Fifth Avenue, 5 A.M Part 8

What Blake didn't know was that he was on his way-and in a big way. The new Blake Edwards-the one whom Tiffany's Tiffany's would inaugurate into the critical firmament-was not making movies until Andrew Sarris-who would soon would inaugurate into the critical firmament-was not making movies until Andrew Sarris-who would soon become become the critical firmament-formally christened the critical firmament-formally christened Breakfast at Tiffany's Breakfast at Tiffany's the directorial surprise of 1961. If that wasn't sufficient indication of Blake's potential, then his Best Director nomination for the directorial surprise of 1961. If that wasn't sufficient indication of Blake's potential, then his Best Director nomination for Breakfast at Tiffany's Breakfast at Tiffany's from the Directors Guild of America surely was. Though he lost to the directors of from the Directors Guild of America surely was. Though he lost to the directors of West Side Story, West Side Story, there was no doubt that this recognition-Hollywood's first formal acknowledgment of his directing-meant he had upped his ante and had been dealt a winning hand. Now, he was prepared: when the time came, Blake could wield the long leash he'd been storing up for years and make the kind of comedy he really wanted to. All he needed was the ace. there was no doubt that this recognition-Hollywood's first formal acknowledgment of his directing-meant he had upped his ante and had been dealt a winning hand. Now, he was prepared: when the time came, Blake could wield the long leash he'd been storing up for years and make the kind of comedy he really wanted to. All he needed was the ace.

It came in the form of Days of Wine and Roses, Days of Wine and Roses, and it handed Blake more prestige than ever, but he had no idea what he was going to do with it when he sat down with Maurice Richlin to write and it handed Blake more prestige than ever, but he had no idea what he was going to do with it when he sat down with Maurice Richlin to write The Pink Panther The Pink Panther.

THE END OF THE ROMANTIC COMEDY.

As the days pa.s.sed, Mel and Audrey spent more time in silence. Their marriage had become a Rubik's Cube they scrambled and unscrambled in the dark, he turning it one way, she turning it another.

In 1965, they bought an old farmhouse in the hills above Lake Geneva. "La Paisible" (The Peaceful) they called it. There was a white picket fence, orchards, and a marvelous view of the Alps. Best of all, there was no sign of the world of film production Audrey had come to resent. My Fair Lady My Fair Lady had wrung her dry, and here at last she could soak up her life again. But seeing his wife at rest unsettled Mel. He wanted her to work, to have more ambition-his own. had wrung her dry, and here at last she could soak up her life again. But seeing his wife at rest unsettled Mel. He wanted her to work, to have more ambition-his own.

Perhaps it was to ensure herself a long period of rest that Audrey, after finis.h.i.+ng How to Steal a Million How to Steal a Million in Paris, became pregnant once again. The new baby, she felt, would be a friend to Sean, and moreover, a salve to their marriage-the turn of the Rubik's Cube they had been grappling for. But it did not work out that way. Audrey miscarried in January 1966. in Paris, became pregnant once again. The new baby, she felt, would be a friend to Sean, and moreover, a salve to their marriage-the turn of the Rubik's Cube they had been grappling for. But it did not work out that way. Audrey miscarried in January 1966.

Gamine parts, Mel sensed, were beginning to look strained on his wife, now thirty-seven. Likewise, Hollywood's idea of the romantic comedy-the genre she had done so much to evolve-was growing tired, if not a little irrelevant to the politically charged sixties. Movies were now about struggles, not dreams. Their subject, reality, was taking asunder the naive glow of love, and the relevance of Audrey Hepburn, its patron saint, was falling down with it. One glance at her marriage and she would understand exactly why: romantic comedy, like any marriage, didn't end at "I do." The Philadelphia Story The Philadelphia Story was only half of the story. was only half of the story.

It was the other half that worried Audrey. She didn't know if it was in her to play a real and ordinary woman. The last time she tried to revamp her image-The Children's Hour in 1961-nothing happened. a.s.suming the role of a maybe-lesbian did try the limitations of her persona, but it brought her some of the worst notices of her career. Audrey a.s.sured herself that light comedy was really where she belonged, and followed it with in 1961-nothing happened. a.s.suming the role of a maybe-lesbian did try the limitations of her persona, but it brought her some of the worst notices of her career. Audrey a.s.sured herself that light comedy was really where she belonged, and followed it with Paris When It Sizzles Paris When It Sizzles, a picture so problematic, Paramount shelved it for two years, only to release it in 1964 to more awful reviews. Charade, Charade, directed by her pal Stanley Donen, came next, but it was more of the same old-fas.h.i.+oned stuff. So were directed by her pal Stanley Donen, came next, but it was more of the same old-fas.h.i.+oned stuff. So were My Fair Lady My Fair Lady and and How to Steal a Million How to Steal a Million.

That's why Mel thought she should take Two for the Road Two for the Road. The story was not only experimental in its structure, which was temporally fractured like a film of the French New Wave, but it called for Joanna Wallace-the character Audrey would play-to use profanity, engage in adultery, and perform a seminude love scene ("If you want to be a d.u.c.h.ess, be a d.u.c.h.ess! If you want to make love, hats off!") What's more, Stanley Donen, the director, told Audrey that if she were to do the picture, she would be wardrobed not in couture but in ready-to-wear. Givenchy, he said, would be too formidable for Joanna. Of course, the character would have to have style, but it had to be relatable, or at least au moment au moment. The gamine was out of the question.

Audrey read the treatment and turned it down. But Donen and his screenwriter, Frederic Raphael, were not deterred. Script in hand, they flew to La Plaisible, where, mustering the kind of persistence Marty Jurow had himself mustered once upon a time, they convinced Audrey Hepburn to take the final leap in her career.

8.

WANTING MORE.

THE 1960S.

THE BEGINNING OF THE ROMANTIC COMEDY.

Stanley Donen said, "The Audrey I saw during the making of this film I didn't even know. She overwhelmed me. She was so free, so happy. I never saw her like that. So young! I don't think I I was responsible. I guess it was Albie." Albert Finney, her costar. was responsible. I guess it was Albie." Albert Finney, her costar.

They began giggling the moment they were introduced, and they didn't stop until the end of the shoot. It took acting like children to make them feel like grown-ups, and sometimes it didn't feel like acting at all. They entered that blurry realm after after acting called surprise, when actors let go of their own thoughts and feelings and, as if through intravenous transfusion, fade into each other. acting called surprise, when actors let go of their own thoughts and feelings and, as if through intravenous transfusion, fade into each other.

In those few months of production on Two for the Road Two for the Road, Audrey and Albie lived a brief lifetime of romance. Whatever happened to them in the hushed moments before a take, or privately, in seaside alcoves away from the set, can only be extrapolated from what they left on film: a dictionary's worth of silent shorthand, realized in split-second nuance. And then their romance ended quickly, as soon as it had begun.

Fearing the adultery suit Mel could bring against her, and the toll it would most likely take on her relations.h.i.+p with Sean, Audrey had no choice but to call it off. She and Albie parted on good terms, though the film's cast and crew (and indeed a slice of the world's reading population) knew better than to file the proceedings under "Just One of Those Things."

"Audrey's the one who asked for the divorce," Mel said many years later. But what's the point in a.s.signing blame? He was her husband, she was his wife, and whatever pa.s.sed between them had now pa.s.sed. Once, it was true that they had loved each other.

