0:00:02 > 0:00:06This programme contains strong language
0:00:06 > 0:00:09- If I weren't in this chair... - Oh, Miss Crawford, I'm so excited!
0:00:09 > 0:00:11I'm going to be playing your neighbour right next door.
0:00:11 > 0:00:12So close.
0:00:12 > 0:00:14Can I please have your autograph?
0:00:14 > 0:00:17It's for my grandmother. She's loved you since she was a kid.
0:00:33 > 0:00:34Thanks.
0:00:50 > 0:00:53Sometimes you need to hit it square in the jaw.
0:00:54 > 0:00:56DRINK CAN FALLS
0:00:59 > 0:01:01You know, Bob, I was thinking.
0:01:02 > 0:01:06We need to pack the bags of the girl next door.
0:01:06 > 0:01:08She's moving out.
0:01:08 > 0:01:10Wh... Oh, Joan, I-I don't have time to recast.
0:01:10 > 0:01:12- We're shooting tomorrow. - I have co-star approval.
0:01:12 > 0:01:13She's not a co-star.
0:01:13 > 0:01:15That's right.
0:01:15 > 0:01:17And she never will be.
0:01:21 > 0:01:22KNOCK ON DOOR
0:01:22 > 0:01:23What?
0:01:25 > 0:01:27You wanted to see me?
0:01:27 > 0:01:29Yeah. Forget the little daily gifts, Lucille.
0:01:29 > 0:01:31I'm going to be much too busy working
0:01:31 > 0:01:32to shop for anything in return.
0:01:32 > 0:01:36Whatever you say. Only let's not fight.
0:01:36 > 0:01:38We have to support each other, Bette.
0:01:38 > 0:01:41I'm worried our director isn't taking care of us,
0:01:41 > 0:01:43so we have to take care of each other.
0:01:43 > 0:01:44What the hell does that mean?
0:01:44 > 0:01:46You're the one that hired the goddamn director.
0:01:46 > 0:01:48I'm going to be blunt, Bette.
0:01:48 > 0:01:50Aldrich is a lady-killer.
0:01:50 > 0:01:52He likes young blondes.
0:01:53 > 0:01:56The cookie that's playing the neighbour.
0:01:56 > 0:01:58I saw her. She's no threat.
0:01:58 > 0:01:59Well, not now, of course -
0:01:59 > 0:02:03but what happens when he starts sleeping with her?
0:02:03 > 0:02:06Suddenly she has more lines and scenes than you do.
0:02:06 > 0:02:09Now, I've asked him to replace her with someone less showy,
0:02:09 > 0:02:12less likely to pull focus,
0:02:12 > 0:02:13but he refused.
0:02:15 > 0:02:19Course, you have more scenes with her than I do, so...
0:02:19 > 0:02:21perhaps I'm being out of line.
0:02:22 > 0:02:24You know, Bette,
0:02:24 > 0:02:27I just wanted to say...
0:02:27 > 0:02:30I think what you're doing with this part
0:02:30 > 0:02:32is incredibly brave.
0:02:41 > 0:02:42DOOR CLOSES
0:02:58 > 0:02:59Bette?
0:02:59 > 0:03:00Bette, where are you going?
0:03:00 > 0:03:02Your big scene's up next.
0:03:02 > 0:03:03I'm going home sick, Bob.
0:03:03 > 0:03:05You don't look sick.
0:03:05 > 0:03:06I am. I'm sick to my stomach because of you.
0:03:06 > 0:03:09I thought you wanted to work with Crawford and me
0:03:09 > 0:03:10because you respected us.
0:03:10 > 0:03:12Because you wanted our opinions - but clearly, you don't,
0:03:12 > 0:03:14and that just makes me want to vomit.
0:03:14 > 0:03:15What are you talking about?
0:03:15 > 0:03:17Crawford wants that woman that's playing the neighbour gone,
0:03:17 > 0:03:20and I have to agree. You're casting with the wrong head, Bob.
0:03:20 > 0:03:21She's not an actress,
0:03:21 > 0:03:23she's not going to elevate the material.
0:03:23 > 0:03:24I mean, look at her.
0:03:24 > 0:03:25Her audition was wonderful.
0:03:25 > 0:03:26I want her gone.
0:03:26 > 0:03:28- I won't do it. - Then I'm going home sick.
0:03:34 > 0:03:36I forgot my purse.
0:03:41 > 0:03:43Goddamn it!
0:05:19 > 0:05:22I think I'm all right. Is that a mirror? Thank you.
0:05:22 > 0:05:24- You're in my light, honey.- Oh.
0:05:24 > 0:05:26Did you see that... What was it? Coming Home?
0:05:26 > 0:05:29- Mm-hm, yeah.- Some kind of Vietnam War thing.- Oh, God.
0:05:29 > 0:05:31Talk to me about the origins of the feud.
0:05:31 > 0:05:33Hell, those two?
0:05:33 > 0:05:35They didn't actually need a reason to hate each other.
0:05:35 > 0:05:36It was chemical.
0:05:36 > 0:05:39But things didn't start to boil over until the '40s...
0:05:39 > 0:05:41when they were in their 40s.
0:05:41 > 0:05:43Bette's star was rising at Warner's,
0:05:43 > 0:05:45and over at MGM, Joan's was starting to dim.
0:05:45 > 0:05:47Cut!
0:05:47 > 0:05:49I'm sorry.
0:05:49 > 0:05:52Can someone ask an executive
0:05:52 > 0:05:53to come down to the stage, please?
0:05:53 > 0:05:55I'm so confused.
0:05:55 > 0:05:58We... We're on our honeymoon.
0:05:58 > 0:06:02We're recruited by the British Secret Service
0:06:02 > 0:06:05to stop the Nazis. Right?
0:06:05 > 0:06:09Does this make sense to anyone?
0:06:09 > 0:06:12Can someone explain it to me?
0:06:12 > 0:06:15Now that Garbo and Shearer had packed it in,
0:06:15 > 0:06:17Joan wanted roles with dignity.
0:06:17 > 0:06:18She'd had it up to here
0:06:18 > 0:06:20with the slatterns and shop girl roles
0:06:20 > 0:06:22that had made her a star.
0:06:22 > 0:06:24She fought tooth and nail for the role of Marie Curie.
0:06:24 > 0:06:26Listen, Louis.
0:06:26 > 0:06:28Either I play that egghead dame,
0:06:28 > 0:06:30or I walk.
0:06:38 > 0:06:40Then I suggest you start walking.
0:06:46 > 0:06:48# Somebody else
0:06:48 > 0:06:51# Has taken my place... #
0:06:52 > 0:06:55Two weeks later, Joan signed with Warner's.
0:07:00 > 0:07:01Thank you, Daddy.
0:07:01 > 0:07:03Oh, come on, Joan.
0:07:03 > 0:07:04Let's cut the "Daddy" shit, all right?
0:07:04 > 0:07:07Might have worked for that fat fuck over at MGM,
0:07:07 > 0:07:09but you're working for me now.
0:07:09 > 0:07:10Chin-chin.
0:07:10 > 0:07:13Warner picked up the former MGM glamour girl
0:07:13 > 0:07:17at close-out, everything-must-go bargain-basement rates...
0:07:17 > 0:07:19..and he still thought he was paying too much.
