All language subtitles for The.Audrey.Hepburn.Story.2000.WEBRip.Amazon

(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!

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.

- 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.

- 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?

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.

- 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?

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.

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!

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)