"Two for the Road is that rare thing," wrote Judith Crist in her review, "an adult comedy by and for grown-ups, bright, brittle, and sophisticated, underlined by cogency and honest emotion. And, far from coincidentally, it is a complex and beautifully made movie, eye-filling and engrossing with a 'new' (mod and non-Givenchy) Audrey Hepburn, displaying her too-long-neglected depths and scope as an actress..." is that rare thing," wrote Judith Crist in her review, "an adult comedy by and for grown-ups, bright, brittle, and sophisticated, underlined by cogency and honest emotion. And, far from coincidentally, it is a complex and beautifully made movie, eye-filling and engrossing with a 'new' (mod and non-Givenchy) Audrey Hepburn, displaying her too-long-neglected depths and scope as an actress..."

Truly, for the first time, Audrey Hepburn played a woman-not a lovely one, but a real one-with all of her defects, desires, and unrefined human pains. "Director Stanley Donen," wrote Richard Schickel, "and Writer Frederic Raphael (who also wrote Darling Darling) have sensibly noted that girls don't become women just because they were s.e.xually awakened (overnight, as it were). The process takes considerably longer." For Audrey Hepburn, that process, which began in Roman Holiday Roman Holiday and climaxed in and climaxed in Breakfast at Tiffany's Breakfast at Tiffany's had finally reached its port of call. had finally reached its port of call.

From Two for the Road Two for the Road: EXT. THE FRENCH-ITALIAN FRONTIER-DAY.

The Mercedes is snaking up the steep approach to the frontier station.

MARK(philosophizing)We've changed. You have to admit it.JOANNAI admit it. We've changed.MARKIt's sad, but there it is. Life.JOANNAIt's not that sad.

THE FIRST MS MS.

Several years later, in 1971, Letty Cottin Pogrebin, along with Gloria Steinem and several other women journalists, founded Ms. Magazine. Ms. Magazine. "Holly was my formative prefeminist role model," Letty said. "Holly was my formative prefeminist role model," Letty said.

ADIEU EDITH.

The last time Audrey saw Edith was in the Universal commissary a full decade after Tiffany's Tiffany's. Spotting Ms. Head dining alone, Audrey popped her head over her booth and said, "Why Edith, you haven't changed a bit!"

Edith-most likely working on her regular three scoops of tuna salad, cottage cheese, and sorbet-looked up to Audrey, who was not employed at the time, and shot back, "I haven't had time to. I've been too busy working."

It was rare that Edith, renowned for her diplomacy, would let her proverbial gla.s.ses drop before such a powerful actress, but her retort shows how deep the wound really was. Of all the stars in her hundreds of films since 1925, it was Audrey Hepburn, the most timid of t.i.tans, who hurt her the most.

Edith would not have known it then, but she was on her way to obsolescence. First she would be out of fas.h.i.+on, then she would be out of date. Rita Riggs was there for the change. "When Gulf & Western bought Paramount in 1966," she said, "they filled Ms. Head's fitting rooms with machines, and wiped her out in two weeks. They cleared out an inventory of fas.h.i.+on and accessories that she spent her entire career collecting. At one time, her work rooms of long tables-perfectly situated to catch the northern light-were big enough to fit twenty ladies doing rolled hems for the likes of Ginger Rogers and Joan Crawford. Now they were no longer cost effective. Out they went, and Edith's studio became the accounting department."

Edith Head, who played it safe, who hated trends, and who never wanted to be a designer, wore white gloves, tailored suits, and her hair up in a tight chignon. She was nominated for the Oscar thirty-five times.

TRUMAN'S SWAN SONG There are those who believe they are truly loved when they truly aren't, and others who suspect that despite sincere rea.s.surance to the contrary, no one really loves them at all. At some point in their lives, most people suffer from one or the other, wrongly convinced that all is well or all is not, but Truman Capote, who was good at losing love, was terribly right about both. Simultaneously overadored and falsely adored, Capote rode a carousel of affections from his first day to his last, changing horses as it suited him, even turning them against each other on his way around to the prettiest next. Unbeknownst to him, he was preparing the herd for a stampede that would one day run him to the ground. Even as he fell, he'd claim he didn't see it coming, but no one else was surprised.

In 1975 Esquire Esquire published "La Cote Basque, 1965," the first shaving off Capote's much-talked-about, long-awaited maybe-masterpiece, published "La Cote Basque, 1965," the first shaving off Capote's much-talked-about, long-awaited maybe-masterpiece, Answered Prayers. Answered Prayers. It was narrated by Jonesy, a clear Capote surrogate, who listens as Lady Ina Coolbirth dishes society inside and out. Most of the dirt is directed at thinly veiled versions of Truman's swans, figures like Cleo, who Jonesy calls "the most beautiful woman alive," and the affair her husband attempts with a governor's wife (it fails: she ends up menstruating all over the bed). All of Truman's friends and all of Truman's enemies-two categories that were beginning to merge-knew exactly whom the repugnant episode referred to, and when Babe read it, she recognized herself and Bill immediately, and shut Capote away-forever. Truman wrote her two long letters; she ignored them. Jack Dunphy called her at Kiluna asking her forgiveness; she rejected him. It was narrated by Jonesy, a clear Capote surrogate, who listens as Lady Ina Coolbirth dishes society inside and out. Most of the dirt is directed at thinly veiled versions of Truman's swans, figures like Cleo, who Jonesy calls "the most beautiful woman alive," and the affair her husband attempts with a governor's wife (it fails: she ends up menstruating all over the bed). All of Truman's friends and all of Truman's enemies-two categories that were beginning to merge-knew exactly whom the repugnant episode referred to, and when Babe read it, she recognized herself and Bill immediately, and shut Capote away-forever. Truman wrote her two long letters; she ignored them. Jack Dunphy called her at Kiluna asking her forgiveness; she rejected him.

What Truman wanted to tell Babe, if only she would have listened, was that he never intended to betray her. He wanted only to give Bill his due. Destroy Paley, he thought, in a public literary lynching, and avenge Babe's suffering. But it didn't happen that way-at least, not immediately.

Ironically, long after Babe and Truman stopped speaking, friends of the Paleys' noted that the bad press Truman handed Bill had begun to pay off. Now that her husband was a known philanderer, Babe could turn away from him without worrying. More than simply justified, suddenly, leaving him was mandatory. And Bill began to feel it-he began to repent. As Babe fell to cancer, he spent literally millions fighting it off, catering to her every comfort. To the complete shock of his children, he even allowed himself to be seen in a state of desperation, sitting beside her on the bed as Babe, very slowly, put on her face for the last time. She died on July 6, 1978.

Truman died six years later. Among his last words were "Beautiful Babe" and "Mama, Mama." Both had fled from him. But both were preserved in Holly Golightly. Of all his characters, he always said, she was his favorite.

END CREDITS.

It started with a phone call from my agent, David Halpern. He told me I was about to get a phone call from Julia Cheiffetz, an editor at the newly formed imprint HarperStudio. An hour or so later, I was on the phone with Julia, and about fifteen minutes after that, we had an idea for a book about Breakfast at Tiffany's Breakfast at Tiffany's. People like to throw around the phrase "I couldn't have done it without..." and a lot of the time they're overstating it or trying to be modest, but in the case of Halpern and Cheiffetz, I quite literally could not have done it without them. Halpern, with his patience, directness, humor, and unerring eye on integrity, is a kind of dream agent, and very likely the secret love child of Max Perkins and Swifty Lazar. What he does, he does with a finesse so refined it's practically invisible. I don't know how, but I think his wardrobe has a lot to do with it. And Cheiffetz: how she listened, considered, gave s.p.a.ce, understood, challenged, soothed, had faith, and charged forth! As an editor, she readily dedicated herself to the consideration and reconsideration of what may have seemed trivial to anyone else, and, quite courageously, allowed us-both of us-to listen to the book reveal what it wanted. To me, a nervous writer stepping out onto the ledge, she was the trampoline below.

