Original subtitles

DYLAN FARROW: I grew up with everything I could possibly want.

PARTYGOER: Hooray!

DYLAN: It was an amazing childhood.

Threaded throughout all of those good times,

there was a lot more going on.

♪ (TENSE MUSIC PLAYS) ♪

CASEY PASCAL: Woody had this incredible intensity for Dylan.

DYLAN: I was always in his clutches.

I thought this was how fathers interacted with their daughters.

CASEY: Dylan's reaction, it wasn't good.

You could see her withdrawing from it.

MIA FARROW: There were things happening that I didn't know.

DYLAN: There's so much misinformation

and so many lies.

No matter what you think you know,

it's just the tip of the iceberg.

♪ ♪

Reporter 1: This is a story of two of the biggest stars in the world.

Reporter 2: The father is Woody Allen, writer, director, actor.

The mother is Mia Farrow, his frequent costar

and the mother of his three children, two of them adopted.

Reporter 3: Woody and Mia have been together for 12 years,

but never married and kept separate residences.

♪ ♪

Reporter 3: She reportedly has a video of their adopted daughter Dylan

explaining how Allen molested her.

♪ ♪

Reporter 4: Allen denies child abuse, but freely admits

he's in love with another of Farrow's daughters,

21-year-old Soon-Yi.

♪ ♪

Reporter 5: Allen said the newest allegations are

the bizarre concoctions of a woman scorned.

♪ ♪

Woman: Miss Farrow's only concern

has been exclusively the protection of her children.

♪ ♪

(birds chirping)

Mia Farrow: It's a warm day,

and no one has anything on their minds.

It's the sort of day

when no one feels like doing much of anything.

And everyone is pretty successful at what they're doing.

Suddenly, a sound was heard out in the water.

And a monster rose from the deep!

-Everyone was in a panic! -(kids yelling)

Everyone ran!

The house was in pandemonium!

The baby was snatched! They ran for cover,

but the monster steadily followed them.

Everyone in the house was soon

quite horribly dead,

and the monster

was full. Heh, heh.

(birds, insects chirping)

I love everything about being a mom.

And being born into a large and growing family

made me realize

I loved being part of a large family.

♪ ♪

(inaudible)

I was one of seven siblings. I was right in the middle.

I had wonderful parents. My father

was a filmmaker, a director,

and my mother was an actress.

Tisa Farrow: My mother, when she came to this country,

wanted a large family because she's from Ireland,

and she missed her family so she wanted to make sure she had

a lot of kids, so we'd have each other.

Mia: The question was always asked,

"Are you gonna be an actress like your mom?"

But all of actors' kids were asked that, that question,

and so I always said no.

My hope was to go to medical school

and become a pediatrician.

But things happened in my life in rapid succession.

♪ ♪

My oldest brother died in a plane crash when I was 13,

and it was shattering.

I noticed, you know, my father began drinking a lot,

and he couldn't work anymore.

And then, when I was 17, my father died

of a massive heart attack.

The family fell into a kind of disarray

that I couldn't fix.

My mom was struggling to provide for the family,

and I felt I had to help.

(projector clicking)

♪ I am 16, going on 17 ♪

♪ I know that I'm naive ♪

(car horn honks)

Taxi, lady?

Oh. Hi.

Hop in!

I-I've gotta go to school.

I was 18 when I did the pilot for this series.

It was quite popular. It was called "Peyton Place."

It was like 60 million viewers a week,

and I was getting like a pillowcase

full of mail every day.

It became overwhelming

because people would recognize me,

so I stopped going places.

♪ ♪

So it was at work that I met Frank Sinatra.

He was doing a movie on a different set.

And he had already figured all this out,

being like the most famous person.

So, we were seeing each other privately for a long time,

and it really suited both of us.

And then when Frank and I got engaged,

our relationship became very public.

Bodyguard: Excuse me, gentlemen.

Excuse me, let the lady through. Excuse me.

Mia: We were only married for two years,

but I was living in this very isolated bubble.

Tisa: I think that the whole Frank Sinatra scene

kinda turned her off.

They had throngs of people everywhere they went,

and I think it kinda scared her.

I think she liked more to be private

and with the family.

♪ ♪

Mia: And then I got a part

in a movie that turned out to be huge,

called "Rosemary's Baby."

It's alive!

Guy, it's moving!

It's alive, it's alright!

Here, feel. Feel.

Mia: That movie gave me

a kind of credibility as an actor,

and a dream movie career

was handed to me. Respected directors,

and fascinating scripts, and costars that were,

you know, just legends.

