0:00:05 > 0:00:07Ew. How are you doing that?
0:00:07 > 0:00:09It's so easy. I'll show you.
0:00:09 > 0:00:11Oh, we're not allowed to smoke.
0:00:11 > 0:00:13You don't inhale. That's the whole point.
0:00:13 > 0:00:15Boys love it.
0:00:15 > 0:00:17Here, you try.
0:00:19 > 0:00:21- JOAN:- Kathy!
0:00:21 > 0:00:23What are you doing?
0:00:23 > 0:00:26Why don't you girls go back to my dressing room, please?
0:00:26 > 0:00:28Thank you.
0:00:29 > 0:00:32I'll be speaking to your mother about this, miss.
0:00:32 > 0:00:35This programme contains some strong language
0:00:35 > 0:00:39This programme contains some scenes of a sexual nature
0:00:39 > 0:00:41I want you to stay away from that girl.
0:00:41 > 0:00:45When you see her again, no need to be rude,
0:00:45 > 0:00:48just wish her a crisp "good morning" and keep moving.
0:00:48 > 0:00:50There.
0:00:50 > 0:00:53Oh, Mamacita, that's lovely.
0:00:53 > 0:00:54Mm-hm.
0:00:58 > 0:01:02I believe I'll have the veal tonight, Michael, please -
0:01:02 > 0:01:05and, Mamacita, I noticed you were eyeing the liver.
0:01:05 > 0:01:07Yeah, with onions.
0:01:07 > 0:01:09And fish sticks for you, girls?
0:01:09 > 0:01:11May we have steak?
0:01:11 > 0:01:13- SHE LAUGHS - Oh.
0:01:13 > 0:01:16Oh, they grow up so fast.
0:01:16 > 0:01:17SHE CHUCKLES
0:01:17 > 0:01:19Two filets, Michael, please.
0:01:19 > 0:01:21Very rare.
0:01:21 > 0:01:23Thank you.
0:01:26 > 0:01:28Mother, may we take off these bows?
0:01:28 > 0:01:30Everybody's staring.
0:01:30 > 0:01:33That's not why they're staring, dear heart.
0:01:33 > 0:01:35Oh, Miss Joan, before I forget...
0:01:37 > 0:01:39What's this?
0:01:39 > 0:01:42It's the card to go with the flowers you're sending to Miss Christina.
0:01:42 > 0:01:44She's opening in her play tomorrow night.
0:01:46 > 0:01:47No.
0:01:47 > 0:01:49No, I don't believe I will.
0:01:49 > 0:01:53Do you think my mother ever sent me flowers?
0:01:53 > 0:01:55Do you think she ever sent me anything?
0:01:55 > 0:01:57I was earning my own room and board by the time
0:01:57 > 0:01:59I was 12 years old, scrubbing toilets,
0:01:59 > 0:02:01but did I complain?
0:02:01 > 0:02:02Not once.
0:02:02 > 0:02:06Did I expect cards and flowers? Never.
0:02:06 > 0:02:09But I'll tell you what, it made me tough.
0:02:09 > 0:02:11Gave me ambition.
0:02:11 > 0:02:13No, we'll...
0:02:13 > 0:02:16we'll see how her reviews are, and then...
0:02:16 > 0:02:18we'll think about sending flowers.
0:02:27 > 0:02:30You may go to the powder room and remove your bows,
0:02:30 > 0:02:32if that's what you wish.
0:02:32 > 0:02:35But don't come back looking dishevelled.
0:02:35 > 0:02:37- Thank you, Mommy. - Thank you, Mommy.
0:02:46 > 0:02:48Here, let me see that.
0:02:48 > 0:02:51Mamacita, let me see that.
0:02:52 > 0:02:54And a pen.
0:04:36 > 0:04:38- WOMAN:- These are the second and third choices
0:04:38 > 0:04:39for the neighbour girl.
0:04:39 > 0:04:41Yeah, they're not a patch on the girl I had to let go.
0:04:41 > 0:04:43How about her? She just came off of Wagon Train.
0:04:43 > 0:04:45Yeah, looks like she was pulling it.
0:04:45 > 0:04:47That is why we're recasting, isn't it?
0:04:47 > 0:04:49- The first one was too pretty? - Who's too pretty?
0:04:49 > 0:04:53Tony Curtis. Which is why I'm still refusing his dinner invitations.
0:04:53 > 0:04:55I need to speak with Bob.
0:04:55 > 0:04:58He is all yours. Well, half yours.
0:05:02 > 0:05:04Uh...
0:05:05 > 0:05:08I think it's best to be direct in these matters.