David Freeman, this book's minder, is my first reader for the very simple reason that he probably knows more about show business than anyone anywhere in the world. He also knows how to make the best martini (about six to one), which is an essential skill for anyone who knows anything about show business to have, if only because it's the most efficient way to a.s.suage the inevitable feeling of hopelessness that comes from discussing it at any length. Without Freeman, I would have been on my own, and the process of writing this book would have been confined to the cramped screening room of my mind-the only place, outside of David's house, where I can get a laugh from a joke about Geoffrey Shurlock.

For their time, recollections, and/or expert punditry, I thank Jeffrey Banks, Jeanine Basinger, Peter Bogdanovich, Chris Bram, David Chierichetti, Gerald Clarke, Robert Dawidoff, Illeana Douglas, Blake Edwards, Gene Lees, Molly Haskell, Travers Huff, Elaine Kagan, Kip King, AC Lyles, Robert McGinnis, Fay McKenzie, Joyce Meadows, Billy Mernit, Miriam Nelson, Brad Peppard, Letty Cottin Pogrebin, JP Radley, Rita Riggs, Aram Saroyan, Patricia Snell, Edmund White, and Albert Wolsky.

I want to extend my most profound grat.i.tude to Judith Crist, Sean Ferrer, Patricia Neal, Richard Shepherd, and Robert Wolders. These wonderful people didn't have to devote all those hours to answering my questions, nor did they have to speak honestly and personally about themselves and their work, but they did, and with the kind of trust, openness, and generosity that ensures a writer like me will have great material for his book. Thank you Judith, Sean, Pat, d.i.c.k, and Rob for giving so much. Thank you, thank you, thank you.

And for making a call, solving a problem, or just plain lending me a hand, Karen Abbott, Sandra Archer, Tessa Dahl, Bob Dolman, Jack Dolman, Jennifer Edwards, Kate Eickmeyer, Judy Gingold, the Goldblatts, Barbara Hall, Lisa Hoffman, Noah Isenberg, Gary Khammar, Ian King, Selina Lin, Lynne Littman, Andrea Martin, Mark McVeigh, Lynn Povich, Melanie Rehak, Kathy Robbins, Jenny Romero, Sara Rutenberg, Steve Shepard, Ed Sikov, Mom, Dad, Maria and Sophie, I owe you a big lingering hug that could potentially go on too long and make you slightly uncomfortable.

At HarperStudio, my team behind the scenes was always warm, and on occasion, addictively fun to watch from afar. Thank you, Sarah Burningham, Bob Miller, Mumtaz Mustafa, Katie Salisbury, Jessica Weiner, and Debbie Stier.

And finally, Amalia-who got me sandwiches, held my hand, eased my mind, and deliberated with me over every page, paragraph, and period-we can talk about something other than Breakfast at Tiffany's Breakfast at Tiffany's now. now.

A NOTE ON THE NOTES.

What follows is a hybrid of traditional sourcing and open-hearted homage to those works that influenced the writing of Fifth Avenue, 5 Fifth Avenue, 5 A.M A.M. Because this book contains a considerable amount of factual re-creations, I thought it best, when citing their origins, to take the time to explain how and from where I extrapolated what I had, rather than spill out a list of endless citations. In those cases, for the simple reason that entire works, not merely direct quotations, fed the mill of my own writing, these little paragraphs seemed the most comprehensive and least clinical way of describing the unscientific process by which I set out to capture the experiences of my real-life characters.

Nonfiction of the sort I endeavored here, the kind that strives to re-create history more than merely recount it, must negotiate a perilous path between the a.n.a.lytic interpretation and the imaginative one. To keep them distinct is no easy task, and one h.e.l.l of a slippery slope, which is why it struck me as disingenuous to present my research in an exclusively empirical form. Though, naturally, any person or work I quoted directly has been cited the old-fas.h.i.+oned way.

SAM Wa.s.sON.

LOS ANGELES.

NOVEMBER 2009 2009.

NOTES.

COMING ATTRACTION.

Irving A. Mandell's remarks about Breakfast at Tiffany's Breakfast at Tiffany's appeared in Hazel Flynn's appeared in Hazel Flynn's Hollywood Citizen-News Hollywood Citizen-News column, February 20, 1962. column, February 20, 1962.

1. THINKING IT THINKING IT, 19511953 The First Holly: It's madness to write about Truman Capote without looking to Gerald Clarke's Capote Capote (Linden, 1988), and thankfully, I could supplement knowledge I gleaned from Clarke's book with knowledge handed to me from Mr. Clarke himself. The e-mail correspondence he and I exchanged proved essential to both my portrait of little Truman and his absentee mother, as well as to my investigation of the real-life Holly Golightly. Also useful were (Linden, 1988), and thankfully, I could supplement knowledge I gleaned from Clarke's book with knowledge handed to me from Mr. Clarke himself. The e-mail correspondence he and I exchanged proved essential to both my portrait of little Truman and his absentee mother, as well as to my investigation of the real-life Holly Golightly. Also useful were Too Brief a Treat Too Brief a Treat: The Letters of Truman Capote The Letters of Truman Capote (Random House, 2004); George Plimpton's rollicking oral history, (Random House, 2004); George Plimpton's rollicking oral history, Truman Capote Truman Capote: In Which Various Friends In Which Various Friends, Enemies Enemies, Acquaintances, and Detractors Recall His Turbulent Career Acquaintances, and Detractors Recall His Turbulent Career (Doubleday, 1997); and Lawrence Grobel's (Doubleday, 1997); and Lawrence Grobel's Conversations with Capote Conversations with Capote (New American Library, 1985), all of which made an impression on this book's Capote. Each of those impressions has been sourced in more detail in the notes below. So too have those occasions when I explicitly quoted Clarke, his great book, or a voice heard in it. Without them, my own Truman would have been airless. (New American Library, 1985), all of which made an impression on this book's Capote. Each of those impressions has been sourced in more detail in the notes below. So too have those occasions when I explicitly quoted Clarke, his great book, or a voice heard in it. Without them, my own Truman would have been airless.

The White Rose Paperweight: The account of Capote's meeting with Colette was pieced together from Nancy Caldwell Sorel's sketch, "Colette and Truman Capote," which appeared in The Atlantic Monthly The Atlantic Monthly (May 1995), as well as Truman's own essay, "The White Rose," collected in (May 1995), as well as Truman's own essay, "The White Rose," collected in Portraits and Observations Portraits and Observations: The Essays of Truman Capote The Essays of Truman Capote (Random House, 2007), from which I took this section's dialogue. (Random House, 2007), from which I took this section's dialogue.

Audrey Awoken: One account of Audrey's breakfast regimen can be found in Eleanor Harris, "Audrey Hepburn," Good Housekeeping Good Housekeeping (August 1959). (August 1959).