0:07:28 > 0:07:31Cancel my appointments for the rest of the afternoon.
0:07:33 > 0:07:35Warner brought Crawford in for one reason -
0:07:35 > 0:07:39to use as a cudgel against his problem child, Bette Davis.
0:07:39 > 0:07:43Bette was the undisputed queen of the lot...
0:07:43 > 0:07:46playing one Oscar-nominated role after another.
0:07:46 > 0:07:48She was difficult...expensive...
0:07:48 > 0:07:51..and far too powerful -
0:07:51 > 0:07:52especially for a woman.
0:07:52 > 0:07:56Joan was Jack's message to Bette -
0:07:56 > 0:07:58you're not the only bitch in the kennel.
0:07:58 > 0:08:02And Joan wasn't too proud to take Bette's scraps.
0:08:04 > 0:08:06You've never spoken of your people.
0:08:06 > 0:08:07Who you came from.
0:08:07 > 0:08:09Maybe that's why Father...
0:08:09 > 0:08:11Wasn't long before she found her comeback role.
0:08:11 > 0:08:15A role that Bette never would have passed on
0:08:15 > 0:08:17had she realised it was Oscar-worthy material.
0:08:19 > 0:08:20PHONE RINGS
0:08:20 > 0:08:22What?
0:08:22 > 0:08:23- MAN:- Sir, Bette Davis is here.
0:08:23 > 0:08:25She's demanding to see you.
0:08:25 > 0:08:27Shit.
0:08:27 > 0:08:29I know what you're doing, Jack,
0:08:29 > 0:08:32giving Crawford all my roles to control me,
0:08:32 > 0:08:34make me insecure.
0:08:34 > 0:08:36You said you were offended that I offered it to you.
0:08:36 > 0:08:38I didn't want to play the mother of a teenager.
0:08:38 > 0:08:40All right, well, then, there's a lesson in all this,
0:08:40 > 0:08:41isn't there, chickie?
0:08:41 > 0:08:44Next time, you got to fucking trust Big Daddy.
0:08:44 > 0:08:46But aren't you even just a little excited
0:08:46 > 0:08:48about that pip of a script I sent you?
0:08:48 > 0:08:50Where I play a neglected wife in a black fright wig
0:08:50 > 0:08:52who tries to abort her child by throwing herself down a hill
0:08:52 > 0:08:54and then dies?
0:08:54 > 0:08:55Fine. Don't do it.
0:08:55 > 0:08:57Crawford loves it.
0:08:57 > 0:08:59If you'll excuse me,
0:08:59 > 0:09:01- I'm late for my lunch now. - Let me guess, Lana Turner?
0:09:01 > 0:09:02Nope.
0:09:02 > 0:09:04- Judy Garland?- Nope.
0:09:04 > 0:09:06Ava Gardner?
0:09:06 > 0:09:07Joan Crawford.
0:09:08 > 0:09:10Poor Bette.
0:09:10 > 0:09:14While Joan now got the best parts for women of a certain age,
0:09:14 > 0:09:17it was Bette who had to play the shop girls and the slatterns...
0:09:20 > 0:09:21What a dump.
0:09:23 > 0:09:25..and it was Jack Warner who, through it all,
0:09:25 > 0:09:27made millions off both of them -
0:09:27 > 0:09:30and probably always would.
0:09:38 > 0:09:40Ain't that just the way?
0:09:48 > 0:09:50Oh, there's my star.
0:09:50 > 0:09:51I hate the breakfast scene.
0:09:51 > 0:09:53- I love that scene. - Too much exposition.
0:09:53 > 0:09:55No, she's rubbing Blanche's nose in it.
0:09:55 > 0:09:57She stole her limelight. You got to use that underneath.
0:09:57 > 0:10:00I don't need subtext, Bob, I need good text.
0:10:00 > 0:10:02Bette, it's today's work, it's a good scene,
0:10:02 > 0:10:04- and Joan likes it. - I never said that.
0:10:04 > 0:10:06I agree with Bette.
0:10:06 > 0:10:08The writing doesn't begin to capture
0:10:08 > 0:10:10how women get under each other's skin.
0:10:10 > 0:10:13The intent is there,
0:10:13 > 0:10:15but the execution is lacklustre.
0:10:15 > 0:10:17You work on that, Bob.
0:10:17 > 0:10:19See what you can do.
0:10:19 > 0:10:21We'll anxiously be awaiting a rewrite.
0:10:21 > 0:10:24How do you like that? "Anxiously" awaiting!
0:10:24 > 0:10:25THEY CHUCKLE
0:10:25 > 0:10:27Isn't that a pretty picture?
0:10:27 > 0:10:30They're finally getting along.
0:10:30 > 0:10:33Yeah, and to think only last week they were wishing each other dead.
0:10:33 > 0:10:34THEY LAUGH
0:10:41 > 0:10:43Bette is just amazing.
0:10:43 > 0:10:46Oh, she's going to win all the awards this year.
0:10:46 > 0:10:48Hedda.
0:10:48 > 0:10:51Are you two gals really getting along together?
0:10:51 > 0:10:53Come on, you can tell Hedda.
0:10:53 > 0:10:54Hedda, we told you before,
0:10:54 > 0:10:56we're getting on like a house on fire.
0:10:56 > 0:10:59I haven't seen this much shit since my last bowel movement.
0:10:59 > 0:11:01What year was that?
0:11:01 > 0:11:031932.
0:11:04 > 0:11:06You know, the good thing about scotch, Bob,
0:11:06 > 0:11:08is it only gets better when it ages.
0:11:08 > 0:11:09Broads...
0:11:09 > 0:11:11they just get sour.
0:11:15 > 0:11:17So I hear that these two bitches are
0:11:17 > 0:11:19really busting your balls, huh, Bobby?
0:11:19 > 0:11:20Aw, typical stuff, you know.
0:11:20 > 0:11:23Bette's always fighting me for another close-up,
0:11:23 > 0:11:25Joan's always fighting me to take it out.
0:11:25 > 0:11:26But they're burning up the screen, Jack.
0:11:26 > 0:11:28You should have paired them years ago.
0:11:28 > 0:11:30No, thanks. Two world wars were enough.
0:11:30 > 0:11:34But there's something I want to talk to you about, Bobby.
0:11:34 > 0:11:36The front office tells me that you're behind schedule,
0:11:36 > 0:11:38and I don't like that.
0:11:38 > 0:11:40Well, j-just by one day. We just started.
0:11:40 > 0:11:42- I'll make it up.- OK.
0:11:42 > 0:11:44And also, I'm not going to release the picture
0:11:44 > 0:11:46the way I said I would.
0:11:46 > 0:11:48I'm going to open it bigger.
0:11:48 > 0:11:51The way no-one's ever done before.
0:11:51 > 0:11:55A wide release. 400 screens.
0:11:55 > 0:11:56Ha-ha!
0:11:57 > 0:11:58Did I get you? I got you!
0:11:58 > 0:12:00- Oh, you got me.- I got you.
0:12:00 > 0:12:02400? Are you crazy? What... why?
0:12:02 > 0:12:04Why? Cos you're right.
0:12:04 > 0:12:06They're burning up the screen together.
0:12:06 > 0:12:09Bobby, their scenes are fucking electric.
0:12:09 > 0:12:12They are fucking electric!