♪ ♪

But after "Rosemary's Baby,"

my marriage to Frank Sinatra had fallen apart

because I wouldn't leave the movie when he told me to.

And I'm like, wow, now I don't...

My marriage is over. What happens?

And then, when I met

and married André Previn, we had twins.

And I was so excited.

(inaudible)

You know, I wasn't just an ungrateful, you know,

TV star or movie star or whatever I was at the time.

I was a mom.

And then I asked André how he felt about adopting a child

because during the Vietnam War,

we all got pictures not only of the war,

but of the orphans.

♪ ♪

And so that's how we ended up with our first adoption,

our daughter, Lark Song.

And then Daisy from the same orphanage,

and both were very, very fragile. Both had had pneumonia.

Daisy Previn: I came pretty ill.

I was tiny, really small.

I was malnourished.

You know, a big stomach but tiny body.

Not the healthiest, but turned out fine. (laughs)

(birds, insects chirping)

Mia: For those children who had been abandoned,

I felt I, I could give them that home,

and I would love them with all my heart.

It was my way of trying to give back

because my childhood

was interrupted when I was 9, um, by polio.

♪ ♪

The pediatrician came to our house

and performed a spinal tap,

which is quite painful.

And I heard, in the other room,

the drone of my family

praying the rosary for me.

(child crying)

It was a time of polio epidemic.

I was in the pediatric ward,

and iron lungs just lined the hallway.

I heard people

grasping for their last breaths.

And I figured I would just die.

(inaudible)

As I was carried out of that hospital,

I asked myself, what does it mean?

What do I do about that?

You know, other people did get paralyzed,

other people did die,

and I didn't.

I can't know who I would've been had I not had polio,

but I know that,

that I do feel very strongly that, you know,

when possible, if you can alleviate suffering,

you should try.

♪ ♪

And then I thought it would be wonderful

to adopt an older child

because they don't get a chance.

And so we adopted Soon-Yi.

(inaudible)

I went to Korea to bring Soon-Yi home.

She just didn't understand what was happening.

Soon-Yi, I think, had a complicated relationship

with her biological mother.

She left her out on the street.

She said something like,

"We're going shopping. Back in five minutes."

She put her somewhere to wait,

and she never came back.

So, she had been running wild in the streets

with a group of other kids, boys.

When I finally got her home,

she was beginning to learn English,

and, um, I thought

before the memories faded,

perhaps she would treasure

documenting what she could remember

of a life now far, far away.

And she referred to her mother on those tapes

as "naughty mama."

(Soon-Yi on tape)

Mia: You know, it was different here.

She wasn't...

ready to bond with me, you know.

So, I had to work very hard

over many years.

For instance, I got a movie, "Death on the Nile,"

which was made in Egypt,

and I brought Soon-Yi because I did not want her

to be separated from me, even overnight.

Because I just thought, eventually, she'll understand

that I'm gonna be there for her as long as she lives.

(Soon-Yi on tape)

-(baby cooing) -(laughter)

Daisy: Soon-Yi was always standoffish.

Not just towards me, I think towards everybody.

I don't know if it had to do with the fact

she was adopted at a later age,

and so she remembered

more of her turmoil before she was adopted.

But she had a lot more angst, you know.

It was harder for her to trust any of us.

Casey Pascal: There were three teenage girls in the family,

and the other two probably were a little more outgoing,

wanted to have fun and everything,

but Soon-Yi didn't seem to be like that.

She had never dated a boy.

She never had a phone call from a boy.

She never kissed a boy.

She was...

very innocent.

(chatter, laughter on videotape)

André Previn: When will they make these with sound?

-Mia: This has sound! -This has sound?

-(deep voice): Hello, everybody. -(Mia laughs)

Mia: When my marriage to André broke up,

Soon-Yi had only been with us for like a year.

So, you know, he was very sweet

to all of the kids, but

I don't think she ever formed a bond with him.

♪ ♪

Fletcher Previn: My mom in particular put in a lot of effort

to maintain a positive relationship

with my, with my dad. He would come visit us.

He would stay at the house.

Mia: We always loved it when he came over.

I mean, of course it was hurtful at first when he,

you know, fell in love with my best friend

and I was making a movie somewhere.

But, in time, I got over the tears,

and André and I stayed best friends.

(inaudible)

And then when I met Woody,

he had just made "Annie Hall."

And there was part of me that was lonely.

And suddenly, there was somebody who said, "I'll take you out,

"I'll show you all of New York and we'll look at movies,

"and we'll go to museums

and travel to all these fascinating places."

So, I stepped into his world.