Colette Awoken: The story of Colette's discovery of Audrey has been written about so many times and from so many differing points of view, that by now, it's got to be 50 percent legend, 50 percent myth. How much can one be certain of? The description in this book is culled from a variety of sources (and is peppered with miscellaneous details about Colette I pulled from Judith Thurman's Secrets of the Flesh Secrets of the Flesh: A Life of Colette A Life of Colette [Random House, 2000]), including Eleanor Harris, "Audrey Hepburn," ( [Random House, 2000]), including Eleanor Harris, "Audrey Hepburn," (Good Housekeeping, August 1959) and "Audrey Is a Hit" (Life, December 1951), but none checked out better than the evocation in Barry Paris's Audrey Hepburn Audrey Hepburn (G. P. Putnam's Sons, 1996) for the simple reason that his presentation of the meeting had more in common with all of the other variations of the scene than any of the variations had with each other (chief among them was producer Gilbert Miller's own variation, published as "The Search for Gigi," [ (G. P. Putnam's Sons, 1996) for the simple reason that his presentation of the meeting had more in common with all of the other variations of the scene than any of the variations had with each other (chief among them was producer Gilbert Miller's own variation, published as "The Search for Gigi," [Theater Arts, July 1952]). Apropos, it should be said that Paris's account of Audrey's life is a favorite of both Sean Ferrer and Robert Wolders. That only won Paris more of my favor. On separate occasions, Ferrer and Wolders were quite direct with me on this point ("It is the only only one," Wolders said. "It comes the closest to her"), and after considering a great many biographical alternatives, I can finally agree with them. Paris is definitive. Perhaps more so than any other movie star, Audrey Hepburn incurs in her admirers the kind of idolatrous, cliche-ridden fan writing that sounds sincere when spoken, but falls flat on the page. "Elegant," "lovely," and-worst of all-"perfect" are three such easy, throw-pillow-type examples, and though Paris can't help but succ.u.mb on occasion (I can't see how anyone could be completely exempt), his gaze is not quasi-religious. He looks Audrey Hepburn squarely in the eye, is modest with his superlatives, and maintains formal and scholarly integrity throughout. one," Wolders said. "It comes the closest to her"), and after considering a great many biographical alternatives, I can finally agree with them. Paris is definitive. Perhaps more so than any other movie star, Audrey Hepburn incurs in her admirers the kind of idolatrous, cliche-ridden fan writing that sounds sincere when spoken, but falls flat on the page. "Elegant," "lovely," and-worst of all-"perfect" are three such easy, throw-pillow-type examples, and though Paris can't help but succ.u.mb on occasion (I can't see how anyone could be completely exempt), his gaze is not quasi-religious. He looks Audrey Hepburn squarely in the eye, is modest with his superlatives, and maintains formal and scholarly integrity throughout.

Everything That Is Important in a Female: Colette and Audrey's brief exchange is taken from the sources listed above. "Everything that is important in a female" from Anita Loos, "Everything Happens to Audrey Hepburn" (The American Weekly, September 12, 1954). September 12, 1954).

The Cigarette Girl: Scene from Laughter in Paradise Laughter in Paradise (Transocean/a.s.sociated British Films-Pathe, 1951). (Transocean/a.s.sociated British Films-Pathe, 1951).

Mrs. James Hanson, Deferred Deferred: For a full list of Gigi Gigi reviews, consult David Hofstede, reviews, consult David Hofstede, Audrey Hepburn Audrey Hepburn: A Bio-bibliography A Bio-bibliography (Greenwood Press, 1994). Brooks Atkinson's review, which included "charm, honesty, and talent," is from the (Greenwood Press, 1994). Brooks Atkinson's review, which included "charm, honesty, and talent," is from the New York Times New York Times, November 26, 1951. Walter Kerr's review, in which he praises Audrey's "candid innocence and tomboy intelligence" is from the New York Herald-Tribune, New York Herald-Tribune, November 26, 1951. "Oh dear, and I've still got to learn how to act" is from "Princess Apparent," November 26, 1951. "Oh dear, and I've still got to learn how to act" is from "Princess Apparent," Time Time, September 7, 1953.

The Electric Light: The description of Hanson's time spent on the sidelines of Roman Holiday Roman Holiday was extrapolated from interviews with Hanson quoted in Paris's was extrapolated from interviews with Hanson quoted in Paris's Audrey Hepburn Audrey Hepburn. Audrey's remark "I'm not like an electric light" was selected from Mary Worthington Jones, "My Husband Doesn't Run Me," Photoplay Photoplay (April 1956). For more on Wyler's rigid working style, see Jan Herman, (April 1956). For more on Wyler's rigid working style, see Jan Herman, A Talent for Trouble A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director The Life of Hollywood's Most Acclaimed Director, William Wyler William Wyler (Putnam, 1996). (Putnam, 1996).

The Enchanting Unknown: The effect the Roman Holiday Roman Holiday dailies had at Paramount was described to me in an interview with AC Lyles at his office on the Paramount lot, on April 2, 2009. dailies had at Paramount was described to me in an interview with AC Lyles at his office on the Paramount lot, on April 2, 2009.

The Market: The startling statistic, "one-third of the nation's..." I uncovered in Marjorie Rosen, Popcorn Venus Popcorn Venus (Coward, McCann and Geoghegan, 1973). The even more startling portrayal of Mr. and Mrs. Tony Curtis, "In 1954, a close friend relates, 'Janet made the greatest sacrifice she had ever made...'," is from (Coward, McCann and Geoghegan, 1973). The even more startling portrayal of Mr. and Mrs. Tony Curtis, "In 1954, a close friend relates, 'Janet made the greatest sacrifice she had ever made...'," is from Modern Screen Modern Screen (1959). (1959).

The Product: There is no shortage of books about the Hollywood star system, though most of them are too misty-eyed to see their subject(s) clearly. Jeanine Basinger's The Star Machine The Star Machine (Knopf, 1997) is loving and brutal; she lets the magic in without keeping us from the factory truth of how and why these often-unremarkable people became the world's most brilliant stars. (Knopf, 1997) is loving and brutal; she lets the magic in without keeping us from the factory truth of how and why these often-unremarkable people became the world's most brilliant stars.

Doris and Marilyn: My thinking about Doris Day and Marilyn Monroe was informed by Molly Haskell's indispensable From Reverence to Rape From Reverence to Rape: The Treatment of Women in the Movies The Treatment of Women in the Movies (Holt, Reinhart and Winston, 1973). Though she's more generous to Doris Day than I could ever be, Haskell is the most elegant of critics, and quite simply the last word on the phenomenon of star meaning and making. When paired with Marjorie Rosen's (Holt, Reinhart and Winston, 1973). Though she's more generous to Doris Day than I could ever be, Haskell is the most elegant of critics, and quite simply the last word on the phenomenon of star meaning and making. When paired with Marjorie Rosen's Popcorn Venus, Popcorn Venus, it's safe to a.s.sume that one has examined every culture-making actress, and from every significant angle. it's safe to a.s.sume that one has examined every culture-making actress, and from every significant angle.

Birth of the Cool: "Audrey had it in her to be the sugar coating on a bad-tasting pill," AC Lyles to SW on April 2, 2009. "She thinks the authenticity..." from "H.R.H Audrey Hepburn," by Dorothy Kilgallen (American Weekly, September 27, 1953). September 27, 1953).

