border in disarray.
Sources in London indicate the Dutch queen Wilhelmina
will return to Amsterdam early next week.
Until then, master of reserve
as the center for the provisional government
allied relief forces begin to filter across Holland.
This BBC London calling.
- What is it, mother?
- I think you'd better come see.
(triumphant music)
- [Announcer] Never in the field of human conflict
was so much owed by so many to so few.
(lively jazz music)
(people cheer)
- You saved us.
- What's an English girl doing here?
- Do you like chocolate?
- I adore it.
- And we'll be showing a film later on
in the little square on the next street
if you'd like to come.
- We'd love to, thank you.
- Darling, you shouldn't be eating this chocolate.
- I don't, I don't feel so well.
- Come inside.
- She has anemia, asthma and acute colitis.
All these suggest very serious infection.
She needs penicillin.
- Can't we send for it from Amsterdam?
- She can't wait that long.
(lively jazz music)
(calm music)
♪ Moon river, wider than a mile ♪
♪ I'm crossing you in style some day ♪
♪ Oh dream maker ♪ - Hey Skip,
where'd all this chocolate come from?
I've never seen so much chocolate in a set before.
- Audrey buys it for the crew.
You can never have too much chocolate,
that's what she always says.
- What are we shooting next?
- Song on the balcony.
- Do you believe this?
They gave her a damn song.
Call girls don't sing.
- She doesn't seem like a call girl to me.
- She was in my book.
♪ There's such a lot of world to see ♪
♪ We're after the same ♪
♪ Rainbows end ♪
♪ Waiting 'round the bend ♪
♪ My huckleberry friend ♪
♪ Moon river ♪
♪ And me ♪
Are you sure you want me to sing?
- Of course I'm sure.
Aren't you?
- I suppose so.
After all, I didn't know how to do half the things
I did in my life.
Shall we get to work?
(calm classical music)
- How many girls is she taking?
Do you know?
Kay Kendall.
I haven't seen you around.
- I'd like to talk, but I can't do two things at once.
If Madam Rombert Marilyn doesn't like me,
I don't know what I'll do.
- Sorry, Audrey Hepburn.
How do you do?
- Are you from London?
- No, I just arrived last week.
- Listen, some of us gypsy types
are going for a coffee later
if you feel like it.
- I don't know what that is.
- Gypsies or coffee?
(Madam Rombert claps hands)
(Madam Rombert speaking in foreign language)
- We will have the first combination, please.
(lively music)
- You were in Holland for the war, why?
- My mother's Dutch.
- [Kay] Was it very difficult there?
- Yes, but my mother pulled us through it.
I was very sick at the end of the war.
She got cigarettes from the English soldiers
and traded them on the black market penicillin.
She was very brave.
- And very clever.
- She saved my life.
She sacrificed so much that I could come to London
to study dance.
- Well if you need some quick money,
you can always do reviews in nightclubs.
Or do chorus parts and musicals.
That's what a gypsy is, a dancer in a musical.
- I don't want to dance in musicals.
I don't think I'd know how to do
that kind of dancing anyway.
- You want to be a prima ballerina.
Anything else, would you wanna be rich?
Do you want to be queen?
I know it sounds impossible,
but I'd like to be a great dancer
and then retire, get married and have children.
- Dancers don't have children.
- I like to find my father.
He's somewhere here in England I think.
If I could just dance somewhere important...
- Like Covent Garden?
- Maybe he'd come to see me.
- Oh baby, you are the biggest dreamer I ever met.
We need to get you a boyfriend.
(dancers applaud)
- I know I lost a lot of time not dancing during the war.
- I don't know if you can catch up.
- Please give me a chance.
- If you had to give up everything to dance,
would you do it?
- I couldn't give up my mother.
- Wouldn't have to give up your mother.
- And I want to have children,
but I can have children when I'm too old to dance.
- Your teacher in Holland has written me
about your situation.
And since she recommends you so highly,
I will give you a chance.
But it will not be on full scholarship as you have asked.
It will be very difficult for you
but if I don't give you the chance,
then the war has triumphed over the dance
and we can never allow that.
- Thank you.
(lively classical music)
I just don't know if I'm good enough.
I'm not dancing very well lately
and the other girls, they're so beautiful.
- Well if it isn't dance, it'll be something else.
Can always-- - No, no it has to be dance.
It's my life.
Wasn't there ever anything that you wanted
more than anything in the whole wide world?
- I wanted you, does that count?
- I'm only happy when I'm dancing.
It's the only time I'm not nervous
about what to do with my hands
or whether I remember everyone's name.
- Audrey, you are a beautiful dancer.
You have worked very hard
and I'm very proud of what you've accomplished.
That isn't what I'm saying.
What I mean is sometimes life has other ideas
about what we should do.
Take me for example,
I'm a baroness working in a restaurant.
Wouldn't have been my idea,
but I do feel very peaceful here.
- You've made it look so much better.
- What does Madam Rombert think about your dancing?
- I don't know.
I'm afraid to ask her.
(calm music)
- I have been watching you very carefully, Audrey,
and I regret to tell you that you have neither the stature
nor the talent to achieve success as a prima ballerina.
- I see.
Thank you for letting me study with you
and thank you for telling me the truth.
(sad music)
- Over here.
(camera flash claps)
Oh, this isn't working.
Your jaw is so long.
Tuck your chin down a little.
- I know I don't look like the other girls.
- All right.
Well your features are very distinct.
Your eyes are almost, were your parents Asian?
- No.
- Over here, down, over here,
down a little,
relax your eyes.
Now let's try and take a picture now, shall we?
Okay, hold that, hold that.
Smile, please.
- This isn't going to work.
- Where are you going.?
- To do something else, anything else.
(lively music)
- [Jerome] All right, ladies, singing will be next.
Back in five minutes, please.
- It's better than modeling.
- You didn't tell me I would've to sing too.
You could have at least warned me.
- You don't have to sing.
You have to dance so great that Jerome Robins
doesn't care if you can sing.
- But I don't know how to do that kind of dancing.
- But if you don't need the job,
why don't you just go home?
Maybe prince charming will drop by.
- All right, I'm sorry for sounding so ungrateful, really.
I'm just scared I won't get it.
- Audrey, you're not the only one
Madam Rombert let go, you know?
But I think we have a chance of getting this
if we keep a smile on our face.
Oh good, here's Nickie, he's the star.
- Kay, darling. - Hello Nick.
This is my friend, Audrey. - Hello.
(Audrey giggles)
- She's light as a feather.
I like her.
- [Jerome] Once again, please.
(lively music)
- Watch the skinny one.
You can see her eyes all the way to the back row.
All you see when she's dancing is my choreography.
- All right, ladies,
we'll take a break for a minute and try it again.