-(applause, cheering) -(music playing)

Cicely Tyson: The winner is...

-Woody Allen for "Annie Hall." -(applause)

(cheering, applause)

Alissa Wilkinson: Woody Allen and Mia Farrow started dating

when Woody Allen was coming right off a hot streak with

"Annie Hall."

That film was given several Oscars,

but his next film,

"Manhattan," was even more well-received.

♪ ♪

"Manhattan" is an interesting film to look back at for Woody Allen.

"Manhattan" is a masterpiece of a film.

I mean, it's hard to watch it and not think this is,

this is a guy who knows how to make a movie.

It's a beautiful film.

It really captures something about

the spirit of New York.

The rhythm of it is really pleasing.

It's romantic, but it's also more about loss.

It kinda feels like the "ur" Woody Allen movie.

(inaudible)

When the film opens, you sit through the opening credits,

and it's so beautiful and there's Gershwin playing,

and you're seeing the skyline, and you're being lifted

by this incredible filmmaking.

And then you, you come into this restaurant,

and there's these four people sitting at a table.

Three of them are in their 40s.

And one of them's 17.

Woody Allen: I'm getting through to you, right?

Yep. You'll have to excuse me.

Jesus, she's gorgeous.

-Mm. -(jazz music playing)

She's 17.

I'm 42, and she's 17.

(coughs)

I'm older than her father. Do you believe that?

The Woody Allen character's having

this relationship with this girl,

and his friends and he are

maybe making little jokes about it,

but acting like it's the most normal thing.

Their relationship is depicted as something that's real.

It might be kind of a May-December romance perhaps,

but it's very much a relationship that's

considered to be between two adults.

Oh look! It's great. The late show's a WC Fields film.

Hm.

-Hey, great. I wanna watch that. -(kiss)

It's widely considered to be based on a relationship

Allen allegedly had with

a high school student,

but that is not something that he's ever acknowledged.

(Amy Ziering speaking)

Christina Engelhardt: Oh, yes.

(Ziering speaking)

Well, I was 16 when I met him,

but, you know, I'm gonna stand by that 17,

we developed a relationship.

But I didn't tell him what my age was, I just--

you know, it wasn't that I was, you know,

holding back anything.

He didn't ask me, I didn't ask him.

♪ ♪

And it wasn't like it only happened once.

It went on until I was 23.

You know, I was very much in love with him. I thought he was magical.

After I saw "Manhattan,"

I'm at the same age, and there's Mariel

looking like myself, and I thought,

"Oh my god, I'm his muse.

I'm an inspiration."

And I even said, you know,

"Am I the muse?" He goes, "Of course you're my muse!"

I felt I was the lucky one.

That's where I was coming from at that time of my life.

You have to understand that where I was at that age,

I was in "Seventeen" magazine, "Co-Ed" magazine,

and did all the advertising.

I mean, I had this sex appeal as a young girl.

♪ ♪

And, you know, I had trauma.

You know, I had been raped four times

around the age of 12 to 14

by people my family knew.

And so I start thinking, who can I trust?

And I trusted him.

I'm not saying it's right or wrong or good,

but I had no one. I had just me.

And there was an enchanting,

an enchantment aspect of it.

But once you realize this is what it was,

you could've put that energy,

the same energy into yourself.

And that's what I would've done, but I had no one--

no one that I could go to.

I know it's taken a toll on me.

It's taken a toll on how I've been in relationships,

trust in relationships.

And it's made me a super-vigilant mother.

I would not let my daughters, you know,

go over to an older man's home.

No matter what.

♪ ♪

Mariel Hemingway: Well, don't you have any feelings for me?

Woody: How can you ask that question? Of course.

I've got nothing but feelings for you. But, you know,

you don't wanna get hung up with one person at your age. It's...

charming, you know, and...

(coughs) erotic. No question about that.

As long as the cops don't burst in, we're...

I think we're gonna break a couple of records.

You know, but you can't-- you can't-- You know, it's not...

it's not a good thing. You should think of me

sort of as a detour on the highway of life.

Claire Dederer: An important move that the film makes

is to put the desire onto Tracy.

She's the one who's wanting to keep the relationship going.

How many times a night can you-- How often can you make love

-in an evening? What is with you-- -A lot.

Yeah, I can tell. A lot. That's...

Well, a lot is my favorite number. (laughs)

-Gee, really? Can you? -Oh yeah.

Let's do it some strange way

that you've always wanted to do,

-but nobody would do with you. -I'm shocked.

Claire: He gets to be the shrinking violet,

and she's the one with the serious desire.