Mrs. James Hanson, Deferred Deferred, Again Again: Audrey sums it up in Mike Connolly, "Who Needs Beauty?" Photoplay Photoplay (January 1954). "We decided this was the wrong time to get married," she said. "I've told you my schedule: a movie here in Hollywood, then back to the stage, then back to Hollywood, and so forth. He would be spending most of his time taking care of his business in England and Canada. It would be very difficult for us to lead a normal married life. Other people have tried it but it has never worked. So we decided to call it off. Oh, maybe sometime in the future-but not now, not for a while." See also Joe Hyams, "Why Audrey Hepburn Was Afraid of Marriage," (January 1954). "We decided this was the wrong time to get married," she said. "I've told you my schedule: a movie here in Hollywood, then back to the stage, then back to Hollywood, and so forth. He would be spending most of his time taking care of his business in England and Canada. It would be very difficult for us to lead a normal married life. Other people have tried it but it has never worked. So we decided to call it off. Oh, maybe sometime in the future-but not now, not for a while." See also Joe Hyams, "Why Audrey Hepburn Was Afraid of Marriage," Filmland Filmland (January 1954). (January 1954).

2. WANTING IT WANTING IT, 19531955 One Hot Spurt: Patrick McGilligan's sprawling interview with George Axelrod, "George Axelrod: Irony!" from Backstory 3 Backstory 3: Interviews with Screenwriters of the 60s Interviews with Screenwriters of the 60s (University of California Press, 1997), captures the wild, willful spirit of Axelrod's quixotic sensibility, and, along with several other extended interviews (namely, Axelrod's in (University of California Press, 1997), captures the wild, willful spirit of Axelrod's quixotic sensibility, and, along with several other extended interviews (namely, Axelrod's in Screencraft Screencraft: Screenwriting Screenwriting, [Focal Press, 2003] and "A Hit in a Hurry" from Theater Arts Theater Arts [January 1954]), laid the groundwork for my characterization. Thanks also to Illeana Douglas, Axelrod's former daughter-in-law, who spent a great deal of time remembering with me, quite fondly, those days and nights she spent in George's company talking Hollywood, debating movies, and-most of all-cooking dinner. She described a great laughing Falstaff of a man who, despite his achievements, always struggled to a.s.sert himself as a writer of serious, adult romantic comedies. Axelrod said as much throughout his career, from Dennis Stack, "Films: Views and Interviews" ( [January 1954]), laid the groundwork for my characterization. Thanks also to Illeana Douglas, Axelrod's former daughter-in-law, who spent a great deal of time remembering with me, quite fondly, those days and nights she spent in George's company talking Hollywood, debating movies, and-most of all-cooking dinner. She described a great laughing Falstaff of a man who, despite his achievements, always struggled to a.s.sert himself as a writer of serious, adult romantic comedies. Axelrod said as much throughout his career, from Dennis Stack, "Films: Views and Interviews" (The Kansas City Star, January 28, 1958) to Vernon Scott, "Axelrod Emphasizes the Marital Theme" ( January 28, 1958) to Vernon Scott, "Axelrod Emphasizes the Marital Theme" (The Philadelphia Inquirer, December 24, 1967). " December 24, 1967). "The Seven Year Itch, in fact, is concerned with..." from The New Yorker The New Yorker's review of the play, December 6, 1952. "The bulk of my s.e.x-comedy career..." from Backstory 3 Backstory 3.

Does Edith Head Give Good Costume?: Reading David Chierichetti's Edith Head Edith Head: The Life and Times of Hollywood's Celebrated Costume Designer The Life and Times of Hollywood's Celebrated Costume Designer (HarperCollins, 2003) alongside (HarperCollins, 2003) alongside The Dress Doctor The Dress Doctor (Little, Brown, 1959), by Head and Jane Kesner Ardmore, and (Little, Brown, 1959), by Head and Jane Kesner Ardmore, and How to Dress for Success How to Dress for Success (Random House, 1967), by Head and Joe Hyams, a consistent picture of Edith fades into view. Though she tried her best to appear cool, she was, beneath the gla.s.ses, a bundle of nerves, and as much an actress as the women she dressed. When I interviewed him at his home on March 6, 2009, David Chierichetti was generous enough to show me the last filmed interview with Edith, which he conducted shortly before her death. Before the first question is asked, with the camera rolling, Edith carefully, nervously, strikes a pose, reconsiders it, and readjusts. Image was all for her, even to her dying day. However, a distinctly vulnerable side to Edith, which she showed more of to Grace Kelly than she did to Audrey, is on display in her various personal items-journals, photographs, and sketchbooks-available in the Edith Head Collection at the AMPAS Margaret Herrick Library in Los Angeles. She laughs in candid photographs. Speaking with Rita Riggs, Edith's former apprentice, in her loft in West Hollywood on February 13, 2009, offered me a vivid picture of Ms. Head-as Riggs still refers to her, over forty years later-in taskmaster mode, and was essential to my understanding of the pressures she placed on her coterie of employees as well as herself. She would be reluctant to admit it, but as Chierichetti a.s.sured me, Audrey broke her heart. "She was Miss Head's favorite to dress," Rita Riggs to SW on February 13, 2009. (Random House, 1967), by Head and Joe Hyams, a consistent picture of Edith fades into view. Though she tried her best to appear cool, she was, beneath the gla.s.ses, a bundle of nerves, and as much an actress as the women she dressed. When I interviewed him at his home on March 6, 2009, David Chierichetti was generous enough to show me the last filmed interview with Edith, which he conducted shortly before her death. Before the first question is asked, with the camera rolling, Edith carefully, nervously, strikes a pose, reconsiders it, and readjusts. Image was all for her, even to her dying day. However, a distinctly vulnerable side to Edith, which she showed more of to Grace Kelly than she did to Audrey, is on display in her various personal items-journals, photographs, and sketchbooks-available in the Edith Head Collection at the AMPAS Margaret Herrick Library in Los Angeles. She laughs in candid photographs. Speaking with Rita Riggs, Edith's former apprentice, in her loft in West Hollywood on February 13, 2009, offered me a vivid picture of Ms. Head-as Riggs still refers to her, over forty years later-in taskmaster mode, and was essential to my understanding of the pressures she placed on her coterie of employees as well as herself. She would be reluctant to admit it, but as Chierichetti a.s.sured me, Audrey broke her heart. "She was Miss Head's favorite to dress," Rita Riggs to SW on February 13, 2009.

The Memo: These pieces of correspondence, as well as many other Sabrina Sabrina-related memos exchanged in the days leading up to Audrey's Parisian shopping spree, are kept in the AMPAS Margaret Herrick Library in Los Angeles.

31-22-31: Audrey's meeting with Hubert de Givenchy, like her discovery by Colette, is ensconced in legend. The combination of Amy Fine Collins's "When Hubert Met Audrey" (Vanity Fair, December 1995), from which I borrowed a great deal of dialogue; as always, Barry Paris's version in Audrey Hepburn Audrey Hepburn; and Audrey Style Audrey Style (Harper Collins, 1999) by Pamela Clarke Keogh, which gives one a good feeling for Audrey's taste and the reasons behind it, all helped to separate the imagined from the likely, and formed the foundation of my own recreation. Also of use were Charla Carter's "Audrey Hepburn" ( (Harper Collins, 1999) by Pamela Clarke Keogh, which gives one a good feeling for Audrey's taste and the reasons behind it, all helped to separate the imagined from the likely, and formed the foundation of my own recreation. Also of use were Charla Carter's "Audrey Hepburn" (Harper's Bazaar, December 1991), and "Co-Stars Again: Audrey Hepburn and Givenchy," by Gloria Emerson ( December 1991), and "Co-Stars Again: Audrey Hepburn and Givenchy," by Gloria Emerson (New York Times, September 8, 1965). While a great deal has been written on Audrey and Givenchy's collaboration, there is little by way of meaningful interviews. These pieces are exceptions. "Whether the skirt is wide enough..." Givenchy quoted in September 8, 1965). While a great deal has been written on Audrey and Givenchy's collaboration, there is little by way of meaningful interviews. These pieces are exceptions. "Whether the skirt is wide enough..." Givenchy quoted in W Magazine W Magazine (March 2008). (March 2008).