0:12:12 > 0:12:14And let's face it, after Psycho,
0:12:14 > 0:12:16horror's the future, and we got it.
0:12:16 > 0:12:18OK, now here's what we got to do.
0:12:20 > 0:12:21There's got to be buzz.
0:12:21 > 0:12:23Yeah, yeah, we can keep the publicity machine going.
0:12:23 > 0:12:26- I'll give your PR people full access to the set.- No, no, no -
0:12:26 > 0:12:28there's got to be more than that, bubbie.
0:12:28 > 0:12:30You got to keep 'em at each other's throats.
0:12:30 > 0:12:32You have to.
0:12:32 > 0:12:34I'll make sure their names are in the papers - that's not a problem -
0:12:34 > 0:12:36but if you do this,
0:12:36 > 0:12:38you'll be able to write your own ticket in this town.
0:12:38 > 0:12:40L'chaim, bubbeleh.
0:12:41 > 0:12:43Well done, Bobby. Come on!
0:12:43 > 0:12:45Let's go see what they're doing.
0:12:47 > 0:12:50It's not just about morale,
0:12:50 > 0:12:52it's also about respect... I've lost both.
0:12:52 > 0:12:55Ever since I fired that tomato who was playing the neighbour girl,
0:12:55 > 0:12:57the whole crew knows that I was pushed into it.
0:12:57 > 0:12:59The whole crew knows Crawford and Davis
0:12:59 > 0:13:01are running the show... they double-teamed me.
0:13:01 > 0:13:04I'm telling you, Harriet, Jack Palance and Lee Marvin
0:13:04 > 0:13:05would have never pulled this shit.
0:13:05 > 0:13:08Yeah, they don't have to. They're men.
0:13:08 > 0:13:10Yeah, well, that makes them half as cunning
0:13:10 > 0:13:12and nowhere near as ruthless.
0:13:12 > 0:13:14I'd think you'd be happy that both your stars are getting along.
0:13:14 > 0:13:16Yeah, they're not getting along.
0:13:16 > 0:13:19They're just teaming up. It's like the Hitler/Stalin pact.
0:13:19 > 0:13:21You know, maybe Warner's got the right idea.
0:13:21 > 0:13:24He wants to leak some dirt to the gossip columns, you know,
0:13:24 > 0:13:27- get a little catfight going. - Bob, that's terrible.
0:13:27 > 0:13:30Well, it could get a lot of pre-release publicity that way.
0:13:30 > 0:13:33Anyway, pitting them against each other
0:13:33 > 0:13:34might be just the way to control them.
0:13:34 > 0:13:36Bob, don't you dare. It's too cruel.
0:13:36 > 0:13:39They need to feel secure and supported.
0:13:39 > 0:13:41But not by each other. I can support 'em both.
0:13:41 > 0:13:44Well, don't fool yourself.
0:13:44 > 0:13:46Even you're not man enough to satisfy two women.
0:13:50 > 0:13:53What the hell is that supposed to mean?
0:13:53 > 0:13:56Why don't you ask your little strudel, Gretchen?
0:14:00 > 0:14:03Harriet, where are you getting this from?
0:14:03 > 0:14:06Gossip on a set is poison, Bob,
0:14:06 > 0:14:08and spreads fast.
0:14:08 > 0:14:09It's a small town,
0:14:09 > 0:14:11and everybody finds out everything.
0:14:11 > 0:14:13Even your wife.
0:14:13 > 0:14:15Well, it's bullshit.
0:14:17 > 0:14:21Maybe, but it hurts just the same...
0:14:22 > 0:14:23..and you should consider that
0:14:23 > 0:14:25before you start spreading gossip of your own.
0:14:42 > 0:14:44Hi, Bill.
0:14:47 > 0:14:48Oh, Roger, hi.
0:14:50 > 0:14:51Nancy, you look beautiful.
0:14:53 > 0:14:55Barbara, how are you?
0:14:55 > 0:14:57Hello, Bob.
0:14:57 > 0:14:59And let me just say again
0:14:59 > 0:15:01what a thrill it is for me to be directing
0:15:01 > 0:15:02these two legends of the screen.
0:15:02 > 0:15:04Mm. Really, Bob?
0:15:04 > 0:15:06- That's it?- That's it.
0:15:06 > 0:15:08I'll leave it up to you to spruce up the adjectives.
0:15:08 > 0:15:11Oh, I think you've got me confused
0:15:11 > 0:15:13with Adela Rogers St Johns.
0:15:13 > 0:15:16I came here for red meat, not pabulum.
0:15:16 > 0:15:18No-one wants to read about how those two battle-axes
0:15:18 > 0:15:20make nice with each other.
0:15:20 > 0:15:21Well, what can I tell you, Hedda?
0:15:21 > 0:15:23They're both consummate professionals.
0:15:23 > 0:15:25You know who you remind me of?
0:15:25 > 0:15:27NOT John Ford.
0:15:27 > 0:15:30Now, there's a man who commands not only a movie set,
0:15:30 > 0:15:31but his own press.
0:15:31 > 0:15:33He knows how to play the game.
0:15:33 > 0:15:35Which is why he's as vital now
0:15:35 > 0:15:36as he was before talkies.
0:15:36 > 0:15:39Where are you, Bob? Three bombs.
0:15:39 > 0:15:41You want to go back to directing television?
0:15:41 > 0:15:44This picture could make you relevant again.
0:15:44 > 0:15:47I have too much dignity to get into the gutter with you, Hedda.
0:15:47 > 0:15:50Well, I hope...
0:15:50 > 0:15:53..dignity pays your gas bill.
0:15:54 > 0:15:55All right, wait, wait.
0:15:58 > 0:16:01I might have something, but you didn't hear it from me.
0:16:01 > 0:16:04Blind item, my specialty.
0:16:04 > 0:16:05Well, it...
0:16:05 > 0:16:10This is about...Crawford's tits.
0:16:10 > 0:16:11- Oh, I'm all ears. - Well, that's just it.
0:16:11 > 0:16:14Crawford's all tits.
0:16:14 > 0:16:17Davis has been complaining that they're too perky.
0:16:17 > 0:16:19Perky?
0:16:19 > 0:16:21Fake.
0:16:21 > 0:16:22- She wears falsies?- Yeah.
0:16:24 > 0:16:26You know, Davis is a real artist.
0:16:27 > 0:16:29She says she can't play to them...
0:16:29 > 0:16:31..and she says she's scared of falling onto them
0:16:31 > 0:16:34in the beach scene because she thinks she'll chip a tooth.
0:16:34 > 0:16:36- Hah!- Says those things are hard as rocks.
0:16:36 > 0:16:38Oh, that's great.
0:16:41 > 0:16:42Yeah.
0:16:42 > 0:16:44"Chip a tooth."
0:16:44 > 0:16:46Yeah, that's great.
0:16:55 > 0:16:56TYRES SCREECH
0:17:03 > 0:17:05Miss Crawford...
0:17:06 > 0:17:08Miss Crawford, do you have any response
0:17:08 > 0:17:10to the comments made by Miss Davis in Hopper's column?
0:17:10 > 0:17:11Oh, I certainly do,
0:17:11 > 0:17:13but nothing I'd let my children read
0:17:13 > 0:17:15in a family newspaper.