He uses her to make his predation okay.

You can't be in love with me. We've been over this.

You're a kid. You don't know what love means.

I don't know what it means.

Nobody out there knows what the hell's going on.

We have laughs together. I care about you.

Your concerns are my concerns. We have great sex.

I've always encouraged you to go out with guys more your own age.

Guys, kids from your class.

Billy and Biff and Scooter and...

You know, little Tommy or Terry...

Hey, come on. Don't cry.

-(sniffles) -Don't cry.

Come on, don't cry.

Alissa: You get the feeling watching Woody Allen's films that

he's trying to make us acclimated to the idea

of these kinds of relationships,

this sort of power dynamic,

in a sense grooming us.

It's something that he does repeatedly over and over

in films, throughout the years,

the same archetypes show up. The same kinds of big age gaps

in relationships show up,

and so when you see it over and over,

it kinda attunes you to thinking this is normal.

This is just a thing that people do.

It's fine, and there's nothing that I should feel odd about.

So, what do you want? You wanna kiss?

I mean, you want a real kiss?

-Yeah. -You-- you want an actual,

-professional kiss, right? -Yes.

Both lips, upper and lower? Simultaneously?

Yeah, yeah. You're really thinking about it.

I gotta tell you.

Come here.

(thunder crashing)

♪ ♪

Richard Morgan: Princeton University has the Woody Allen archives,

which is boxes and boxes of material

that he gives to Princeton University.

It has old scripts,

ideas with notes in the margins,

multiple versions of the same script.

So I wanted to know

if he has all these archives

of ideas that didn't get made,

that's sort of where, I think, a lot of

the interesting parts of creativity are.

It's just that the thing that kept on

showing up was

this sort of like focus he had on,

um, very young women.

How are you, darling? How old are you?

-12. No. -12? Are you married?

(laughter, chatter)

Richard: Sometimes, there's a murder or mystery or something,

but it's basically always

an older guy trying to deal with

this younger woman,

and him dealing with that.

Is the difference

in our ages awkward for you?

Have you ever made love with a much older man?

Yes.

I love you.

-I love you, too. -Richard: I mean,

it was almost assembly line.

Just every single time.

"18-year-old, 18-year-old, 18-year-old.

"Cocktail waitress, cocktail waitress,

"stewardess, cocktail waitress, cocktail waitress, stewardess.

College student." Always a college student

at Vassar or Smith or...

like a women's college.

(typewriter typing)

He would make a note

about the character, in the character sketch.

He would say something like, "She shouldn't be

"19 or 20. She should probably be 18.

"Maybe 17,

but probably 18 feels right."

(typing)

And then the repetitiveness of the attention.

It sort of got into this obsessive territory.

(typing)

Woody: So, what do you wanna do tonight?

Anything. We'll go to the movies,

I'll take you dancing if you want. Whatev-- It's your night.

-Anything? -Yeah. Absolutely anything.

Okay, I know what we can do.

-Get that filthy look off your face. -Shut up. (laughs)

It's not filthy.

(inaudible)

(wind blowing)

Mia: One day, Woody and I were in his apartment,

and he said, "You know, I'm gonna be making

"a movie in the fall,

"and, uh, and there's a part,

and I think you would be really right for it."

But I just didn't wanna ruin the relationship by

having a boyfriend who would be my boss.

But then, I realized maybe it was a good thing

because we were two people in love,

and we were gonna work together,

and I could be an equal.

In the '80s and early '90s, Woody and Mia

did 13 films together,

which is an extraordinary number of films to make with anyone,

but especially in a period that's about a decade long.

These films range from dramas to comedies.

They're all kind of all over the map,

but they were really well-received.

So, this is a big time for Woody to be making movies.

His films are beloved of critics.

During this time, Woody Allen, Mia Farrow,

that's the ideal power couple.

Carly Simon: They were the most beautiful, interesting New York couple.

Mia and I, we lived in the same building in New York.

Our families were as close as could possibly be.

And Woody gave her everything she could possibly want.

Mia: If you talked to me then,

I would've told you that

I'm just the luckiest person on Earth.

That I don't know what I would have done

without Woody because I'm able to do

these films with him every year,

and, you know, and to

support my children, and we have a wonderful life.

Mia (on film): He's perfect for me, really.

-He's solid. He taught me a lot. -You don't believe that.

-Like what? What do... -Oh.

Like how to listen to Mozart.

With your ears, right? I mean, is that a reason to marry--

-Achoo! -Hey, you okay?

Carly: I loved Woody Allen.

Mia loved Woody Allen. There was so much to love.