Mel: Audrey describes her first meeting with Mel in David Stone, "My Husband Mel" (Everybody's Weekly, March 10, 1956). "Our first meeting was in London," Audrey said, "at a film party, and it was very formal. I was enchanted by meeting him, very interested to meet him. I'd loved his performance in the film March 10, 1956). "Our first meeting was in London," Audrey said, "at a film party, and it was very formal. I was enchanted by meeting him, very interested to meet him. I'd loved his performance in the film Lili Lili. The thing I remember most about that first meeting was that he was so serious. He didn't smile. I liked him...but that was all. He'd seen me on Broadway, in Gigi, Gigi, and we talked about doing a play together, the way actors and actresses do. And we said that if either of us found a play that would suit us, we'd send it to the other." and we talked about doing a play together, the way actors and actresses do. And we said that if either of us found a play that would suit us, we'd send it to the other."

The Most Sophisticated Woman at the Glen Cove Station: The hilarious business of Wilder and Lehman straining over the question of Audrey's s.e.xuality in Sabrina Sabrina came by way of Maurice Zolotow's came by way of Maurice Zolotow's Billy Wilder in Hollywood Billy Wilder in Hollywood (Putnam, 1977), which, in conjunction with the best biography on Wilder, Ed Sikov's (Putnam, 1977), which, in conjunction with the best biography on Wilder, Ed Sikov's On Sunset Blvd On Sunset Blvd: The Life and Times of Billy Wilder The Life and Times of Billy Wilder (Hyperion, 1998), fill in most of what was left unsaid in Cameron Crowe's (Hyperion, 1998), fill in most of what was left unsaid in Cameron Crowe's Conversations with Wilder Conversations with Wilder (Knopf, 1999). Screenwriter and novelist David Freeman, who inherited the script of Hitchc.o.c.k's unmade (Knopf, 1999). Screenwriter and novelist David Freeman, who inherited the script of Hitchc.o.c.k's unmade The Short Night The Short Night from Ernest Lehman, served me a hearty stew of anecdotes about the man he called "the Robert Wise of Screenwriters," which is probably the greatest remark anyone has ever made or will ever make about Lehman. "This girl, singlehanded, may make bosoms a thing of the past," Billy Wilder quoted in "Princess Apparent" ( from Ernest Lehman, served me a hearty stew of anecdotes about the man he called "the Robert Wise of Screenwriters," which is probably the greatest remark anyone has ever made or will ever make about Lehman. "This girl, singlehanded, may make bosoms a thing of the past," Billy Wilder quoted in "Princess Apparent" (Time, September 7, 1953). September 7, 1953).

The Dream Begins: Audrey's remark, the baby "will be the greatest thing in my life, greater even than my success," is from Ellen Johnson, "Will Hollywood ever see Audrey Hepburn Again?" Modern Screen Modern Screen (April 1955). (April 1955).

Oscar Night: Edith Head's acceptance speech on record at the AMPAS Library.

Mrs. Mel Ferrer: "My mother wanted to have a kid because she wanted to right the wrongs of her childhood," Sean Ferrer said to me on September 17, 2009. "She carried that into her UNICEF work." For a woman who didn't like to give interviews, Audrey was quite vocal about the importance of motherhood in her life. "I don't think I was a whole woman then. No woman is without love," Audrey quoted in Carl Clement, "Look Where You're Going, Audrey (Photoplay, April 1956). "He's a protective husband, and I like it. Most women do..." from "Audrey's Advice: Have Fun, Let Hubby Wear the Pants" (New York Journal American, August 19, 1957). "She was in part attracted to Mel..." Robert Wolders to SW on October 23, 2009. All through her life, Wolders a.s.sured me, Audrey had no qualms about trumpeting the kind of domesticity that many women found regressive. Naturally, she gave it a lot of airtime here, in the mid-1950s. "She's known dictators in her early war-shadowed life," Audrey quoted in Mary Jones "My Husband Doesn't Run Me," Photoplay Photoplay (April 1956). "Mel was jealous of her success," Brynner quoted in Warren Harris, (April 1956). "Mel was jealous of her success," Brynner quoted in Warren Harris, Audrey Hepburn Audrey Hepburn (New York: Simon & Schuster, 1994). "Of course, it's a problem..." Ferrer quoted in Joseph Barry, "Audrey Hepburn at 40," (New York: Simon & Schuster, 1994). "Of course, it's a problem..." Ferrer quoted in Joseph Barry, "Audrey Hepburn at 40," McCall's McCall's (July 1969). (July 1969).

3. SEEING IT SEEING IT, 19551958 The Swans: Gloria Vanderbilt and Carol Matthau's own memoirs provided me with valuable firsthand accounts of swan life. "I rarely asked anyone to my studio," from Gloria Vanderbilt, It Seemed Important at the Time It Seemed Important at the Time: A Romance Memoir A Romance Memoir (Simon & Schuster, 2004). "You have freed yourself," Capote quoted in Carol Matthau, (Simon & Schuster, 2004). "You have freed yourself," Capote quoted in Carol Matthau, Among the Porcupines Among the Porcupines (Turtle Bay Books, 1992). Also of service was Aram Saroyan's (Turtle Bay Books, 1992). Also of service was Aram Saroyan's Trio Trio: Oona Chaplin Oona Chaplin, Carol Matthau Carol Matthau, Gloria Vanderbilt Gloria Vanderbilt: Portrait of an Intimate Friends.h.i.+p Portrait of an Intimate Friends.h.i.+p (Simon & Schuster, 1985), as well as my correspondence with Mr. Saroyan about the effect (Simon & Schuster, 1985), as well as my correspondence with Mr. Saroyan about the effect Breakfast at Tiffany's Breakfast at Tiffany's had upon his mother. "I think Carol was pleased to be a.s.sociated with Holly Golightly," he wrote in an e-mail of January 14, 2009, "and to some degree dined out on the a.s.sociation. When I recently reread the book, I did see touches that reminded me of Carol, specifically the zingers like 'The next time a girl asks for change for the powder room, don't give her 50 cents.' That sounded like Carol to me. I think Carol relished the a.s.sociation more than the other two. Gloria had her own fish to fry, and Oona was an extremely shy person. Then too, looking at the three of them exclusively, Carol does seem to have had more of Holly Golightly's qualities than either Gloria or Oona." had upon his mother. "I think Carol was pleased to be a.s.sociated with Holly Golightly," he wrote in an e-mail of January 14, 2009, "and to some degree dined out on the a.s.sociation. When I recently reread the book, I did see touches that reminded me of Carol, specifically the zingers like 'The next time a girl asks for change for the powder room, don't give her 50 cents.' That sounded like Carol to me. I think Carol relished the a.s.sociation more than the other two. Gloria had her own fish to fry, and Oona was an extremely shy person. Then too, looking at the three of them exclusively, Carol does seem to have had more of Holly Golightly's qualities than either Gloria or Oona."