0:17:20 > 0:17:21BUZZING
0:17:24 > 0:17:27All right, Blanche Hudson,
0:17:27 > 0:17:30Miss Big Fat Movie Star!
0:17:30 > 0:17:33Miss Rotten Stinking Actress!
0:17:33 > 0:17:35- Bob, I have to talk to you.- What?
0:17:35 > 0:17:37- Cut! - I'm in the middle of a fucking take!
0:17:37 > 0:17:39- What is it?- Have you seen Hedda's column this morning?
0:17:39 > 0:17:42- Oh, for Christ's sake! - OK, take a break, everybody.
0:17:42 > 0:17:43No, I haven't. Why, does she mention us?
0:17:43 > 0:17:45Us? Oh, no, no.
0:17:45 > 0:17:47Not us. Me? Yes.
0:17:47 > 0:17:49Would you like me to read it to you?
0:17:49 > 0:17:51"The woman is crazy.
0:17:51 > 0:17:54"I always suspected she had a false front,
0:17:54 > 0:17:56"and now I know for sure.
0:17:56 > 0:17:59"And they're 34 double Ds."
0:17:59 > 0:18:01Are you going to let her get away with this?
0:18:01 > 0:18:03Get away with what? I said no such thing.
0:18:03 > 0:18:04Joan, I'm sure Bette's comments
0:18:04 > 0:18:06were taken out of context.
0:18:06 > 0:18:08Who gives a shit, Lucille? Everybody knows you pad your bra.
0:18:08 > 0:18:11You've been doing it for years.
0:18:11 > 0:18:15Bob, will you please tell Miss Davis
0:18:15 > 0:18:17that I will sue her
0:18:17 > 0:18:19if she continues to make comments
0:18:19 > 0:18:21that are injurious
0:18:21 > 0:18:23to my ability to earn a living?
0:18:23 > 0:18:25Ha! Earn a living?
0:18:25 > 0:18:27Every time you belch, Pepsi gives you ten grand.
0:18:27 > 0:18:30How dare you mention Pepsi!
0:18:30 > 0:18:32Unlike you, it's good and pure.
0:18:32 > 0:18:35It's pure, all right. Pure vodka!
0:18:35 > 0:18:38Betty, Joan, come on, ladies, please. Let's just...
0:18:41 > 0:18:42She's jealous of me.
0:18:42 > 0:18:46She has always been so jealous of me.
0:18:46 > 0:18:48Joanie, who wouldn't be? Look at you.
0:18:48 > 0:18:50You're beautiful, talented.
0:18:50 > 0:18:51You're a legend.
0:18:51 > 0:18:53And I understand that you're upset.
0:18:53 > 0:18:55But put all that passion, all that anger
0:18:55 > 0:18:56into your performance.
0:18:56 > 0:18:59Forget about her. Forget her.
0:18:59 > 0:19:00Listen to me.
0:19:00 > 0:19:03I am the only opinion that matters.
0:19:07 > 0:19:09Oh!
0:19:12 > 0:19:14I'll make you proud of me,
0:19:14 > 0:19:16I promise.
0:19:37 > 0:19:40Years later, when I heard what was going on,
0:19:40 > 0:19:42I was furious.
0:19:42 > 0:19:44I mean, at the time, we didn't know
0:19:44 > 0:19:48that these two great screen legends, friends of ours,
0:19:48 > 0:19:51were being manipulated so cruelly by the men around them.
0:19:51 > 0:19:53Well, not that we could've done anything about it.
0:19:53 > 0:19:56You know how much power women had back then?
0:19:56 > 0:19:59Exactly as much as we've got now - zippo.
0:19:59 > 0:20:00Well, you have to remember,
0:20:00 > 0:20:03this was before the modern women's lib movement.
0:20:03 > 0:20:05Which I admire very much, by the way.
0:20:05 > 0:20:06Me, too.
0:20:06 > 0:20:08But imagine a studio today
0:20:08 > 0:20:11trying to pit Miss Jane Fonda against Miss Dyan Cannon.
0:20:11 > 0:20:14I mean, the girls would revolt.
0:20:14 > 0:20:15Oh, horseshit.
0:20:15 > 0:20:17Nothing's changed.
0:20:17 > 0:20:18No matter how liberated,
0:20:18 > 0:20:21women'll do what they always do when they're cornered -
0:20:21 > 0:20:25eat their own and pick their teeth with the bones.
0:20:36 > 0:20:38Louella, darling.
0:20:38 > 0:20:40Joan here.
0:20:40 > 0:20:44Listen, I'm calling about the article Hedda wrote today.
0:20:44 > 0:20:46I have a rebuttal.
0:20:46 > 0:20:48No, but for you.
0:20:50 > 0:20:52Are you writing it down?
0:20:52 > 0:20:54Good.
0:20:54 > 0:20:57Miss Davis looks old enough to be my mother.
0:20:57 > 0:20:59One look at her face and you'd think
0:20:59 > 0:21:04she hasn't had a happy day, or night, in her life.
0:21:07 > 0:21:09Yes, you can quote me.
0:21:09 > 0:21:10I'm counting on it.
0:21:13 > 0:21:14TYRES SCREECH
0:21:16 > 0:21:17Miss Davis, care to comment on the fact
0:21:17 > 0:21:20that Miss Crawford says you look old enough to be her mother?
0:21:20 > 0:21:22- What's your name, sweetheart? - Sylvia.
0:21:22 > 0:21:23Fuck off, Sylvia.
0:21:23 > 0:21:25FLASHBULB POPS
0:21:25 > 0:21:26Oh! Come on.
0:21:28 > 0:21:31Go to my room and read a goddamn book.
0:21:37 > 0:21:39KNOCK ON DOOR
0:21:39 > 0:21:41Come in.
0:21:41 > 0:21:43Let's have a little talk.
0:21:43 > 0:21:45I'd love that.
0:21:45 > 0:21:46Although I know you prefer chewing the fat
0:21:46 > 0:21:47with gossip columnists.
0:21:47 > 0:21:49I don't know what you're talking about.
0:21:49 > 0:21:50Louella Parsons, today.
0:21:50 > 0:21:53You're quoted on the record, Lucille.
0:21:53 > 0:21:54Oh, yes. That.
0:21:54 > 0:21:57Let me just cut through the movie star bullshit
0:21:57 > 0:22:01you cling to when the waters get too deep for you to stay afloat
0:22:01 > 0:22:02and explain something to you.
0:22:02 > 0:22:04I can't wait to hear.
0:22:04 > 0:22:06You seem to have forgotten that the unflattering make-up
0:22:06 > 0:22:08I'm wearing in this picture is a choice
0:22:08 > 0:22:10designed to create a character.
0:22:10 > 0:22:12I'm not interested in vanity, I'm not interested in gossip.
0:22:12 > 0:22:13I'm interested in the work.
0:22:13 > 0:22:15That's what I want to do,
0:22:15 > 0:22:17so I suggest you stop fitting in calls to Parsons
0:22:17 > 0:22:19between your morning coffee
0:22:19 > 0:22:21and taking a shit of butterflies and moonbeams
0:22:21 > 0:22:24and whatever else comes flying out of your ass.
0:22:24 > 0:22:27If you don't, it's your funeral.
0:22:29 > 0:22:31Are you threatening me?