Then, when Woody revealed his essential self,

there was a change in who he was.

♪ ♪

Mia: After a while, it didn't matter

what I was or what I thought.

I was there to serve him it felt like,

and I went into that role.

You know, and tried to be

the best version of what he wanted.

Funny, but not too funny.

You know, answer, but not too talkative.

She was very frightened every time a new movie was starting

because she didn't know if she could live up to his standards,

and she was very scared about that.

And I think there was the word on the street was

she wouldn't be in the films if she wasn't his girlfriend.

And he fed her that.

He did not do anything to dispel that at all.

For years, he had said how lucky I was to work with him

because, "As an actress your age, you know,

they're a dime a dozen."

He said, "I could pick up the phone now. I can replace you

in less than two minutes."

Priscilla: The only time I ever heard him praise her performance

was in an interview or a piece

where he would say, "Mia's great in this film," or whatever.

Woody: Mia's range was very flexible.

She could play the dopey cigarette girl in "Radio Days,"

switch in the film to the affected gossip columnist,

and then give the performance she does

in the film that followed, "September."

Elaine Stritch: He sings your praises.

Oh, he's probably just being polite.

Woody: Mia in "Danny Rose" was very different from

the usual Mia Farrow, and she did a damned good job.

I don't wanna hear Lou's name. I don't want a runaround.

I don't want any crap, goddammit.

Uh, uh, darling, sweetheart, darling,

m-might I interject one notion at this juncture?

-Sweetheart, how old are you? -None of your goddamn business.

No, no, seriously, darling. What... you're upset.

W-what sign are you? Gemini? Are you Gemini?

Shut up! Will you just shut up?

♪ ♪

Mia: It was Woody's world, and it was very controlled.

I didn't have an agent anymore because I was with him.

You know, I did not need an agent.

He said I could share his agent.

I didn't at that time believe that I could

get an agent because I was old. I was in my 30s.

I felt he was just doing me a giant favor, you know?

I saw him, little by little,

eroding her self-esteem. Eroding her...

sense of self.

He didn't like Mia to see her friends.

He just wanted to isolate her.

I don't know what was behind his saying cruel things to her,

whether or not he believed it or whether it was just a tactic

to kick her down so that she'd be more under his rule.

But, she made up reasons for his behavior.

She said, "Oh, he's just in a bad mood."

But, you know, there were strategies that she used to pull herself back

into the time period where she and Woody were happy.

Mia: Was he the ideal father?

Probably no because he worked so much

and all of that, but he was their father figure.

He took the little ones shopping and bought them,

as I said, bought them airplanes and magic tricks

and started bringing all of them to basketball games.

And I really encouraged him

to go with Soon-Yi, too, because she was really shy.

♪ ♪

Woody: For years, I never gave Soon-Yi a moment's thought.

I was too busy working.

Once or twice, I remarked to Mia

how reclusive Soon-Yi seemed,

and maybe she needed a shrink.

Mia said, "Why don't you go for a walk with her

"or take her to a basketball game?

You're always looking for someone to go with."

I finally asked Soon-Yi if she liked basketball.

She liked it well enough to say yes,

probably figuring it was free popcorn,

and so I did take her to a game.

As we chatted at the game,

I found I was enjoying her company

more than I should have.

There did come a period of time where he started

spending more time with Soon-Yi,

going out to basketball games,

meeting up after school to go to dinner

and/or hear him play at Michael's Pub.

And that was a little unusual.

I had noticed him being nicer to Soon-Yi,

a lot nicer,

and she would be fixing her breakfast in the morning,

and we would be-- I'd be feeding all the other kids.

She would be more chatty,

and I was just really happy

because she had never really had a father.

♪ ♪

Woody: Cut to sometime later.

I'm shooting "Husbands and Wives,"

and on a Saturday when I'm off,

Soon-Yi comes in from college,

and I screen "The Seventh Seal."

Bergman's film ends,

and we were alone in my screening room.

And, quite smoothly, if I do say so myself,

I lean in and kiss her.

She is complicit in the osculation,

and to the point, as always, says,

"I was wondering when you were gonna make a move."

Make a move? Gimme a break!

I'm still in some version

of a relationship with your mother.

True, for years, we've just been going through the motions,

but what are we getting into?

Priscilla: I think Woody spent a lot of time grooming Soon-Yi.

Taking her to the Knicks games by herself,

telling her she could be a model,

giving her a part in his film.

Knowing that Soon-Yi was the one child

who didn't date, who had never had a boyfriend.

And then inviting her to the screening room.

Something that he tried to do with me,

and I didn't buy it. I didn't go for it.