May I have your attention, ladies?
Mr. Robbins and the producers of "High Button Shoes"
would like to thank you all your very hard work today.
If I don't read your name, you may leave.
If I do read your name, you may get your lunch,
be back in 20 minutes ready to start rehearsal.
Collins,
Griffin,
Miller,
Parks,
Ellen,
Cunningham,
Kendall,
Hepburn, thank you.
- Oh we got it.
- What did I tell you?
A million girls tried out for this and who got it?
You. - Oh and you.
Thank you so much. - Congratulations.
I'll see you at rehearsal.
(Kay and Audrey giggle)
- Audrey, this is Marcel.
He's playing the piano for the show
and he's going to be a famous composer someday.
- I'm very pleased to meet you.
I've noticed you dancing.
You have such lightness
and I was wondering if you'd like to join me for dinner.
- She doesn't eat.
- Oh, well then do you drink?
Do you tell lies?
There must be something we could do together.
- Oh, I would love to misbehave,
really I would, but I don't know how.
- So what would you like to do?
(calm music)
♪ Moonlight shadows on a summer night ♪
♪ I kiss your lips ♪
♪ You hold me tight ♪
♪ We dream of tomorrow ♪
♪ Memories of yesterday ♪
♪ The wind in the willow tree ♪
♪ Sweeps our love away ♪
♪ The wind in the willow tree ♪
♪ Sweeps our love away ♪
- [Marcel] I was watching you last night.
- [Audrey] Oh, I wish I were better.
Half the time I'm on stage, I'm trying not to be seen.
- Yes, I know.
But it is, how do you say?
Useless.
- Do you think they're going to fire me?
- No, no, no, it's useless for you to try not to be seen.
You are too beautiful.
- Oh please, don't.
- All over the world, they will say this,
even out of this world, even in space, they will say this,
the little men on the moon will say, look down there.
See the one with the long arms and the big eyes?
Isn't she beautiful?
- And what will they say about you?
- Don't change the subject.
I'm telling you something important.
- All right.
- You have to let us look at you.
That's all we ask.
Ta, ta, at, ta, ta, ta,
you have to let us look at you.
(lively music)
(ladies giggle)
- Good show, ladies.
- Thank you, darling. - See you tomorrow morning.
- They're from Cecil Landeau.
- Who's that?
- The guy who produces all those nightclub shows.
He wants you for his new review at Zeros.
- Would I have to give this up to do it?
- No, no, you could do both.
Reviews start late.
(lively jazz music)
(audience applause)
- Why should I give her a role in a movie, Cecil?
She can't dance and she can't sing at all.
- I don't know what it is.
Audiences love her and so do I.
(audience laughs)
(audience applause)
(calm jazz music)
- [Cecil] Where are you from, Audrey?
- I'm half Irish, half Dutch,
and I was born in Belgium.
If I were a dog, I'd be a hell of a mess.
- Oh, I hate to ask,
but I wonder if one of you gentlemen would give a girl
a little spin around the dance floor?
- Here you go, darling.
- [Kay] Oh, so grateful, I'm sure.
- [Cecil] And where's your family now?
Will I have the pleasure of meeting them some evening?
- My mother has a new job working for a dress maker
here in London.
- And your father?
- I haven't seen my father in quite some time.
Would you care to dance?
- Delighted.
(car engine rumbles)
- I am sick of love with you.
I was so jealous watching you dance with him,
I almost came over to him and asked him for, how do you say?
For a duet.
(Audrey giggles)
You are laughing at me?
You do not care that my heart is broken.
- You do not ask for a duet.
You ask for a duel.
- If I kill him, will you marry me?
- You can't kill him.
His friend Mario just offered me a part in the movie.
- After you do the movie, will you marry me?
- Darling if we got married, you'd only grow very bored,
fall in love with another actress
and I don't know if I could recover.
- You are the one who's going to leave me, Audrey.
But that's all right,
it is my great pleasure to be the first man
to have his heart broken by you.
Unless I'm not the first.
Am I the first?
Do you swear I'm the first?
- The first I've heard of.
(thunder rumbles)
Oh mother, wait til I tell you what happened.
One of Cecil's friends offered me a little part in a movie.
It's only one line, but he says it's a good one.
What's wrong?
Something the matter?
- You have a letter from the International Red Cross.
Did you write them?
- I was looking for father.
I thought they might have some record on him.
Is he dead?
What did the letter say?
- I don't know what it's about.
I don't open your mail.
- He isn't dead.
Father isn't dead.
He was in an internment camp during the war.
What does that mean?
- It's where they put Nazi sympathizes
to keep an eye on them.
- Don't they let people in these camps
contact their families?
- If he had wanted to find us, he could have.
- Have then why didn't he?
- Perhaps he's ashamed of what he did.
Perhaps he feels like a traitor.
- Father is not a traitor.
Don't say that. - Audrey,
your father doesn't want us to find him.
The Sooner you accept that, the better off you'll be.
- How do you know what he feels?
- You're right, I never did.
- I'm going to find my father
if it takes me the rest of my life.
- You'll be sorry.
- I don't care whether I'm sorry or not.
I'm going to find him.
(people conversing)
(lively music)
- This is a good line?
- Hello, who wants a ciggy?
- Flirtier, cuter.
- Hello, who wants a ciggy?
- You're not selling flower pots,
You're selling ciggies.
Sexy, sweet smelling ciggies.
- [Director] "Laughter in Paradise",
scene 56, take two, clappers.
Action.
- Hello, who wants a ciggy?
- [Assistant director] "Young Wives Tale,"
scene 32, take four.
- [Director] And action.
- Good evening, what would you like tonight?
- [Assistant director] "Lavender Hill Mob",
scene 15, take one, mark up.
- [Director] Action.
- Oh, how sweet you.
- [Director] And cut, that's a print.
All right everyone, that's lunch, one hour.
- [Worker] Kill the lights.
(people conversing)
- That was wonderful.
Are you all right?
- I'm fine, thank you.
Do you want me to be in your movie?
- Lunch is more what I had in mind.
But if it has to be a movie, I'll see if I can arrange one.
Forgive me, I'm James Hanson.
- How do you do?
I'm Audrey Hepburn.
- Who is that man talking to Audrey?
- You know the handsome prince in the fairy tales?
- [Ella] Yes.
- That's him.
- [James] Did you always want to be an actress?
- Oh, I'm not an actress.
Maybe some day will be if I work very hard.
I am having a wonderful time though.
People keep asking me to do things
and I just pray that I get through it
without embarrassing me too much.
- I think you're better than you know.
- And you, James,
have you always wanted to be a wealthy aristocrat?
- When I was a boy, I wanted to be an Egyptian.
Actually a pharaoh.