Beautiful Babe: In All His Glory In All His Glory (Simon & Schuster, 1990), Sally B. Smith's magisterial account of Bill Paley, contains such a wealth of information about Babe it's practically a dual biography. Her strange and fractured relations.h.i.+p with Truman, however, is, understandably, explored only peripherally, and here is where Clarke's (Simon & Schuster, 1990), Sally B. Smith's magisterial account of Bill Paley, contains such a wealth of information about Babe it's practically a dual biography. Her strange and fractured relations.h.i.+p with Truman, however, is, understandably, explored only peripherally, and here is where Clarke's Capote Capote was of immeasurable help. The book works in perfect counterpoint to Smith's, balancing both sides of the Capote/Babe love story, such that, when taken together, a diptych of startling sadness, and perhaps even tragedy, comes into view. In this section, Truman's quotations-the pa.s.sages beginning "When I first saw her...," "whose sole creation...," and "I was madly in love with her..."-are all from was of immeasurable help. The book works in perfect counterpoint to Smith's, balancing both sides of the Capote/Babe love story, such that, when taken together, a diptych of startling sadness, and perhaps even tragedy, comes into view. In this section, Truman's quotations-the pa.s.sages beginning "When I first saw her...," "whose sole creation...," and "I was madly in love with her..."-are all from Capote Capote, and the evocation of Truman and Babe's conversation about her marriage to Bill was adapted from dialogue related in Smith's book. The Billy Wilder remark is also from In All His Glory In All His Glory.

George Axelrod Dreams of Rich People Saying Witty Things and s.c.r.e.w.i.n.g: "The film version of The Seven Year Itch The Seven Year Itch..." from Daily Variety Daily Variety film review of film review of The Seven Year Itch, The Seven Year Itch, January 1, 1955. "In the Eisenhower years, comedy resides in how close one can come to the concept of hot p.u.s.s.y while still living in the cool of the innocent," from Norman Mailer, January 1, 1955. "In the Eisenhower years, comedy resides in how close one can come to the concept of hot p.u.s.s.y while still living in the cool of the innocent," from Norman Mailer, Marilyn Marilyn, A Biography A Biography (Grosset & Dunlap, 1981). (Grosset & Dunlap, 1981).

The Producers: A substantial portion of the information I used to evoke Marty Jurow came from his own book, Marty Jurow Seein' Stars Marty Jurow Seein' Stars: A Show Biz Odyssey A Show Biz Odyssey (Southern Methodist University Press, 2001), and what I know of Richard Shepherd and his own career was relayed to me, over the course of several interviews, from Shepherd himself. (Southern Methodist University Press, 2001), and what I know of Richard Shepherd and his own career was relayed to me, over the course of several interviews, from Shepherd himself.

What Truman Capote Does in Bed: Truman's interview with Patti Hill, "The Art of Fiction No. 17," originally published in The Paris Review The Paris Review (Spring-Summer 1957), goes into Capote's working methods, as does Gerald Clarke's (Spring-Summer 1957), goes into Capote's working methods, as does Gerald Clarke's Capote Capote. "When it's a quarter to two and sleep hasn't come..." from Capote's essay "The White Rose," collected in Portraits and Observations Portraits and Observations: The Essays of Truman Capote The Essays of Truman Capote (Random House, 2007). The morsel of Capote's old purple prose style, "he was spinning like a fan blade through metal spirals...," is from (Random House, 2007). The morsel of Capote's old purple prose style, "he was spinning like a fan blade through metal spirals...," is from Other Voices Other Voices, Other Views Other Views (Random House, 1948). Capote's observation, "Every year, New York is flooded with these girls...," is taken from his interview with Eric Norden, (Random House, 1948). Capote's observation, "Every year, New York is flooded with these girls...," is taken from his interview with Eric Norden, Playboy Playboy (March 1968). (March 1968).

Breakfast at Tiffany's, Traveling Traveling: The exact words Nancy White objected to are noted in some file somewhere in Gerald Clarke's possession. "Of one thing I am certain," he wrote to me on November 2, 2009, '"f.u.c.k' was not one of the four letter words to which Esquire Esquire objected. That would have been much too strong for the fifties, and Truman would have known it wouldn't pa.s.s. I think the words were more like 'h.e.l.l' and 'd.a.m.n.'" Capote's letter to Cecil Beaton, "The Bazaar is printing it in their July issue...," is excerpted from objected. That would have been much too strong for the fifties, and Truman would have known it wouldn't pa.s.s. I think the words were more like 'h.e.l.l' and 'd.a.m.n.'" Capote's letter to Cecil Beaton, "The Bazaar is printing it in their July issue...," is excerpted from Too Brief a Treat Too Brief a Treat: The Letters of Truman Capote The Letters of Truman Capote (Random House, 2004). "Truman Capote I do not know well, but I like him..." Norman Mailer, (Random House, 2004). "Truman Capote I do not know well, but I like him..." Norman Mailer, Advertis.e.m.e.nts for Myself Advertis.e.m.e.nts for Myself (G. P. Putnam and Sons, 1959). "Whenever Capote tries to suggest the inner life of his heroine..." Alfred Kazin, from "Truman Capote and 'the Army of Wrongness'" collected in (G. P. Putnam and Sons, 1959). "Whenever Capote tries to suggest the inner life of his heroine..." Alfred Kazin, from "Truman Capote and 'the Army of Wrongness'" collected in Contemporaries Contemporaries (Little, Brown, 1962). (Little, Brown, 1962).

The Real Holly Golightly: "The Bonnie Golightly Sweepstakes" is detailed in "Golightly at Law" (Time, February 9, 1958). James Michener's side of things, from which I drew all of the quotations that appear in this section, takes up a hunk of his introduction to Lawrence Grobel's Conversations with Capote Conversations with Capote (New American Library, 1985). Truman's typically slippery take comes from his interview with Eric Norden ( (New American Library, 1985). Truman's typically slippery take comes from his interview with Eric Norden (Playboy, March 1968). "Truman mentioned such a woman to me too..." Gerald Clarke to SW on December 23, 2008. "Beatnik" coined by Herb Caen in his column in the San Francisco Chronicle, San Francisco Chronicle, April 2, 1958. Here it is: "Look magazine, preparing a picture spread on S.F.'s Beat Generation (oh, no, not AGAIN!), hosted a party in a No. Beach house for 50 Beatniks, and by the time word got around the sour grapevine, over 250 bearded cats and kits were on hand, slopping up Mike Cowles' free booze. They're only Beat, y'know, when it comes to work..." April 2, 1958. Here it is: "Look magazine, preparing a picture spread on S.F.'s Beat Generation (oh, no, not AGAIN!), hosted a party in a No. Beach house for 50 Beatniks, and by the time word got around the sour grapevine, over 250 bearded cats and kits were on hand, slopping up Mike Cowles' free booze. They're only Beat, y'know, when it comes to work..."