Woody: Soon-Yi and I thought

we could have our little fling,

keep it a secret since Soon-Yi wasn't living at home

and I lived alone like a bachelor.

I thought it would've been a nice experience,

and probably Soon-Yi would eventually

meet some guy at college

and enter a more conventional relationship.

I didn't realize how attached to one another

we'd already grown.

Here was a sharp, classy, fabulous young woman,

highly intelligent, full of latent potential,

and ready to ripen superbly.

If only someone would show her a little interest,

a little support, and most important, some love.

The thing is, I don't know when it started with Soon-Yi.

I do know that it was while she was at

Marymount, in high school.

When I went to talk to people

like doormen and people that worked in his house,

they said she had been coming there for a long time.

She would come. She'd be in her school uniform at lunch.

The doormen would show her up.

The maid would change the bed after she left.

The maid told me about the condoms

in the wastebasket, and the sheets

that needed changing. All of that.

♪ ♪

-(birds chirping) -(traffic noise)

Her high school, Marymount, was right near

Woody's apartment on 5th Avenue.

Marymount is also on 5th Avenue.

Fletcher: It was difficult for everybody.

Like, you know, what do you mean? Um...

How? When? For how long?

Daisy: All I remember was wanting to get out of there.

Uh, not knowing-- Not knowing what to do.

Not knowing what to do for my mom

or for any of us.

I went to Connecticut

for the weekend, and...

Mia had a family meeting and we were all sitting around the table.

And she gave every child an opportunity to speak.

Soon-Yi was there,

and we all went around and said

that we want you in this family. We love you.

And she just didn't respond. I just remember her crying

and not responding.

Daisy: I tried to say to her, "Come back.

Mom's willing to forgive you."

And my mom said the same thing to her, you know.

"Things happen, you're still my daughter, still family."

And she chose not to.

She obviously took the other route.

Mia: Toward the end of that first week,

after me finding the pictures,

I walked into her room,

and she was sitting on the floor,

talking on the phone, and I knew

she was talking to Woody, the way she hung up fast.

And I just pounced on her.

And I just slapped her

on the side of her face and shoulder,

and I was just crying.

And she started crying.

I-I said I was sorry, and I...

I'm not proud of that.

♪ ♪

I love her so much, and I didn't ever blame her,

you know, because she was just a little kid

when he came into the family.

She was a little girl.

We were family,

and he was in my home as, as my partner.

Um, and as such,

he had responsibilities, you know?

You, you don't get to have sex with my children.

That isn't part of the deal.

Fletcher: My opinion of him,

uh, changed completely.

He went from a father figure

to a person who is a predator that we have to keep

out of the house and protect ourselves from.

Moses particularly, I think,

was just absolutely devastated.

He adored Woody.

Was extremely, extremely hard for him.

So, I just remember seeing him crying.

Often.

♪ ♪

Mia: Soon-Yi went back to college after two weeks,

and for a couple of months, Woody kept saying,

"I lost control. I'm so sorry.

"It will never happen again.

"I'm the safest person on Earth.

"Now I've seen what this does.

You can trust me, you can trust me."

The way he described it, it was a thing that happened.

It would never happen again.

(Woody on tape)

(Mia on tape)

She was terribly upset. I mean, really...

Couldn't sleep. She lost a lot of weight.

She became very, very skinny. Nervous.

It's not just a simple thing of walking away

and saying, "I'll never work for you again."

Because they were bound up so closely at that point.

She had exclusively made his movies

for over 10 years.

So she kept going. She kept making the movie.

Do you ever hide things from me?

Woody: Me? W-w-w-what kind of things?

Feelings, you know.

Longings? Complaints?

Woody: No.

Somehow, I had to go back and finish that movie,

but I had to take a couple of weeks off,

and somehow, I don't know how I did it.

I could barely look at him.

I couldn't stop shaking and I couldn't sleep,

and I kept having, you know,

these pictures, they just kept

like, like tearing through,

um, the, the membrane of the day.

You know, they would just tear through.

I guess that's the nature of trauma. It just tears through

whatever you might be doing.

You're in an odd mood tonight. I can see it. You know,

I think Jack and Sally's breakup has definitely affected you.

You think...

You think we'd ever break up?

What kind of question is that? You know...

I'm not planning it. Are you?

-No... -Okay.

Mia: He was saying,

"We could burn those pictures

"and have a new start.

And I was thinking we could give a press conference," he said.

"Because there are some very nasty rumors about,

"and that I think it's time to refute them.

"And I think we could

"give a press conference together,

and say they're absolute bullshit."