- No, of course.
- Racing chariots, building pyramids.
- Do you build now on your--
- [Waiter] Pardon me, madam.
- I'm sorry, do you work at all?
- My family's in transportation.
- Are you saying you own a railroad?
- Railroads and trucking lines
and well, if you wanted to move
say the province of Ontario to the other side of Canada,
we'd be the people to call.
- All right, let's have a look.
How about this one?
- I borrowed that one for the opera last week.
- Where are the two of you off to tonight,
Buckingham Palace?
- Just dinner and theater.
"Sabrina Fair", do you know it?
- Voila.
The actress who wore this dress
to have a clue what to do with it.
Slip it on, darling.
- I'm eating oysters and caviar
and things I never even knew existed.
Playing golf and croquet,
it's like I'm in a dream.
The only thing wrong with him is he doesn't want anything
probably because he already has everything I guess.
But you never hear him say, oh, I wish I had such and such
or if I only had such and such.
- And you think this is a problem?
- Are you in love with him?
- [Audrey] I don't know.
- Well don't take too long deciding.
You might lose him.
- Well?
- The man doesn't have a prayer.
(calm romantic music)
(lively classical music)
(lively classical music continues)
- Excuse me.
It's only been a few months,
but I honestly don't know
how I can go on living without you.
Please tell me I won't have to.
- I couldn't live here, James, not now.
- Who lives here?
I don't live here.
We could just come here when you needed a rest.
I'm not asking you to stop working, darling.
Do a play a year or even a movie a year if you feel like it,
just marry me.
(romantic music)
Will you marry me, Audrey?
- I will.
I will.
- How can you have a career and live in Yorkshire?
Surely he doesn't expect you to.
- He says I can do whatever I like.
A play year, a movie a year.
- They'll say whatever they want to
in the beginning, Audrey.
- He likes that I'm an actress.
But I know I won't work that much after we're married.
I wouldn't wanna marry him and not live with him.
What would be the point?
- Just don't set a date, please.
And stop fussing with that scarf.
You'd be late for your audition.
- The only reason I'm going
is because Kay likes the director.
Could never do the role.
- You can do anything you want to, Audrey.
- No mother, I can't.
It says in the stage direction
that my character's peeing from a port hole.
- Peeing from a port hole?
What kind of movie is this?
- When the director finally stopped laughing, he says,
"Audrey, it's a typo.
You're not peeing from a port hole,
you're peering from a port hole."
- Okay, so you are peering.
Did you get the job?
- I got the job.
I know they only took me because I could do
the French and the English.
But I'm going to Monte Carlo.
- Oh congratulations, Audrey.
- No, no, you can't go to Monet Carlo
with that school girl here.
Oh my, no.
It's time for something new, my dear.
Uh-huh. - Ah-huh.
(lively music)
(singing in foreign language)
- Audrey, why don't you tell you're a millionaire boyfriend
to bring his boat here and take us for a sail?
- Oh, I don't tell James what to do.
- Too bad.
- But I can ask him.
All right, again.
- Again? - Yes.
(Collette speaks in foreign language)
- [Audrey] Very good, now spin.
- How was that? - Great but what,
what is this?
- What are you up to now?
- Nothing.
Where did it go?
Are you hiding it in there?
Hmm.
Oh.
- Where did you learn that?
You in love with a clown?
- No, but that's what I'm gonna say
the next time somebody asks me.
Now again.
- Look at her, she's charming.
- You give this all up for a handsome millionaire?
- Yes.
- I need to make a phone call.
- Well Miss. Hepburn, I will be brief,
I want you to come to New York
and play the part of Gigi on Broadway.
You can read for our producers next week in London.
- You mean a play, Madam Collette?
You want me to act in a play?
- Yes, I need a loose, difficult woman,
but an excellent dramatist as adopted
my novel for the stage.
- On Broadway?
Oh Audrey.
- Oh, I'm sorry, madam.
There is a mistake.
It is an honor that you have asked me, but it is impossible.
I wouldn't be able to do it because I can't act.
- You won't have to act anything, darling.
You are Gigi.
- [Nick] You audition for two hours.
- [Kay] Who cares how long they kept her.
Do you think you got it?
- I don't know.
I don't think the producer like me at all.
But Collette does.
So if she makes the decision,
I'll definitely get it.
He does, I don't have a prayer.
- Even if you don't get it, I wouldn't worry about it.
Something else will come up.
- It already has.
Who's William Wyler?
- Are you serious?
- William Wyler is Hollywood, darling.
- Hollywood? - That's right.
He's a big film director.
Collette may get you on Broadway,
William Wyler can make you a star.
What's the movie?
- Mm, it's called "Roman Holiday".
It's about a princess who escapes from her palace,
falls asleep on a park bench
and then Gregory Peck comes along to take her home.
- Oh, how does it end?
Does he fall in love with her?
Oh, of course.
- But she can't marry him because she's a princess.
- Speaking of which, where is the divine Lord James?
- All England polo banquet.
Does that sound right?
- Oh, there's the light.
(Audrey laughs)
- [Stage Manager] Audrey Hepburn screen test, take one.
- Now Audrey, could you tell us a little bit about
what it was like after the war?
- Well, my mother and I moved to Amsterdam
so I could study dance again.
We tried to get back our lives.
Everybody was so grateful to the United Nations
after the war for giving us food,
medicine and other things we hadn't seen for years.
- Thank you, Audrey.
Now let's try a little bit of the scene.
- It's most unusual.
I've never been alone with a man with all my clothes on.
With my clothes off, it's even more unusual.
I don't seem to mind.
Do you?
A Arazu Rose from a couch of snows
in the aqua Ceraunian mountains.
- She's certainly beautiful Willie, but.
- No wait, the good part's coming up.
My instructions were to keep the cameras rolling.
- [Stage Manager] All right, that's it, cut.
- Only the director has the right to say cut and he hasn't.
That was fun.
Oh, it's such a wonderful story.
Particularly the tantrums the princess gets to throw.
Riding on a motor scooter,
bashing the man over the head with the guitar
and feeling so sleepy,
you could just fall on the puck bench.
- Cut.
- Oh, I'm sorry.
How did I do, was that alright?
- Does Greg Peck know she's gonna steal
the picture from him?
- Not yet.
- That is such wonderful news.
Yes.
But thank you so much.
You've got it, you've got them both,
the play and a movie.
(Audrey laughs)
- James, what are these people thinking about?
I haven't done either of those things.
- They're not thinking, darling.
They've all fallen for you just as I have.
We love you.
- But why?
- It's not something you're doing, it's something you are.
- Tall and skinny with long neck and big feet?
- Precisely.
- My first trip to America
and I'm going to Hollywood and Broadway.