0:22:31 > 0:22:33You'll kill me?
0:22:33 > 0:22:35Worse. I'm going to steal this picture right out
0:22:35 > 0:22:38from under your nose and you know I can do it.
0:22:38 > 0:22:39I am doing it.
0:22:39 > 0:22:41- Says who?- The crew, the director.
0:22:41 > 0:22:42Everybody.
0:22:44 > 0:22:48Mr Aldrich says he loves my performance.
0:22:49 > 0:22:51Interesting.
0:22:55 > 0:22:59After all those years, I'm still in this chair.
0:22:59 > 0:23:02Doesn't that give you some kind of responsibility?
0:23:02 > 0:23:05Jane, I'm just trying to explain how things really are.
0:23:05 > 0:23:07This is fantastic footage, Bob.
0:23:07 > 0:23:09It's fantastic.
0:23:09 > 0:23:11I-I mean, you can literally feel the hate
0:23:11 > 0:23:13steaming off the screen. It's... It...
0:23:13 > 0:23:15Are you sure it's not the acting you're responding to?
0:23:15 > 0:23:16Uh, Hank, turn the sound down.
0:23:16 > 0:23:19What, are you kidding me? There's so much ham up there
0:23:19 > 0:23:21I'm going to have to go to my rabbi this afternoon and atone.
0:23:21 > 0:23:23No! I'm talking about what's underneath
0:23:23 > 0:23:24all that scene chewing.
0:23:24 > 0:23:27Pure, naked rancour.
0:23:27 > 0:23:28I love it. I want more.
0:23:28 > 0:23:30- More?- Yeah.
0:23:31 > 0:23:33Come here, come here.
0:23:33 > 0:23:35You've got to make each one think
0:23:35 > 0:23:37- that you like the other one more. - Oh, Jesus, Jack.
0:23:37 > 0:23:40The atmosphere on set's frosty enough as it is.
0:23:40 > 0:23:41You sure you want me to stir that pot?
0:23:42 > 0:23:44What are you, red all of a sudden?
0:23:44 > 0:23:47You got something against capitalism? Huh?
0:23:47 > 0:23:49Look, Bob, come here, look.
0:23:49 > 0:23:51What we're looking at right there
0:23:51 > 0:23:53is a raw display of the free market.
0:23:53 > 0:23:55That's vigorous competition.
0:23:55 > 0:23:57That's the American way.
0:23:57 > 0:23:59The more that they despise each other,
0:23:59 > 0:24:03the more that each one tries to crush the other one,
0:24:03 > 0:24:05the better they get!
0:24:05 > 0:24:06But they're already good.
0:24:06 > 0:24:10No, they're great. Great - but they can be greater still.
0:24:10 > 0:24:14Do you think that Wellington was such a hot general?
0:24:14 > 0:24:16He wasn't. He was a piker,
0:24:16 > 0:24:18until he had to go up against Napoleon.
0:24:18 > 0:24:19And why?
0:24:19 > 0:24:22Because he hated Napoleon's guts.
0:24:22 > 0:24:24He hated him.
0:24:24 > 0:24:26It was his hatred that made him great.
0:24:26 > 0:24:28Jack, that was war.
0:24:28 > 0:24:30So is this.
0:24:30 > 0:24:31Turn it up!
0:24:31 > 0:24:34You wouldn't do all these awful things to me
0:24:34 > 0:24:36if I weren't still in this chair.
0:24:37 > 0:24:39Ha! Look at that, look at that!
0:24:39 > 0:24:40But you are, Blanche.
0:24:40 > 0:24:42You are in that chair.
0:24:42 > 0:24:44- Cut.- Fantastic.
0:24:44 > 0:24:45Fantastic, Bob.
0:24:56 > 0:24:58- Bob, sorry I'm late. - Two hours late, Bette.
0:24:58 > 0:25:01You asked me to be here at noon and on a Saturday.
0:25:01 > 0:25:03It's unforgivable, I know. I overslept.
0:25:03 > 0:25:06I... I was in a panic last night, I had a drink.
0:25:06 > 0:25:07I...
0:25:13 > 0:25:15This week has been murder for me.
0:25:15 > 0:25:16Yeah, it's been tough on everybody.
0:25:16 > 0:25:18I have no idea
0:25:18 > 0:25:20if what I'm doing is working at all.
0:25:20 > 0:25:22Is it a brave choice,
0:25:22 > 0:25:24or is it just in reaction to her?
0:25:24 > 0:25:26She infuriates me,
0:25:26 > 0:25:28I just want to smother her with my performance.
0:25:28 > 0:25:30And Jane wants to smother Blanche. It's perfect.
0:25:30 > 0:25:32Is it?
0:25:32 > 0:25:34I don't want to end up a joke, Bob.
0:25:34 > 0:25:35I feel I need to get control,
0:25:35 > 0:25:37and I don't know if I can do that
0:25:37 > 0:25:39when I'm seeing red all the time.
0:25:39 > 0:25:41Maybe I should invite her to dinner.
0:25:41 > 0:25:42No. No.
0:25:42 > 0:25:43No, no, no.
0:25:43 > 0:25:45You know, there's such a thing as alchemy, Bette.
0:25:45 > 0:25:47You don't mess with alchemy.
0:25:47 > 0:25:51My advice, you just keep doing what you're doing.
0:25:51 > 0:25:54Muscle out the next few weeks.
0:25:54 > 0:25:55Stay in your own lane -
0:25:55 > 0:25:58because that road is going to get you to your next Oscar.
0:26:00 > 0:26:01Trust me.
0:26:05 > 0:26:06I do trust you.
0:26:12 > 0:26:15You won't let me look ridiculous.
0:26:15 > 0:26:16Of course not.
0:26:19 > 0:26:21All right, let's look at the scene.
0:26:23 > 0:26:25I've Written A Letter To Daddy,
0:26:25 > 0:26:26frankly, scares the shit out of me.
0:26:26 > 0:26:28I'm not a singer, never was.
0:26:28 > 0:26:30Oh, come on, Bette, you sang with the USO.
0:26:30 > 0:26:33That's why I want you to perform the number live, on the set.
0:26:33 > 0:26:36You just said you wouldn't let me look ridiculous.
0:26:36 > 0:26:40And I won't, but it's all about the pathos, Bette. The loss.
0:26:40 > 0:26:41Jane just wants to be that adored
0:26:41 > 0:26:43eight-year-old girl again.
0:26:43 > 0:26:45It's her selling the number, not you.
0:26:45 > 0:26:46Come on.
0:26:46 > 0:26:49Why don't we give it a whirl, huh?
0:26:49 > 0:26:51Come on.
0:26:57 > 0:27:01# I've written a letter to Daddy... #
0:27:01 > 0:27:03- No, you don't need that. You know the words.- Ugh...
0:27:03 > 0:27:04You need your hands,
0:27:04 > 0:27:06Jane is open.
0:27:06 > 0:27:07Big, theatrical gestures.
0:27:07 > 0:27:09Remember, she's vaudeville.
0:27:10 > 0:27:11# I've...
