The Audrey Hepburn Story
This situation isn't resolved as we flash forward to Hepwitt in her Tiffany's garb. During a break, Hepwitt, dressed in black capri pants with a kerchief on her head, serenades Blake Edwards with Jennifer Love Hewitt's raspy version of "Moon River." I'll give her a moon! Tell me, is there blood coming out of my ears yet? Two movie guys snack at a buffet table, and one comments he's never seen so much chocolate. The other explains that Audrey buys it all for the crew, insisting that you can never have too much chocolate. Capote butts his head in and twangs, "What are we shootin' next?" Movie Guy 2 answers, "Her song on the balcony." "D'you b'leeve this? They gave her a damn song! Call girls don' sing!" Movie Guy 2 says that Audrey doesn't seem like a call girl to him. "She wuz in my book!" Capote insists. I think the actor playing Capote decided to mimic Dana Carvey's "Church Lady" in order to get Capote's Mississippi accent right. The movie guys roll their eyes and walk away. Somehow I don't believe two movie nobodies would treat Truman Capote so dismissively. ["Well, that's provided you believe that Capote was sober enough to turn up on set every day in the first place." -- Sars] Hepwitt finishes her weak warbling and leans forward to Blake Edwards: "Ah you sure you want me to sing?" she asks. Blake says of course he is and asks if she would, and Hepwitt says, "Hmmm, I s'pooze so. Aftah all, I didn't know how to doo half the things I did in my life."
Hepwitt is now playing the grown-up Hepburn at a dance tryout. Busty and dressed in a black leotard, Hepwitt stretches at the barre. A woman, who is supposed to be a young Kay Kendall but looks nothing like her, introduces herself and asks Hepwitt to join her after the audition for coffee. Hepwitt tells Kay about her mother getting cigarettes from English soldiers and then trading them on the black market in order to get her penicillin. Hepwitt goes on to say that her mother sacrificed so much in order to get her daughter to London to study dance. Kay tells her she can earn quick money doing revues and nightclub work. Hepwitt says she doesn't want to dance in musicals, and wouldn't know how even if she tried. Kay is skeptical about Hepwitt's desire to be a prima ballerina. Hepwitt moons about wanting to find her father in England. Kay tells Hepwitt she's the biggest dreamer she ever met, and says she needs a boyfriend. Hepwitt attempts to look modest. The second day of the dance audition is over, and Madame Instructor comes over to help Hepwitt at the barre. Hepwitt admits that she lost precious time not dancing during the war, and Madame asks if she would give everything up for dance. Hepwitt waxes enthusiastic in her love for dance, blah, blah, blah. Madame decides to give her a chance -- otherwise the war would have triumphed over the dancer. The truth is, Hepwitt's dinners are too big for a dancer, no matter how hard she tries to smoosh them into a leotard, but Madame doesn't know how to tell her that. Dance montage in which, I am convinced, Hepwitt is not one of the dancers. Hepwitt confesses doubts to her mother about her talent as a dancer. Her mother tells her she can always find something else to do, but Hepwitt whines that she's only happy when she's dancing. Ma Hepburn gives her good advice about life having other plans sometimes and one should be flexible. Ma Hepburn cites her own life: she was once a baroness and now she's a restaurant hostess. Yeah, quit your grousing, Hepwitt! In the next scene, Hepwitt practices gracelessly at the barre and Madame comes in to tell her (and her cleavage) that she has neither the stature nor the talent to become a prima ballerina. Hepwitt says, "I see," between clenched lips, minces forward and kisses Madame on both cheeks, and thanks her for allowing her to study under her tutelage and for being truthful. Madame leaves, and Hepwitt drips tears onto her capacious dinners.