(lively music)
♪ New York on Sunday ♪
♪ Big city, taking a nap ♪
- May I help you?
- I hope that I'm in the right place.
- What's your name, dear?
- Audrey Hepburn.
- Oh, good morning, Miss. Hepburn,
and welcome to New York.
I'm Joe.
Any of those bums inside give you a rough time,
you just come see me.
- Thank you, Joe.
But grandma, I'm wearing my drawers.
(everyone laughs)
It's not that funny.
- No, we're laughing at your enthusiasm,
my dear, I'm afraid.
It's bad form to start acting on day one.
We're just reading today.
So we can imagine what we're all doing here.
- [Stage Manager] Okay, everybody break's over.
We'll continue where we left off.
- Audrey, you cross up to your aunt
and throw yourself into the chair in despair.
- Mr. Rouleau, I keep forgetting,
which way is up?
- Up is up, up stage.
- [Anita] Where I am, dear.
- Up is behind you,
down is in front.
Left is stage left,
you're right if you are facing up.
(speaks foreign language)
To your aunt.
Did I say leap like a gazel?
Did I say wrong?
What did I say?
- Cross.
- Cross like a despondent school girl.
- No, she's not despondent, she's angry.
She doesn't want to be a courts.
- When you can act, you can give me direction.
Until that time, you will do as I say.
- I want to go dancing.
I want to go somewhere very glamorous
where we get in for free
because rich old men want to dance with us.
Oh and I wanna smoke a cigar.
Oh, I've never smoked a cigar.
How can you stay out like this
and have anything left or tomorrow?
- Oh, I just can't bare for that to be a Fifth Avenue
that I ever walked on every night.
Then two, if they end up firing me,
at least I have this beautiful city to remember.
- Goodnight, Audrey. - Goodnight.
(lively music)
- [Anita] Look at her, he's working her too hard.
- Anita, it isn't what she does in the daytime
that's the problem.
Okay everyone, breaks over.
We'll continue where we left off,
act two, scene two, places, please.
- I'm trying to do what he wants,
but he gets so angry with me.
- He says you're perfectly confident in French.
- Yes, only we could do the entire play in French,
I'm sure I wouldn't have any trouble at all.
- Miss Hepburn, if you can't do the role in English,
we'll have to find someone who can.
- I think it'd be better if we work on voice and diction
every day after rehearsal.
- You look like you're about to faint all the time.
When was the last time you ate?
- Are you getting enough sleep?
- Her picture in the papers every day.
Every night a new club.
How can she be sleeping?
- Well the publicity is good for the show,
that much I'll give her.
Can you give her another week, Raymond?
- On two conditions.
One, that she gives up all amusements,
except this show until we open
and two that you continue looking for someone to replace her
in case she doesn't.
- I'm terribly sorry to have got so much trouble
and I promise that you will not have to speak to me
in this way again.
(phone rings)
- Hello, darling.
- [Audrey] Hello, sweetheart.
- Are they treating you any better?
- They're not the problem, James, it's me.
- It can't be you, you're perfect.
- I know it doesn't make any sense,
but I wish my father could be here with me.
When you have a show opening on Broadway,
your father's supposed to be there to share it with you.
- I'm sorry, darling.
I know it hurts you that--
- The last time I saw my father
was when he put me on a plane before the war.
- Maybe he doesn't think he should be there.
- When I have a child, I'm gonna be there for everything.
Everything.
- He probably understands how much trouble
he could cause you.
- I'd better get to sleep.
Good night. - Good night, darling.
(calm twinkling music)
(car horns honk)
- Whenever you are ready.
- I have two new hats and another pair of high heeled shoes.
What do you think of me?
- [Anita] Louder.
- I have two new hats and another pair of high heeled shoes.
- No, no, no, no,
not every word louder is if you are in a playground.
The important words, louder.
The audience doesn't just listen, you know?
They watch you.
It is your face that tells them which words are important.
Like this.
I have two new hats.
Let your eyes sparkle on the words to two hats.
Make this girl a queen.
And when the audience knows what two mean to Gigi,
they'll understand who she is.
With two hats, Gigi can conquer the world.
- Oh, and she does.
- That's it, that's it.
That is exactly the Gigi look.
With that look, you don't even need two hats.
Now say the line again.
- I have two new hats and another pair of high heeled shoes.
- That's right now the hats are beautiful,
but the shoes are pure sex.
- Well, I'm afraid I don't know anything about pure sex.
- Oh, Gigi doesn't either.
But when you tell him about the shoes,
you let him know that you are willing to learn about sex
if he's interested in teaching.
- Which of course he is.
- But does every line have a secret meaning like this?
How will I ever get it?
- You have good instincts.
You have the real desire to please the audience
in just the right degree of unpredictable.
The audience likes a dangerous performer
and your particular kind of dangers, it seems like
you might be able to fly.
(lively jazz music)
- Mama, I have wonderful news,
Tonton and I are going to be married.
Oh mama, please don't cry.
Tonton, can't you do something?
- [Tonton] Perhaps you could use a drink.
- Andrea, put yourself together.
- Yes, mama, would you like to sing something?
- Andrea, we're going to be happy together.
Help us celebrate.
- Yes, would you please sing?
- [Tonton] Thank you.
(audience applause)
- Well see you at the party.
(audience cheers)
(calm music)
- Raymond would fire her right away if he could.
Of course if the reviews are bad for her,
he just might.
- Everything will be fine.
- I hope so.
- [Raymond] Anita, the verdict's in.
- Can I have your attention, please?
The delightful Miss. Hepburn
obviously is not an experienced actress
but her quality is so winning, so true,
that she's the success of the evening.
(everyone cheers)
A young actress of great charm
who pulls the whole thing into focus.
- The acting find of the year.
- Audrey Hepburn is nearly perfect as Gigi.
(everyone applauds)
- They hate the play and they love her.
Can you believe it?
(calm music)
(cast applauds)
- Just look at them, darling.
Do you know what a gift that is?
Is to make people smile like that.
(cast applaud)
- I'm trying to arrange it so that I can be in Rome
the whole time while you're shooting "Roman Holiday"
and then we can be married before you start the "Gigi" tour
if you do the "Gigi" tour.
Maybe you'll just want to rest.
- Can't marry you, James.
- Why don't you just enjoy your opening
and then once everything calms down--
- No, I don't want things to calm down.
I love what's happened to me,
but I can't have everything.
I was nearly fired from "Gigi"
for spending too many nights out.
I have to be serious about this.
- All I want to do is help.
Wouldn't it help if I was there all the time?
- No.
If you were there, I'd want to be with you,
to make sure you were having a good time.
Pretty soon, I wouldn't be thinking about acting at all
and I'd be fired or not hired again and I don't want that.