0:27:15 > 0:27:19# I've written a letter to Daddy
0:27:19 > 0:27:21# His address
0:27:21 > 0:27:25# Is heaven above
0:27:25 > 0:27:29# I've written "Dear Daddy, we miss you"
0:27:29 > 0:27:33# And wish you were here with us to love
0:27:33 > 0:27:36# Instead of a stamp I put kisses
0:27:37 > 0:27:42# The postman says that's best to do
0:27:42 > 0:27:45# I'm writing a letter to Daddy
0:27:45 > 0:27:47# Saying
0:27:47 > 0:27:51# "I love you." #
0:27:57 > 0:27:58You got plans for dinner?
0:27:58 > 0:28:00I feel like I owe you something
0:28:00 > 0:28:02for having you cool your heels all morning.
0:28:02 > 0:28:04I promised Harriet I'd take her to Perino's.
0:28:04 > 0:28:06Bring her.
0:28:13 > 0:28:15I want you to take all the costumes
0:28:15 > 0:28:17and just lay them out in the dressing room
0:28:17 > 0:28:19and that way, I can go through them and determine which...
0:28:19 > 0:28:21I said, OK, how about...
0:28:33 > 0:28:36The crew is abuzz.
0:28:36 > 0:28:38About my performance?
0:28:38 > 0:28:40About their relationship.
0:28:40 > 0:28:42Apparently, they've been working
0:28:42 > 0:28:44on her scenes all weekend long.
0:28:54 > 0:28:55So, you like the tie?
0:28:55 > 0:28:56Mm. I do.
0:28:59 > 0:29:00PHONE RINGS
0:29:07 > 0:29:09Hello?
0:29:14 > 0:29:16Hmm?
0:29:16 > 0:29:18It's Joan Crawford.
0:29:21 > 0:29:23Joan?
0:29:23 > 0:29:25It's fucking midnight.
0:29:25 > 0:29:26Bob, he left me.
0:29:26 > 0:29:28- Who?- Peter.
0:29:28 > 0:29:30Oh, we had a terrible row.
0:29:30 > 0:29:33He said this picture meant more to me than he did and he left.
0:29:33 > 0:29:34He was drunk.
0:29:34 > 0:29:36Oh, God.
0:29:36 > 0:29:38I have to quit the picture, Bob. I can't continue.
0:29:38 > 0:29:40A-All right, uh, j-just, just give me a few.
0:29:40 > 0:29:42I'll put, I'll throw some clothes on. I'll be right over.
0:29:42 > 0:29:44- You promise?- Yeah, yeah, I promise.
0:29:44 > 0:29:45OK.
0:30:04 > 0:30:05DOORBELL RINGS
0:30:27 > 0:30:28KNOCK ON THE DOOR
0:30:30 > 0:30:31Who is it? Who's there?
0:30:31 > 0:30:34Who the hell do you think it is, Joan? It's Bob, you called me here.
0:30:34 > 0:30:37Oh, Bob. No, I thought for a moment
0:30:37 > 0:30:40maybe Peter had come home.
0:30:40 > 0:30:41Yeah, I'm sorry about Peter, Joan.
0:30:41 > 0:30:43You know what I'm sorry about?
0:30:43 > 0:30:48I'm sorry I gave up a wonderful relationship with a man
0:30:48 > 0:30:51who truly cherished me, a doctor no less,
0:30:51 > 0:30:53for you and this picture.
0:30:53 > 0:30:55Really, it's just too much.
0:30:55 > 0:30:56What are you talking about?
0:30:56 > 0:30:59You know goddamn well what I'm talking about.
0:30:59 > 0:31:03You and Davis, cavorting behind my back.
0:31:03 > 0:31:05- Oh, you're being ridiculous.- Am I?
0:31:05 > 0:31:08Weekend rehearsals, my ass.
0:31:10 > 0:31:12How long have you been sleeping with her?
0:31:12 > 0:31:13I'm not sleeping with her.
0:31:13 > 0:31:15I won't be made a fool of.
0:31:15 > 0:31:17I'm out - but don't worry,
0:31:17 > 0:31:19I won't stand in your way.
0:31:19 > 0:31:22I'm sure Warner will let you recast.
0:31:22 > 0:31:24We're not recasting, Joan. Jesus.
0:31:24 > 0:31:27This picture's only happening because of you.
0:31:27 > 0:31:30Well, I'm glad you remember that.
0:31:30 > 0:31:33What else do you remember, Bob?
0:31:33 > 0:31:35- Joan.- Hmm?
0:31:35 > 0:31:38Bob, do you remember
0:31:38 > 0:31:41our private rehearsals on Autumn Leaves?
0:31:41 > 0:31:43Come on.
0:31:43 > 0:31:45Rehearse with me now, Bob.
0:31:47 > 0:31:49Take me through a love scene.
0:31:49 > 0:31:51There is no love scene in the picture.
0:31:51 > 0:31:53Then I want a rewrite.
0:31:53 > 0:31:56Oh, goddamn it, Joan. Will you knock it off?
0:31:56 > 0:31:57You think I don't know what this is?
0:31:57 > 0:32:00What, you think you're going to get me into bed,
0:32:00 > 0:32:02I'm just going to hand the picture to you?
0:32:02 > 0:32:04That's exactly what happened on Autumn Leaves.
0:32:04 > 0:32:06You saw me having coffee with Cliff Robertson,
0:32:06 > 0:32:08- next thing I know, your hand's down my pants.- Screw you.
0:32:08 > 0:32:09No, not this time, Joan.
0:32:09 > 0:32:11Listen to me.
0:32:11 > 0:32:13I'm trying to hold on to my marriage, for Christ's sakes.
0:32:13 > 0:32:15Good, well...
0:32:15 > 0:32:16THUD
0:32:18 > 0:32:20Peter?
0:32:20 > 0:32:21What are you doing here?
0:32:21 > 0:32:24I thought you were in Palm Springs.
0:32:24 > 0:32:26Yeah, the road got washed out.
0:32:26 > 0:32:27I'll see you on the set, Joan.
0:32:33 > 0:32:35You want to explain that?
0:32:35 > 0:32:38Explain? To you?
0:32:40 > 0:32:44I don't have to explain a goddamn thing to you.
0:32:44 > 0:32:47You're the one who left me this weekend,
0:32:47 > 0:32:49leaving me here all alone.
0:32:49 > 0:32:52I think it's time to recast.
0:32:52 > 0:32:53Recast?
0:32:53 > 0:32:55Recast you.
0:32:55 > 0:32:58Your lines are stale.
0:32:58 > 0:32:59You delivery's predictable.
0:32:59 > 0:33:01I'm going downstairs.
0:33:01 > 0:33:04When I come back, I want you gone.
0:33:15 > 0:33:17It's a relief!
0:33:29 > 0:33:30Where is she?
0:33:36 > 0:33:37What the hell is this?
0:33:37 > 0:33:39I'm sorry, Miss Joan. She's small, but she's quick.
0:33:41 > 0:33:43Why, that looks like an exclusive.
0:33:43 > 0:33:45In The Examiner, in Louella's column.
0:33:45 > 0:33:50You deliberately called up that incontinent cow just to scoop me.
0:33:50 > 0:33:53Thank you, Sven. That'll be all for now.
0:33:53 > 0:33:55No, Sven's staying put.
0:33:55 > 0:33:57I want this young man to bear witness.
0:33:57 > 0:33:59He should know whose carcass it is he's been handling,
0:33:59 > 0:34:02and just how many others in this town
0:34:02 > 0:34:03could identify it in the dark.