4. TOUCHING IT TOUCHING IT, 19581960 Jurow and Shepherd Make Their Move: This sequence between Marty Jurow and Richard Shepherd comes to the page by way of Jurow's own book, Marty Jurow Seein' Stars Marty Jurow Seein' Stars: A Show Biz Odyssey A Show Biz Odyssey (Southern Methodist University Press, 2001), in addition to the several conversations I had with Shepherd, who, with astonis.h.i.+ng generosity, made himself, as well as his own shooting script of (Southern Methodist University Press, 2001), in addition to the several conversations I had with Shepherd, who, with astonis.h.i.+ng generosity, made himself, as well as his own shooting script of Breakfast at Tiffany's, Breakfast at Tiffany's, exceedingly available to me. All of his quotations come from those exchanges. "Well-written, off-beat, amusing..." quoted in a Paramount reader's report on file in the Special Collections in the AMPAS Margaret Herrick Library. The dialogue between Truman and Jurow, and Jurow and Paula Strasberg, is as reported by Jurow himself in exceedingly available to me. All of his quotations come from those exchanges. "Well-written, off-beat, amusing..." quoted in a Paramount reader's report on file in the Special Collections in the AMPAS Margaret Herrick Library. The dialogue between Truman and Jurow, and Jurow and Paula Strasberg, is as reported by Jurow himself in Marty Jurow Seein' Stars Marty Jurow Seein' Stars. "I remember it this way..." Shepherd to SW on November 24, 2009.

Marilyn: Truman's intense feeling for Marilyn survives in "A Beautiful Child" from Music for Chameleons Music for Chameleons (Random House, 1975). After reading the piece, she ends up looking a lot like Holly. Or Holly a lot like her. "It's not that she was mean..." Billy Wilder quoted in Michel Ciment, "Billy Wilder urbi et orbi," (Random House, 1975). After reading the piece, she ends up looking a lot like Holly. Or Holly a lot like her. "It's not that she was mean..." Billy Wilder quoted in Michel Ciment, "Billy Wilder urbi et orbi," Positif Positif (JulyAugust, 1983). Strasberg's phone conversation with Marty Jurow is recounted in (JulyAugust, 1983). Strasberg's phone conversation with Marty Jurow is recounted in Marty Jurow Seein' Stars Marty Jurow Seein' Stars.

The Serious Writer: The details of Jurow-Shepherd's deal with Sumner Locke Elliott are drawn from an extended correspondence kept in the AMPAS Library Special Collections. Contained there are all of the various memos, changes, and legal stipulations of his contract, as well as the draft he turned out.

The Gag Man Gagged: "Truman, they won't use me..." / "Well, bulls.h.i.+t..." This brief exchange comes by way of Joan Axelrod, quoted in George Plimpton, Truman Capote Truman Capote: In Which Various Friends In Which Various Friends, Enemies Enemies, Acquaintances, and Detractors Recall His Turbulent Career Acquaintances, and Detractors Recall His Turbulent Career (Doubleday, 1997). George tells another version of the same story in (Doubleday, 1997). George tells another version of the same story in Backstory 3 Backstory 3 (University of California Press, 1997). (University of California Press, 1997).

The Serious Writer Gagged: Shepherd's terrific memo, like all of the material related to Sumner Locke Elliott's deal, is kept in the AMPAS Library Special Collections.

The Pitch: The list of screenwriters under consideration for the Breakfast at Tiffany's Breakfast at Tiffany's rewrite is kept in the AMPAS Library Special Collections. My description of Axelrod's intended revision comes from Axelrod's own explanations of the process (to be found in the various interviews sourced in the section "One Hot Spurt," above), as well as what was pa.s.sed down to me from my conversations with Shepherd and Illeana Douglas. Comparing Elliott's treatment and draft (AMPAS Library) with Axelrod's revision(s), the changes are readily apparent. Joan Axelrod relates her husband's bedtime epiphany in George Plimpton, rewrite is kept in the AMPAS Library Special Collections. My description of Axelrod's intended revision comes from Axelrod's own explanations of the process (to be found in the various interviews sourced in the section "One Hot Spurt," above), as well as what was pa.s.sed down to me from my conversations with Shepherd and Illeana Douglas. Comparing Elliott's treatment and draft (AMPAS Library) with Axelrod's revision(s), the changes are readily apparent. Joan Axelrod relates her husband's bedtime epiphany in George Plimpton, Truman Capote Truman Capote: In Which Various Friends In Which Various Friends, Enemies Enemies, Acquaintances, and Detractors Recall His Turbulent Career Acquaintances, and Detractors Recall His Turbulent Career (Doubleday, 1997), and Axelrod's recognition of his low-cla.s.s standing is prevalent in his interview with Patrick McGilligan in (Doubleday, 1997), and Axelrod's recognition of his low-cla.s.s standing is prevalent in his interview with Patrick McGilligan in Backstory 3 Backstory 3 (University of California Press, 1997). (University of California Press, 1997).

Audrey's Retreat: "I blamed G.o.d," Audrey Hepburn quoted in Ian Woodward, Audrey Hepburn Audrey Hepburn (St. Martin's Press, 1984). Robert Wolders told me that when he asked Audrey about the details of the Hitchc.o.c.k affair, she was very unclear, leading him to believe that a significant part of the deal was orchestrated by Kurt Frings behind her back. Herbert Coleman, Hitchc.o.c.k's right hand, told it differently. In his book, (St. Martin's Press, 1984). Robert Wolders told me that when he asked Audrey about the details of the Hitchc.o.c.k affair, she was very unclear, leading him to believe that a significant part of the deal was orchestrated by Kurt Frings behind her back. Herbert Coleman, Hitchc.o.c.k's right hand, told it differently. In his book, The Man Who Knew Hitchc.o.c.k The Man Who Knew Hitchc.o.c.k (Scarecrow Press, 2007), Coleman maintains Audrey was complicit. Of the added rape scene, he has. .h.i.tchc.o.c.k saying, "We won't let her see that sequence until we're ready to film it." Coleman refused outright and sent Audrey the new pages directly to Durango where she was shooting (Scarecrow Press, 2007), Coleman maintains Audrey was complicit. Of the added rape scene, he has. .h.i.tchc.o.c.k saying, "We won't let her see that sequence until we're ready to film it." Coleman refused outright and sent Audrey the new pages directly to Durango where she was shooting The Unforgiven The Unforgiven. Audrey said, "Herbie, I've always wanted to work with Mr. Hitchc.o.c.k. Take that scene out and tell me when you want me to report." Hitch retaliated: "Tell Paramount they must make her report when you call her or I will cancel my contract." Audrey's quote that children were "indispensable for a woman's life and happiness" is from Claude Berthod, "Audrey Hepburn," Cosmopolitan Cosmopolitan (October 1966). "The pregnancy transported her..." Sean Ferrer to SW on September 17, 2009. "She loved family more than her career..." Robert Wolders to SW on October 23, 2009. (October 1966). "The pregnancy transported her..." Sean Ferrer to SW on September 17, 2009. "She loved family more than her career..." Robert Wolders to SW on October 23, 2009.

Romantic Comedy: "They offered him Rhode Island and a piece of the gross..." Joan Axelrod quoted in George Plimpton, Truman Capote Truman Capote: In Which Various Friends In Which Various Friends, Enemies Enemies, Acquaintances, and Detractors Recall His Turbulent Career Acquaintances, and Detractors Recall His Turbulent Career (Doubleday, 1997). From the cigars, to the vodka, to the picture of Marilyn, the evocation of Axelrod at work on (Doubleday, 1997). From the cigars, to the vodka, to the picture of Marilyn, the evocation of Axelrod at work on Tiffany's Tiffany's was pa.s.sed down to me from Illeana Douglas. "Most s.e.x comedies involve men cheating on their wives..." from Vernon Scott, "Axelrod Emphasizes the Marital Theme" ( was pa.s.sed down to me from Illeana Douglas. "Most s.e.x comedies involve men cheating on their wives..." from Vernon Scott, "Axelrod Emphasizes the Marital Theme" (The Philadelphia Inquirer, December 24, 1967).