I want to see how good I can be
and I don't want to be the cute young girl forever.
I want my life to mean something
and I can't do that and be married too.
Just know I can't.
Please forgive me.
(sad music)
- If that's what you decide,
I'll understand of course.
- I didn't know what I wanted and now I do.
And I have loved you as much as I can,
but I love this work so much and that isn't fair.
Can't you just let me go?
- If I have to.
- Thank you, darling.
(sad music)
(calm music)
- Audrey, have you ever seen Capote talk to anyone?
He's always just sitting around, rubbing his face,
looking all depressed.
- I don't think he approves of us, George,
but I'm working on it.
Can I ask you a question?
- About what?
- About the character you've written of course.
- She's a call girl. - I know that,
but she doesn't actually seem to have sex
with all these men.
So is it only some of them
or only the ones she wants to marry?
- What do you think?
- Well, I think she's a lot like I was in the beginning.
- Which was?
- Afraid to let somebody know how little I knew.
- [Assistant Director] "Roman Holiday", scene 52,
take three, marker.
(lively music)
(Audrey laughs)
(car horn hoots)
- [Director] Cut.
(bell rings)
- [George] That wasn't so bad, was it?
- [Audrey] Oh, I'm having such a good time.
Really I am.
- See, it's easy to look like you're having fun
in the movies.
Just open your eyes as wide as you can,
stare straight ahead and hang on for dear life.
- I love making movies even more than I love watching them.
Oh and I love watching them.
- And I love seeing it all through your eyes.
I haven't had so much fun on a movie in years.
- The first night our town in Holland was liberated,
they set up a big screen in the middle of the street
and they showed us a movie.
And do you know what it was about?
War and you know what?
We liked it.
We loved it.
(camera flash claps)
The paper said what?
- They said, you and Gregory Beck were having an affair
during the filming.
- But it isn't true.
Can someone tell them that it isn't true?
- You're going to have to be very careful now, Audrey.
Don't tell anyone anything you don't want to read
on the front page.
- Just keep smiling
till we get to the front.
- Miss, Hepburn, how does it feel to be playing
the thief in your first movie?
- Before I introduce Audrey to you,
I want to introduce all of you to Audrey.
My dear, these people standing up front are reporters.
The ones standing at the back are bankers and lawyers
and those people over in the corner kicking themselves
are the studio executives
who did not hire you to a 100 year contract.
Ladies and gentlemen, Miss. Audrey Hepburn.
(everyone applauds)
- How's it going, princess?
- You have my permission to withdraw.
- Is it true your next picture is "Sabrina".
- Yes, it is.
I asked the studio to buy it for me and they did.
Isn't that amazing?
But the best part is that I get to fly to Paris
to pick out the clothes.
- What do you think of all these girls cutting their hair
to look like you?
- Well I can only hope that the haircut works
as well for them as it has for me.
- Miss. Hepburn, your parents must be very proud.
Are they here?
- My mother's right over there.
- And your father, is he proud?
- My father's a man that likes to keep
his feelings to himself.
Next question.
- Audrey, I'd like you to meet a great friend of mine.
This is Mel Ferrer, a wonderful actor and director.
- What a pleasure.
- [Mel] Pleasure is all mine.
- You were wonderful in "Lili".
I haven't seen the new movies.
- Well, you'd better start watching.
You're gonna be very big in pictures.
- [Greg] That's what I keep telling her.
- "Sabrina" is perfect for you.
Who's playing the smart brother?
- Bogie. - Oh.
He doesn't really like beautiful women.
Maybe next time, I'll get the chance
to be the lucky leading man.
- Well, now I'm the one dream.
- Ready darling? - Yes, good night, gentlemen.
Talk to you soon, Greg?
Really was a pleasure.
(calm music)
(secretary speaks in foreign language)
- Catherine, darling.
- I'm sorry to disappoint you, Monsieur Givenchy.
I'm Audrey Hepburn.
- Please forgive me.
They told me Miss. Hepburn film star was coming to see me.
Who would've known there were two such lovely women?
Let's get to work, shall we?
(lively music)
- I like the pink.
- It's my favorite as well.
The rest of them don't understand the pink,
but we are right, it is sublime.
- You don't think it will make my neck look too long?
- There is no such thing as too long,
not in legs, not in necks.
- Not in life.
- My dear Audrey, I think you are more beautiful
inside than out.
- Maybe a very small hat.
- Maybe a large hat and large sunglasses.
- I love it.
But I'll be riding in the convertible.
I can't be holding onto my hat.
- Then we will save it for another film.
Here is your small American convertible hat.
- Hmm, I think I have to have a small dog
to go with his hat.
(lively music)
(Audrey giggles)
(lively music continues)
It's magnificent.
(gravel scrapes)
Dear, look at him.
- Don't you be afraid of Bogart now.
- Not him, the other one.
- Holden, yeah.
He's the one to be afraid of all right.
- [Audrey] What's he doing?
- He's coming to open your door.
I think I can beat him to it if you want me to.
- No, you stay right where you are.
- Good afternoon.
My God, look at you.
- Hello there.
- Come on, I'll introduce you to the gang.
We're having a little party.
(lively jazz music)
(Audrey laughs)
Let's get a drink.
What will it be?
- Whiskey. - Two whiskeys.
(calm jazz music)
- They're watching us.
- Let 'em watch.
You've never been kissed?
- Not by a married man in the middle of a party.
- Well then let's get outta here.
- No, you stay and I'll leave while is till can.
(calm music)
- So Audrey, did you make it all right up the tree?
- I did.
- So when we make the shot tonight,
can you get up there a little faster?
- I can.
- [Director] Gretchen, I need to talk to you.
- Just tell me how the hell I can romance
that ridiculous girl when you're watching from a tree?
- I won't look if you don't want me to.
- Ah, stay there.
I can't get you outta my mind anyway.
Say, what are you doing tonight?
- I'll have to ask mother.
- Ask her if he could spend the night with me.
- Actually, I know the answer to that, thank you.
Could you say such a thing?
- I'm crazy for you, baby,
and I'm not giving up no matter what you say.
- Will, I need you over here, please.
(calm romantic music)
- He's quite handsome in an American sort of way.
- And I'm falling in love with him.
I'm trying not to.
- He's married. - I know he is married.
I know what they say that he has a girl in every movie.
He's not that way with me.
- What about your career?
- When I'm with him, I don't even think about my career.
I always feel happy and light.
I wanna feel like this forever.
- Isn't this the way you felt about James?
- James was dear and very good to me, but Will,
he makes my heart stop.
- [Director] Five minute warning, everyone.
Stand by.
Stand by five minute warning, thank you.
- [stylist] Necklace, put a two inch on her.
We're here. - Okay everybody,
clear the frame, please.