0:34:03 > 0:34:05That column has already been written.
0:34:05 > 0:34:08"Joan Crawford's Early, Tawdry Years" -
0:34:08 > 0:34:11and it's been locked away in my desk drawer since 1946,
0:34:11 > 0:34:14the last time you went to Louella behind my back.
0:34:14 > 0:34:17Oh, I told you, then, Hedda, I didn't go to Louella
0:34:17 > 0:34:20about my divorce from Philip.
0:34:20 > 0:34:21No, she came to me.
0:34:21 > 0:34:25And you confirmed it - and after I gave you your career back.
0:34:25 > 0:34:26Box Office Poison.
0:34:26 > 0:34:28That's what they called her,
0:34:28 > 0:34:30until I started promoting her in my column
0:34:30 > 0:34:31because I felt sorry for her.
0:34:31 > 0:34:33Well, she is right about that.
0:34:33 > 0:34:34When I was down on my luck,
0:34:34 > 0:34:38Hedda is the only person in this Christless town
0:34:38 > 0:34:40to extend a hand in friendship,
0:34:40 > 0:34:42to show some human decency.
0:34:42 > 0:34:44She didn't have to,
0:34:44 > 0:34:48and I have always been truly grateful to her for doing it,
0:34:48 > 0:34:50truly, truly grateful.
0:34:50 > 0:34:52Well, then why would you go to my mortal enemy?
0:34:52 > 0:34:54Because it was the only way
0:34:54 > 0:34:57I could get your attention.
0:34:57 > 0:34:59Thank you, Sven, I'll see you on Friday.
0:34:59 > 0:35:02Hedda, Hedda.
0:35:02 > 0:35:03Yes.
0:35:05 > 0:35:09Let's go down to the pool, soak up some vitamin D.
0:35:09 > 0:35:10WHISPERS: Listen, we have to talk.
0:35:10 > 0:35:12OK.
0:35:12 > 0:35:13Give me a moment to change.
0:35:16 > 0:35:18Oh.
0:35:18 > 0:35:20I'll just say it, Hedda.
0:35:20 > 0:35:22I'm in trouble.
0:35:22 > 0:35:24What kind of trouble?
0:35:24 > 0:35:27No, no, no. This isn't for publication.
0:35:29 > 0:35:30I'm appealing to you as a friend.
0:35:36 > 0:35:38All right. Closed.
0:35:39 > 0:35:41Shoot.
0:35:41 > 0:35:43I'm broke.
0:35:44 > 0:35:47- Up to my eyeballs in debt.- No.
0:35:47 > 0:35:51No. You practically own Pepsi-Cola.
0:35:51 > 0:35:53Pepsi-Cola owns me.
0:35:53 > 0:35:55Or it owned Al, at any rate,
0:35:55 > 0:35:57and when he died, his debts became mine.
0:36:00 > 0:36:01Two million dollars.
0:36:01 > 0:36:04Hedda, that's what I owe.
0:36:04 > 0:36:06Two million dollars.
0:36:06 > 0:36:08Joan, I had no idea.
0:36:08 > 0:36:10No, nobody does - and-and they mustn't.
0:36:10 > 0:36:11Look, I'm a single mother
0:36:11 > 0:36:13working in Hollywood.
0:36:13 > 0:36:18I've got three children whose schooling is not yet complete.
0:36:18 > 0:36:20Cocktail time.
0:36:22 > 0:36:24Come on, I need a drink.
0:36:28 > 0:36:30All right.
0:36:30 > 0:36:32Look at this, Hedda.
0:36:32 > 0:36:34All of this could be gone in an instant,
0:36:34 > 0:36:37everything I've worked for, my entire life.
0:36:37 > 0:36:40I mean, where, at my age, am I going to find
0:36:40 > 0:36:42another rich man to save me?
0:36:42 > 0:36:44You've never needed a man.
0:36:44 > 0:36:45Neither one of us have.
0:36:45 > 0:36:49And yet we've always been at their mercy.
0:36:49 > 0:36:52- Hmm.- At least I have.
0:36:52 > 0:36:54You don't know how lucky you are, Hedda,
0:36:54 > 0:36:57that being an actress didn't work out for you,
0:36:57 > 0:36:59that you were never a star.
0:36:59 > 0:37:04I mean, you're the one who has real power in this town.
0:37:04 > 0:37:07Yeah, well, this town, it's in decline.
0:37:07 > 0:37:09It's becoming base and common.
0:37:09 > 0:37:11You know, pretty soon,
0:37:11 > 0:37:13I won't even be able to shock it any more.
0:37:13 > 0:37:15The whole thing's going to blow away,
0:37:15 > 0:37:18and all that'll be left is the desert it's built on.
0:37:19 > 0:37:23Oh, thank you, Mamacita.
0:37:23 > 0:37:24Thank you, darling.
0:37:24 > 0:37:26A few more years.
0:37:26 > 0:37:31That is all I wanted, just a few more years,
0:37:31 > 0:37:34but I've been undermined, sabotaged.
0:37:34 > 0:37:37No, it's just not fair.
0:37:37 > 0:37:40- Davis, she's never been one of us. - No.
0:37:40 > 0:37:43She's never been a part of this town, not like you have.
0:37:43 > 0:37:46And she doesn't need the work. Woman lives like a Yankee.
0:37:46 > 0:37:49I just don't know what I'm going to do.
0:37:50 > 0:37:53Don't you dare. No tears.
0:37:54 > 0:37:55Hedda is here.
0:37:57 > 0:37:59You want a few more years?
0:37:59 > 0:38:02What about five more?
0:38:02 > 0:38:04- Because that's what another Oscar will give you.- Oh!
0:38:04 > 0:38:05Yes.
0:38:05 > 0:38:07A down payment on five more years.
0:38:07 > 0:38:10No, no, no, that is impossible.
0:38:10 > 0:38:11That'll never happen.
0:38:11 > 0:38:13Bette has the showier role.
0:38:13 > 0:38:15Well, that's a matter of opinion -
0:38:15 > 0:38:19and my opinion is the only one that matters.
0:38:25 > 0:38:27Cheers.
0:38:27 > 0:38:29- Chin-chin, my darling.- Mm.
0:38:39 > 0:38:42Well, good morning, Miss Davis, I am such a fan.
0:38:42 > 0:38:43Doughnut?
0:38:43 > 0:38:45No - coffee, black, in my dressing room.
0:38:45 > 0:38:47Oh, I'm not craft service.
0:38:47 > 0:38:49I'm your leading man on this picture.
0:38:50 > 0:38:51Beg your pardon?
0:38:51 > 0:38:53I'm Victor Buono.
0:38:53 > 0:38:55I'll be playing your love interest.
0:38:57 > 0:38:59I was expecting someone...
0:38:59 > 0:39:00Thinner?
0:39:00 > 0:39:03Less...homosexual?
0:39:05 > 0:39:07Mm. Mm!
0:39:32 > 0:39:34Thanks for the great day, fellas.
0:39:34 > 0:39:36- Say goodnight, BD.- Oh.
0:39:36 > 0:39:37Goodnight, fellas.
0:39:37 > 0:39:39Agh!