(Woody on tape)

(Mia on tape)

(Ziering speaking)

Because he put Soon-Yi on the phone,

and she lied to me about her age.

She was saying things that both she and I knew

were not true. There was...

And then, it just occurred to me they must--

He must be taping this for some reason.

And I told Fletcher, I told one of my other kids,

that Woody is taping me.

He said, "Tape him right back." And I'm like how--

He said, "I'll set up the phone."

(Woody on tape)

(Mia on tape)

(insects, birds chirping)

Mia: I took the kids to the country that summer.

But, Soon-Yi and I decided

it would be a lot better

if she took a job as a counselor

at this camp in Maine.

Casey: Mia had gotten Soon-Yi a job

at camp for the summer. But then,

she was almost immediately let go from the camp

because she couldn't participate in any camp activities

because she spent all of her time talking to a man

on the phone, a man named Mr. Simon,

and we all knew that had to be Woody.

Mia: I got a call from the man

who ran the summer camp, saying that

she was gone.

He said a car came, a limousine came, and took her away.

And I kept asking Woody where was she, you know?

Could I talk to her?

And he wouldn't give me any information about her at all.

♪ ♪

Woody: Soon-Yi hated the camp

and the freezing nights in Maine.

She came back to New York, not daring to go home,

and moved in with a friend.

And it wasn't long before we were back together.

Mia: Once Soon-Yi disappeared,

I asked if I could see his therapist.

Because I didn't believe he would be telling the therapist the truth.

I didn't believe anything anymore.

And he said, "It's okay,

but I have to be in the room." I said that's fine.

And I brought the pictures,

and I gave them to his therapist,

and I said, "I don't know what to do

because now, I'm afraid."

I'm afraid for all-- for my daughter Soon-Yi,

who's my child, and I worked so hard

to build that relationship with her.

Because she was older when I adopted her,

and bonding didn't come naturally to her,

and I'm really, really-- It meant so much to me.

And I didn't want all that broken,

so could he help me, um,

you know, that this wouldn't happen anymore,

and that my little daughter would be safe

because I'm really worried about that behavior, too.

Um, and then he just kept looking at these pictures.

And I just grabbed them back from him.

I said, "Why are you staring at them that way?"

And then he said,

"It's not a therapist's job to moralize."

And I said, "Oh?

"Well,

"you have a patient who has no moral compass.

"Then I guess he's lost

because this might be a moral issue."

♪ ♪

At some point, I said,

"I need my keys to my apartment.

You can't just come in anymore."

But I also thought, what do I do?

He's gonna have to visit

because he had rights that I could never deny him

since I let him adopt Dylan.

So, we laid out times when he could come over and see her.

Dylan Farrow: I didn't wanna see him.

But if I said, "No, go away,"

I would have to face some kind of...

vicious, unpredictable... punishment.

At one point,

we were all sitting at the dinner table.

And we were eating spaghetti.

And I thought I was being funny

by calling him Woody instead of Daddy, and...

he was getting progressively more agitated by this.

"No, you have to call me Daddy. Do not call me that.

Call me Daddy. Do not call me Woody."

You know, I couldn't resist looking over one more time

and just being, "Woody."

And he grabs me by the back of my neck,

and shoves my face down into my plate of hot spaghetti.

And that was sort of when I realized

that that's what happens if I say no.

Doing what he says is the only way to protect myself.

(projector clicking)

(inaudible)

Sophie Bergé: It was the summer of '92.

I was hired to be their French tutor,

to the two smallest kids,

-Ronan and Dylan. -(projector clicking)

And I was just being there full-time, living in the house,

sharing the girls' room, the big girls' room.

Um, and just spending the summer,

really just being there all the time.

(inaudible)

They had already had some big issues

with Soon-Yi leaving,

and all of that, so I think

everyone tried to just kinda stay calm.

Mia: That summer, we did the best that we could.

We worked out that Woody would come

once a week up to the country,

and he would see the children.

(child shouting)

Mia: Look at that, backwards!

Very good...

(birds chirping)

Sophie: It was a regular day, except Woody was coming.

But it was just a normal day,

just being outside and playing and swimming.

Casey Pascal brought her kids over.

She had three small children.

Although my children were there,

we didn't know what time he was coming.

And I left my children with

my sitter, who was really good,

and the other two sitters,

and we said, "well, we'll just run off to the store."

We left Ronan and, and Dylan

with my babysitter,

Kristi, and our French teacher, Sophie.

And, uh, Casey's babysitter was here, too. Alison.

Woody arrived while Mia was gone.