- [Crew] All right, all right.
Move that light out of the truck.
- If I didn't have to finish this movie,
I would drop dead right now.
- Well that isn't necessary.
- I know for as long as I live,
I will never see anyone more beautiful
than you are at this moment.
I am hopelessly in love with you, head over heels,
every cliche in the book.
But tell me what do I have to do
to have a chance with you?
- Audrey, Bogie, stand by.
- How can I kiss Bogie now after what you've just said?
- Will, I need you out of there.
- [Camera Man] Getting ready to shoot now.
All right, people, everyone first, let's go.
- [Director] All right, quiet down.
Get ready. - Okay everybody,
here we go.
"Sabrina", scene 44, take three.
- Action.
(romantic music)
- If David were here, he'd kiss you right now.
- Yes, he would.
- Draw in the family.
- Ah, what's the matter with Bogie?
It's the most beautiful girl in the world
and it looks like he has to force himself to kiss her.
Cut.
(Audrey giggles)
- What? - I love this movie.
I catch to myself pretending sometimes
that it's not just a movie, that it's real life.
I've just returned from Paris with my cute little dog,
my father lives in the garage over there and you,
you are in love with me.
- [Bill] How would you like the movie to end?
- [Audrey] Well I'd marry you of course.
We'd have a house full of children, live happily ever after.
It's not that your brother isn't nice enough.
It's just, I could never love him the way I love you.
- [Bill] You could marry me if you wanted to.
- [Audrey] Do you think they'd rewrite the movie?
- No, not in a movie in Reno or Las Vegas,
wherever I get my divorce.
- A divorce?
You would get a divorce?
- I wasn't kidding, Audrey.
I want you.
I want you to marry me.
I love you, Audrey.
Say that you'll marry me.
- Say that I'm not dreaming.
Are you playing with me?
- Is that a yes?
- It's a yes and a yes and a yes.
It would be so beautiful.
Our days and our nights, our work and our holidays,
our friends and our children.
- Who needs friends or children?
I don't wanna share you with anybody.
- You're right about the friends,
but a couple of children that wouldn't be too much.
- Well, they're so noisy
and they're always around when you don't want them to be.
- Think about what our children would look like.
Me holding a little boy in my arms
that looks just like you.
- I can't do it, Audrey.
I can't have any more children.
- What do you mean?
- I had a vasectomy a couple of years ago.
- Can't you do something?
- No, it's irreversible.
What?
Talk to me.
- I'd better go home.
- You you're not going anywhere.
- I need to.
- We can still have children, Audrey,
just not my children.
My children would probably be drugs anyway.
- I have to go before I say something
that I will probably be sorry.
- Sorry for?
Say it, whatever it is, we'll work it out.
- It wouldn't be a real marriage without children.
I want to be a mother.
- You can't walk away from me
because of something like this.
I'm in love with ya.
I got you down off that shelf you've been sitting on.
Don't use this children thing as an excuse
to get back there.
Look at me.
- I have to go.
- Audrey, no.
Audrey.
(sad music)
- It's very hard telling someone goodbye
even when you know you're doing the right thing.
- If I didn't have children, I wouldn't know I was alive.
- I didn't particularly want children
till I had you.
You've given me the greatest joy I've ever known.
You are the love of my life
and I want that for you.
I want you to have a child.
I know you have no idea how you'll get through this.
But in the morning, you'll see.
You will.
Now why don't yo to bed,
try to rest.
I'll bring you some tea.
- Thank you.
(lively music)
(doorbell rings)
(Mel speaks in foreign language)
(Audrey speaks in foreign language)
- Oh, I think just the site of you will do.
Matter of fact, I'm feeling better already.
Mel Ferrer. - I know who you are.
Please come in.
Your French is beautiful.
- Ah yeah, my mother thought it was important
and I'm beginning to think she was right.
Forgive me just showing up at your door like this.
I you know try to convince the studio to throw another party
so I could meet you again, but that seemed a little extreme.
So I brought you a play.
- A play?
- It's a wonderful play.
You should do another play.
Keep the Hollywood girls on their toes.
Oh, congratulations on "Sabrina" by the way.
Everyone who has seen it says you're the best thing in it.
- Thank you.
Well, I'll make us some tea
and then you must tell everything that you've done
since I saw you last.
It's Cuban and Chinese.
(Mel speaks in foreign language)
- Growing up in New York, I think I ate it every day.
Of course now that I'm an adult, every other day.
- The wine is wonderful.
- I suppose I should get going.
- No.
Do you have to?
- Yes I do.
I wanna give you plenty of time to read that play today
so you can phone me first thing in the morning
and tell me what you think.
- Is it a romantic play?
- It's about a water Sprite
that falls in love with a human man.
- Please stay.
Sounds like such a wonderful story.
- All right if you insist.
We'll read it through once,
see what you think and then if you like it, we can,
I don't know, do it on Broadway with Alfred Lundt directing.
- Alfred London, what a wonderful idea.
- It's more than an idea,
he'll do it if you will.
I have that in writing.
(Mel speaks foreign language)
- And in the end I shall do it, but first,
first we shall wait a long time.
An hour then in years come,
we shall have this hour always to remember,
the hour before you kissed me.
(Audrey laughs)
It's wonderful.
- You're wonderful.
God, it's like it was written for you.
I'll take care of everything.
I'll fight all your battles, I'll slay your dragons
and all you have to do is be your own lovely self on stage.
Say you'll do it.
- I'll do it.
- Thank you.
(Mel and Audrey laugh)
- [Alfred] All right, ladies and gentlemen,
please let's work on this armor business.
- Alfred, I'm thinking I could release the armor
when she comes to embrace me.
- No, no, the play says that the armor falls off
immediately after she says the line.
What is the line?
- Right, right, hear me out,
I think it would be much funnier
if she said the line from where she was standing.
Say the line, Audrey.
- I have a way of removing armor.
- Came around behind me
and mysteriously the armor falls off.
(cast laugh)
- I don't think we can rewrite the play, Mel.
Let's try to get it to work as written.
(lively music)
- [Audrey] My name is Ondine.
The king of the sea said if I ever kissed you,
I'll be lost.
- [Mel] Are you thinking of it?
- [Audrey] Very much.
- [Mel] Well there's no harm in thinking.
- It's going very well tonight.
- I can't watch.
I could never watch the opening of any of my plays.
- Mr. Lunt, Audrey looks exhausted.
How long do you think the play will run?
- Well, I think the critics will determine that.
- I'm afraid Mel would try to keep her in it
until she drops dead.
- Yes, well putting up with Mel
is the price you have to pay for having Audrey.
(audience applause)
- [Audience] Bravo!
- They love it.
- They love her.