0:39:45 > 0:39:48# Itsy bitsy teenie weenie yellow polka dot bikini
0:39:48 > 0:39:52# That she wore for the first time today... #
0:39:52 > 0:39:53MUSIC GETS LOUDER
0:39:54 > 0:39:55Christ, this song!
0:39:55 > 0:39:57You don't like it
0:39:57 > 0:39:59because you can't wear one any more.
0:40:00 > 0:40:03# ..two, three four Stick around we'll tell you more.. #
0:40:03 > 0:40:04MUSIC STOPS
0:40:08 > 0:40:10Pack your bags, BD.
0:40:10 > 0:40:12Why? Are we going somewhere?
0:40:12 > 0:40:13Not me, you.
0:40:13 > 0:40:15To Maine for the entire summer.
0:40:15 > 0:40:16You can't do that.
0:40:16 > 0:40:18Watch me.
0:40:18 > 0:40:21Christ, tonight I see you posing and laughing in front of the grips
0:40:21 > 0:40:22like a streetwalker.
0:40:22 > 0:40:23You're jealous.
0:40:23 > 0:40:25I'd smack you across the face for that
0:40:25 > 0:40:27if your braces hadn't cost a fortune.
0:40:27 > 0:40:29You're jealous because men don't look at you any more
0:40:29 > 0:40:30and they look at me.
0:40:30 > 0:40:33You can't take it that your turn is over,
0:40:33 > 0:40:35so you're punishing me.
0:40:35 > 0:40:36What a joke!
0:40:38 > 0:40:39For years when I was growing up,
0:40:39 > 0:40:42all I ever heard from you was, "Christ, when is that old buzzard
0:40:42 > 0:40:43"Claudette Colbert going to retire?"
0:40:43 > 0:40:46"When is Norma Shearer going to realise the ship has sailed?"
0:40:46 > 0:40:48I am not going to apologise for having ambition!
0:40:48 > 0:40:51I am not going to apologise for being a working mother
0:40:51 > 0:40:52who has to have opportunities
0:40:52 > 0:40:55so she can put food on the table for her family.
0:40:55 > 0:40:57You know what those women had that you don't, mother?
0:40:57 > 0:40:58Dignity.
0:40:58 > 0:40:59They moved aside with class
0:40:59 > 0:41:02after their spin on the carousel was over,
0:41:02 > 0:41:04and that's something you refuse to do.
0:41:04 > 0:41:06And now look at you.
0:41:06 > 0:41:10You're single, lonely and doing this ridiculous role
0:41:10 > 0:41:13because you can't live without being in the spotlight.
0:41:13 > 0:41:15Well, guess what?
0:41:15 > 0:41:16Nobody wants you any more.
0:41:16 > 0:41:18Nobody's watching you any more.
0:41:18 > 0:41:21You see me out there having fun and being young
0:41:21 > 0:41:24and taking my turn, and you can't take it.
0:41:24 > 0:41:26So, fine.
0:41:26 > 0:41:28I'll go, gladly.
0:41:28 > 0:41:31Anything to get away from you and your sadness.
0:41:42 > 0:41:43PHONE RINGS
0:41:50 > 0:41:52- Hello? - Is it one of the kids?
0:41:54 > 0:41:56One of yours.
0:41:57 > 0:41:58Bette Davis.
0:41:58 > 0:42:00Oh.
0:42:04 > 0:42:06Bette?
0:42:19 > 0:42:20KNOCK ON DOOR
0:42:21 > 0:42:23Well, here I am, Bette.
0:42:23 > 0:42:24What could you possibly need
0:42:24 > 0:42:26that couldn't wait till tomorrow?
0:42:27 > 0:42:29A friend.
0:42:30 > 0:42:32Oh...
0:42:36 > 0:42:37She'll be back.
0:42:37 > 0:42:38She's a teenager.
0:42:38 > 0:42:40You can't take anything they say to heart.
0:42:40 > 0:42:42You should hear the way my kids talked to me
0:42:42 > 0:42:44when they were teenagers. Hell, they still do.
0:42:44 > 0:42:46But she's right, Bob. That's the trouble.
0:42:46 > 0:42:47My time has passed.
0:42:47 > 0:42:49Oh, that's horseshit, Bette.
0:42:49 > 0:42:51There's a scene in Eve from the back of the car
0:42:51 > 0:42:53when Margo's talking about the long climb up
0:42:53 > 0:42:55and all the things you drop along the way
0:42:55 > 0:42:57that you forget you're going to need later.
0:42:57 > 0:42:59I just turned 40 when we did that scene
0:42:59 > 0:43:01and I remember thinking,
0:43:01 > 0:43:03"Thank Christ that will never be me."
0:43:06 > 0:43:08But it is.
0:43:08 > 0:43:10That's exactly what happened.
0:43:11 > 0:43:14All my failed marriages, my own daughter hates me.
0:43:14 > 0:43:15And for what?
0:43:15 > 0:43:17For the work.
0:43:17 > 0:43:18Mm.
0:43:18 > 0:43:20The goddamn work.
0:43:20 > 0:43:22My one true love,
0:43:22 > 0:43:24and now that's going to leave me.
0:43:24 > 0:43:26You're a star, Bette.
0:43:26 > 0:43:29Just as much of a star now as you were ten years ago.
0:43:29 > 0:43:3020 years ago.
0:43:30 > 0:43:34A star whose leading man is a chubby homosexual.
0:43:34 > 0:43:36Ah, now we get to it.
0:43:39 > 0:43:41Is this what it's come to?
0:43:41 > 0:43:44What do you mean, "Is this what it's come to?"
0:43:44 > 0:43:46Bette, he's a brilliant artist.
0:43:46 > 0:43:49You say Crawford's no actor, well Victor Buono is.
0:43:49 > 0:43:53He comes from Broadway, for Christ's sakes.
0:43:53 > 0:43:54I am not going to fire him.
0:43:54 > 0:43:57I don't want you to fire him.
0:43:57 > 0:44:00I don't want you to fire him. I don't know what I want.
0:44:05 > 0:44:06Bette, listen.
0:44:08 > 0:44:10I understand everything you said.
0:44:10 > 0:44:13You've had a brilliant career.
0:44:13 > 0:44:15Me, I'm still on the B-list.
0:44:15 > 0:44:18I'm working like a dog to keep a roof over my family's head.
0:44:18 > 0:44:19I missed my kids growing up,
0:44:19 > 0:44:22and my wife now wants to give me the heave-ho.
0:44:22 > 0:44:24- At least you've got an Oscar.- Two.
0:44:24 > 0:44:26Two. I beg your pardon.
0:44:28 > 0:44:31I think maybe we both mucked things up.
0:44:31 > 0:44:33Oh, you haven't mucked up anything.
0:44:33 > 0:44:36You're a fine director, Bob.
0:44:36 > 0:44:38A really fine director.
0:44:38 > 0:44:40You should be very proud.
0:44:40 > 0:44:42And you, you started from nothing.
0:44:42 > 0:44:44Look at all you've accomplished.
0:44:44 > 0:44:47My grandfather was a US senator.
0:44:47 > 0:44:50My cousin is Nelson Rockefeller.
0:44:50 > 0:44:52And you overcame all that.
0:46:13 > 0:46:16ALARM RINGS
0:46:16 > 0:46:17ALARM STOPS