I had been told, "He's just too much with her.

The therapist said not to leave them alone together."

And the older kids, if he came around,

would usually avoid being there.

Moses usually went for a walk or something.

And on that day, when we were all out,

half inside, half outside, lots of stuff going on,

I remember Kristi,

Mia's nanny, calling out

and asking, "Have you seen Dylan?"

♪ ♪

♪ ♪

♪ ♪

Mia: So when Casey and I came back from shopping,

Dylan ran up to me

to hug me, and she jumped into my arms,

and she had a little sundress on.

Except she had no underpants on, and I...

thought that was a little odd, but it happens.

So, I asked the babysitter

if she could grab a pair of underpants, and she did.

And then I put the children to bed.

And then, in the morning, we all had breakfast.

But then Casey called,

and she said her babysitter had seen

something that disturbed her,

something like that. Something that upset her.

♪ ♪

Casey: The next morning, I called Mia and said

Alison said that she saw

Dylan sitting on the couch with Woody kneeling on the floor

with his head buried in her lap.

And she said that she felt that

she had walked in on a very adult situation,

and she realized it was a child.

That it was a child she was seeing,

and she was horrified to the core.

She said Dylan was staring off into space,

and Woody's face was in her lap.

Her babysitter had seen

Woody, um, on his knees,

in front of Dylan,

in the, in the, in the TV room.

And I remember that she had not had any underpants on.

♪ ♪

And, um, she was sitting right next to me,

so I just said to her,

"Did this happen? Did Daddy have his face

in-in-in your lap yesterday?"

And she said yes.

And I thought, I need to tell Dylan's therapist.

I wanted the therapist to know what he had done.

But the therapist was away for the summer!

And that's when I realized

I had my video camera right there, and I thought,

"I'll make this video."

(static)

(Mia on tape)

(Dylan on tape)

(phone ringing)

(phone ringing)

(phone ringing)

So, she described that and how she had tried to get up,

and he just kept breathing into her,

and that she didn't like it.

And then, then, to my surprise,

she said, "And then, he took me into the attic."

I said, "You mean upstairs?"

She said, "Yes, he took me upstairs, into the attic."

♪ ♪

Dylan: We were in the TV room,

and he reached behind me,

and touched my butt.

And then he told me to come up to the attic with him.

I remember

laying there on my stomach,

and my back was to him, so I couldn't

see what was going on.

I felt trapped.

He was saying things like,

"We're gonna go to Paris together.

You're gonna be in all my movies."

♪ ♪

Then, he sexually assaulted me.

I remember just focusing on

my brother's train set.

And then, he just stopped.

He was done.

And...

we just went downstairs.

I hoped that maybe--

my last hope was that Kristi,

who was my babysitter,

that she would say, "Oh no, Mia.

"Yes, they were in the TV room,

but then I scooped her up and we all played outside."

And that somehow

this wasn't true somehow.

That was my hope.

But then, Kristi said, "Oh, Mia, I'm so sorry. They got--

"I don't know what happened to them. We looked for them.

"We looked everywhere. We looked in every room in the house.

"We looked outside. We looked everywhere for like 20 minutes.

They disappeared."

And that's when I realized...

that it, that it-- they had gone in the attic.

There was no other explanation. They had been missing.

It was real.

(static)

(static)

It's really hard to believe that somebody you respect and,

for me, somebody you really love deeply,

love so much,

could be capable of doing something so awful

to a child.

It's very hard to believe.

Very, very hard to believe.

♪ ♪

I knew one thing. That I would need

to put away that other self.

Put away that person that was so hurt.

Put away that person that was so confused.

Put away that person that was so hopeful.

That self was gone,

and that kid who came out of the polio wards,

just determined to walk again and all those things,

I was that person.

And I knew it would be a considerable thing

because Woody had boundless money,

but this is your reality.

You have one job,

and that is to stand by your child

and keep her safe.

♪ ♪

♪ ♪

♪ ♪

SPEAKER: I received a call with a complaint.

Alleged sexual abuse on one Woody Allen.

SPEAKER 2: It started this nightmare.

DYLAN FARROW: Everything changed.

♪ (DRAMATIC MUSIC PLAYS) ♪

MIA FARROW: Overnight almost, there he is on the cover

of every magazine, on every kind of show

saying that I had coached Dylan and the media ran

with that story.

There was clearly a strong, political climate

to shut this thing down.

MIA: I was being followed, and it was terrifying.

All of the notes were destroyed.

SPEAKER 3: It was totally a circus in that courtroom.

Everyone wanted to know how this was going to end.