- Well done, Alfred.
Got a real hit on your hands.
- I love you too.
- I'm sorry I fell asleep so fast last night.
I wanted to thank you for making this experience
perfect for me.
(Audrey giggles)
(door knocks)
- I got another bouquet for you, Ms. Hepburn,
and this telegram just arrived.
- Thanks, Frankie.
- [Frank] Gee, you're gonna need a special room just
to keep all these flowers, Miss. Hepburn.
Smells great though.
- Better make that two rooms, Frankie.
Miss. Hepburn has just been nominated for an Oscar.
- An Oscar.
(Frank claps)
- And the nominations for best actress
in a feature motion picture are
Audrey Hepburn for "Roman Holiday".
(audience applause)
- She looks tired.
- I know. - Leslie Caron for "Lili".
- I'd take her away for a rest,
but the press is already accusing me of being a Sven Gali
controlling her every move.
- Somehow they have the idea that she is very weak.
- Deborah Carr for "From Here to Eternity".
- It'd be easier to take her away
if you let me marry her.
- You don't need my consent to marry her.
Have you asked her?
- Ava Gardner for "Mogambo".
- I'm going to tonight at the party.
- She wants children, you know.
Are you prepared to have more children?
- As many as she wants.
- And Maggie McNamara for "The Moon is Blue".
- Here we go.
- And the winner is
Audrey Hepburn for "Roman Holiday".
(triumphant music)
- Ha, ha, ha, ha.
(audience applause)
- I'd like to thank my mother
who taught me to stand up straight,
sit erect, use discipline with wine and sweets
and only smoke six cigarettes a day.
- I hope the two of you will be very happy.
(audience applause)
- I promise you, Ella,
I will take care of her for the rest of her life.
(calm music)
- Those reporters have followed us
all the way from the chapel.
- I know, I'm sorry, darling.
I don't know how they found us.
- Please, don't they understand
that this is a very private day?
- Let me do the talking.
(reporters jabber)
- Yes, we were married this morning in Birkenstock
and we intend to make our home here in Switzerland.
It was just a private ceremony for family and friends.
(reporters jabber)
- Thank you so much for your best wishes.
Now please, roads are narrow, drive carefully.
- That's all, gentlemen.
- I love it here so much.
Another week and I'll turn into a country housewife.
- The most radiant country housewife in history.
- You know what,
why do we both stop doing movies for a while
and just enjoy each other?
- Are you're kidding?
Nothing would make me happier.
But your fans would kill me if I kept you all of myself,
you know that.
- I want to have a baby.
I want to see what our babies look like.
I want to hold them.
- What, right away? - Right away.
- All right, I guess I want to tell Fred Astaire no.
- Fred Astaire?
- It's called "Funny Face" shooting all over Paris,
even inside the Louvre.
- Oh, but I haven't danced in such a long time.
- I know.
- Still it would be wonderful to film in Paris.
Do you think I could do it?
- I know you could.
- Well then tell them I would be honored to do it
unless I get pregnant
and then some other lucky actress will get to dance
with Fred Astaire.
What are those?
- The contracts with the other two films
you've been thinking about,
"Nuns Story" and "Love in The Afternoon".
- Well, I have to do "Love in The Afternoon",
I promise Mr. Cooper I would.
- Sweetheart, I think you can call him Gary.
- And I want to do "The Nuns Story"
because I want to be in Africa
when you are scouting locations for your movie.
- Well, I don't think that's the only reason to do it.
- Well no, of course not,
I want to do a serious role, I'm ready.
- Of course you are.
- But how can I get pregnant if I'm working all the time?
- Let's just assume from here on in,
that anytime you're shooting a film, I'm there.
That is, you know, unless you say no.
- Why would I do that?
The only man that I want to say yes to is you.
(villagers singing in foreign language)
- [Assistant director] "The Nuns Story", scene 42, Apple,
take five, marker.
- Audrey, I have a lovely surprise for you.
Audrey Hepburn, meet Mary Louise Ave,
the former Sister Luc.
- How do you?
It's such an honor to finally meet you.
- Miss. Hepburn, I share the honor.
- I am very nervous about playing you.
I hope that I will be able to help people understand you
and your work.
- Thank you very much.
I was just on my way to the clinic,
the real one.
Would you like to walk over with me?
- Go ahead.
We won't be ready here for an hour.
- I'd love to.
Please lead the way.
(babies cry)
How many children are treated here?
- Very few, actually,
compared to the thousands who need help.
There are whole continents of sick children.
Their parents are no better off
struggling to care for them.
Yet not enough people seem to notice.
- I honestly didn't know how desperate the situation was.
It's so unfair that the children
have to start their lives like this.
- Do you plan to have any children of your own?
- We want them very much, but so far, no luck.
- I think the children will come when it's time.
Rest is all that you need.
- Well I have another film to do after this in Mexico.
Maybe then I'll take some time off.
- Well I see that you have a very full life.
- Throughout so much of my life,
people have come along to take care of me
as if I were a little girl.
- You seem so comfortable with yourself
and so comforting to others.
- Maybe I'm finally learning how to look after myself.
But the children, the ones who live here,
they're the ones who really need the help.
Hello.
- I missed you, Zinnemann.
- Oh, I'm so happy you came to see me.
- Look at you.
In the rush, you look terrific.
- I feel so peaceful here.
- Sister Luc tells me you're wonderful with the children.
- I never wonder what I'm doing here.
- I'm sure I must make the world of movies
seem less important.
- Yes.
Sometimes I feel like I'm nothing more than a show horse,
all tripped down in fancy ribbons, being led around a ring.
- Audrey, the audience doesn't feel that way.
They think you're up there just to make them happy
and the miracle is you actually do.
Sweetheart, you've given a whole generation of girls
a sense that something else was possible in life.
- Thin girls.
- Maybe you don't know what a difference you've made.
But no, no, it's not just thin girls.
It's all of them.
Young women who want more,
who wanna be able to speak their minds,
Who've always known there was,
there was something they was supposed to do.
They all look up to you.
You took what you had and look what you made of it.
And that, that is your real gift.
- I have missed you so much.
Nobody talks to me the way you do.
- [Announcer] As we reported earlier, Audrey Hepburn,
beloved star of stage and film was thrown by a horse today
while shooting a John Houston film in Durango, Mexico.
Miss. Hepburn is reported in critical but stable condition
with neck and back injuries
and will be flown back home for treatment later today.
Sources close to Miss. Hepburn report
that she's several months pregnant with her first child.
Hepburn's husband, actor and director, Mel Ferre,
flew to Mexico to accompany her back for treatment.
- Doctor says the baby is in no danger.
Heartbeat is normal, movement is normal.
Now all we have to do is try to convince Audrey to relax.
- Oh darling,
I've be so worried.
- I'm so glad you're here.
- [Ella] Where else would I be when you need me?
- Sweetheart, you shouldn't be doing this now.
Let's send the mail home so you can get some rest.
- Yes, you should be taking it easy now.
- No, no.
When do I ever get a lie around and read my mail?
I'm going to answer every piece.
Besides Caroline's doing most of the work.
What?
What is it?
It's from my father.
"I fear that you haven't received my other letters
because you've never answered.
Still, I don't know what to do
except continue to write them."
What other letters?
Mother,
did Father send me other letters?
- Yes. - You kept his
letters from me?
(intense music)
You kept his letters from me?
- I didn't want him to hurt you.
- [Audrey] How could he hurt me?
- He's hurt everyone he ever knew.
- Why would he try to get in touch with me
only to hurt me?
You're just jealous.
- I'm not jealous.
I was trying to protect you.
- You had no right to do this.
- Don't get in touch with him, Audrey.
- [Audrey] Don't tell me what to do.
- He hasn't given up his politics.
He never will.
- He's an old man now, mother.
What could he do?
- He could hurt your career.
He could-- - You're wrong.
- He could blame you for the fact that he left us.
He could twist it all up and make it all your fault.
You don't understand.
What's the matter, darling?
- I don't know.
I don't know.
The baby. - No, no.
- No, please don't let it be the baby.
- I'll get a doctor.
Doctor.
- Mother.
- [Ella] Nurse, is somebody there?
Doctor, can someone
help us, please? - Mother.
- [Ella] Doctor.
(glass bangs)
- Audrey.
- Hello, father.
- Well you best come in.
- I wanted to say thank you for writing to me.
I only wish I had received your letters.
- Your mother never?
She didn't want you to talk to.
I don't have any sugar.
- I don't take sugar.
Thank you.
- Well. - I'm so happy to see you.
- I'm not proud of what I did, Audrey.
Leaving you I mean.
- I don't hold it against you.
I've just missed you so much.
- You couldn't have missed me that much.
You hardly knew me.
- Well, you didn't know me very well either.
Didn't you miss me?
- Your husband told me you lost the baby.
- I did, yes.
- I told him you shouldn't have ridden that horse.
- The script required it.
- Arabian's don't like women.
They only trust men.
Your fancy cowboys should have known that.
You never should have ridden that horse.
- I'm all right now.
The doctor says that we can have another baby.
If there's something that you need to be doing,
go ahead.
I'm fine just sitting here.
- All right then.
- Come on, boy.
(dog barks)
Come on.
- [Audrey] What's his name?
- Otto.
- I have a dog.
They say the intelligence levels of dogs
is that of a two year old child.
I think they know much more than that.
They certainly know how to get your attention.
Cat's too.
I had a cat in London when I was first trying to work there.
I called him Tomorrow.
Whenever I had a day full of humiliating rejections,
I would pick up that cat and I would say,
everything is going to be all right, Tomorrow.
(sad music)
Thank you for seeing me.
- Well you're my daughter.
- Would you please come and visit us in Switzerland?
You can bring Otto if you like.
Could send you a ticket.
- No, no, no, it's too far for me now.
I best just stay here.
I don't like to leave the place with nobody to watch it.
- Oh, well then I'll just have to
come back and visit you.
- [Joseph] Don't have to do that.
- But I want to.
- I'm not cut out to be a father, Audrey.
I wasn't then and I'm not now.
- Why don't you want to see me?
- The whole world loves you, Audrey.
Don't need me.
- Good-bye, father.
- Good-bye, Audrey.
(sad music)
(gravel scrapes)
- I'm sorry I thought such terrible things,
that I said such terrible things.
- I'm sorry he hurt you.
- [Audrey] I should've listened to you.
- It's all right.
Perhaps I was wrong to try to protect you from him.
- I just thought if I could see him,
what happened to him?
- I don't know.
It's as if he stepped onto a moving sidewalk
and it took him away.
- I'm going to keep trying to have a baby.
- Good, I'm glad.
- And I think Mel wants me to wait a little while.
The studio wants me to do another movie right away.
- What are you going to do?
- I'm going to have a baby.
- [Priest] Name this child.
- Sean.
- Sean, I baptized in the name of the father
and of the son
and of the holy ghost.
Amen.
- [Congregation] Amen.
(calm music)
(Sean cries)
- [Mel] Audrey, I just got off the phone with the studio.
You really need to give them an answer
about "Breakfast at Tiffany's".
- Call them back and say no of course.
I can't play a call girl.
- You know, she isn't really a call girl.
I mean, we never actually see her calling on anyone.
- Oh, all right then, she's a cook
who carries messages for a mob boss
while still trying to find a rich boyfriend.
It's not me.
- I gotta tell you, I like this story.
Here's what I think,
it's about a beautifully young woman
who's having a wonderful time,
but still feels a little lost.
You know, she doesn't really know where she belongs.
- Oh and where does she belong?
- Oh, with the struggling artist that loves her of course.
- You really do like it?
- I just think Holly is different
than any character you've ever played.
I mean, this is, it's a complex script,
but it's still very emotional.
And you said you wanted your next picture
to be a little bit more modern.
- I don't wanna leave you in the baby.
- Sweetheart, if all it is,
Sean would love to go.
He told me this morning, he said,
dad, Switzerland's nice,
but I'd really like to see New York.
(lively music)
- Here you are, one nameless cat.
- Oh, hello cat.
- Listen, Audrey, apparently we only have enough rain
for one take.
Can you do it?
- Is he threatening me?
- You know, I read the script,
but I don't get why she puts the cat out of a taxi.
- Holly Golightly puts the cat out 'cause Holly is the cat.
- That's right.
- She doesn't have a real name
and neither does the cat.
She feels homeless and unloved and unlovable
just like the cat.
- So when she goes back to find the cat, it means...
- Excuse me, Audrey,
the taxi's ready. - Right.
- Can we stand by with the rain, please?
- [Crew] Stand by for the rain.
- So when she goes back to find the cat,
it means that she's finally accepted herself,
that she can love herself even though she's a scrawny,
soaking wet, no name cat.
It's not a bad thing to be.
("Moon River" music)
- Okay, queue the rain.
- Queue the rain, please.
Roll camera.
Mark it.
- Scene 188, shot one, take one, marker.
- And action.
(rain pitters)
- Cat!
Cat!
Where is he?
- I don't know.
- Cat?
(cat meows)
Cat, cat.
Oh, cat.
(Audrey laughs)
Cat.
- It's nice.
- And cut it.
- Cut the top.
(Audrey laughs)
(crew applauds)
- Thank you everybody.
That's a wrap.
(crew applauds)
(calm music)
(calm music continues)