0:05:08 > 0:05:11What happened Friday night was wonderful,
0:05:11 > 0:05:13but it can't happen again.
0:05:13 > 0:05:17Oh, Bette, you don't know how happy I am to hear you say that.
0:05:17 > 0:05:19I was looking at Harriet this morning, and I thought,
0:05:19 > 0:05:21"Oh, this...this can't happen again." You're right.
0:05:21 > 0:05:23I agree with you completely.
0:05:23 > 0:05:24Good.
0:05:24 > 0:05:27But did you have to agree so quickly?
0:05:27 > 0:05:28THEY BOTH LAUGH
0:05:28 > 0:05:30What's all this?
0:05:30 > 0:05:32- Oh, cannon fodder.- Possible replacements for the girl
0:05:32 > 0:05:34that you and Crawford had me can.
0:05:34 > 0:05:36Here are the revised pages, Dad.
0:05:36 > 0:05:40- Thank you, honey.- Adell, such a professional young lady.
0:05:40 > 0:05:42How are you finding things? Enjoying yourself?
0:05:42 > 0:05:44Oh, it's a real thrill. I feel like I'm learning so much.
0:05:44 > 0:05:46You're doing a marvellous job.
0:05:46 > 0:05:49Oh, thank you, Miss Davis.
0:05:51 > 0:05:53Bette, don't coddle her.
0:05:53 > 0:05:55You promised me you'd be as tough on her
0:05:55 > 0:05:57as you would any other script girl.
0:05:57 > 0:06:00I just admire that you make your pictures a family affair.
0:06:00 > 0:06:02- It's called nepotism. The town runs on it.- That is so true.
0:06:02 > 0:06:05Perhaps we should cast my daughter as the neighbour girl.
0:06:05 > 0:06:07- SHE LAUGHS - Hey, that's not a bad idea.
0:06:07 > 0:06:10- No, I'm joking, Bob. - No, come on! BD's the right age.
0:06:10 > 0:06:12She's got the right amount of teenage sass.
0:06:12 > 0:06:13She is not an actress.
0:06:13 > 0:06:15Well, look who her mother is, for Christ's sake.
0:06:15 > 0:06:17The apple can't fall that far from the tree.
0:06:17 > 0:06:19Now, you say she doesn't understand you,
0:06:19 > 0:06:21doesn't appreciate how hard you work for her.
0:06:21 > 0:06:24Well, give her a pair of your shoes, and let her walk around for a while.
0:06:24 > 0:06:26And what would Crawford think about that?
0:06:26 > 0:06:28She has a daughter who's actually an actress, you know.
0:06:28 > 0:06:31Christina's too old for the part.
0:06:31 > 0:06:34She's adopted. She could be talented.
0:06:34 > 0:06:36SHE LAUGHS
0:06:37 > 0:06:40KNOCK AT DOOR Yeah.
0:06:41 > 0:06:42Bette, I'm sorry.
0:06:42 > 0:06:44I would have waited to bring this up,
0:06:44 > 0:06:46but I just felt like I couldn't do my best work today
0:06:46 > 0:06:49with it weighing on my mind.
0:06:49 > 0:06:51It's about BD.
0:06:51 > 0:06:53Oh, Christ, I planned to talk to you about this after we wrapped.
0:06:53 > 0:06:55Did she already say something?
0:06:55 > 0:06:58I just want you to know, I was not unkind,
0:06:58 > 0:07:00though I was quite firm.
0:07:00 > 0:07:03Well, what are you talking about?
0:07:03 > 0:07:07Your daughter was corrupting my twins.
0:07:09 > 0:07:10I caught them smoking.
0:07:10 > 0:07:13I already told her to steer clear of your tots,
0:07:13 > 0:07:16and she knows she is not supposed to smoke.
0:07:17 > 0:07:21Well, perhaps you can keep a little tighter reign on her.
0:07:21 > 0:07:23Sure - but let me ask you something.
0:07:23 > 0:07:25I see the way your girls are.
0:07:25 > 0:07:27They're like two well-trained Pomeranians.
0:07:27 > 0:07:29Just what is your secret?
0:07:29 > 0:07:31My secret?
0:07:34 > 0:07:36Well, uh...
0:07:36 > 0:07:40I've always been a strict disciplinarian.
0:07:40 > 0:07:44Some people, perhaps, find that I've been too strict,
0:07:44 > 0:07:46especially with my first two,
0:07:46 > 0:07:48Christina and Christopher.
0:07:48 > 0:07:53I find that giving children a task to perform occupies the mind,
0:07:53 > 0:07:59and gives them a real sense of accomplishment and responsibility.
0:07:59 > 0:08:06I mean, my twins, for instance, they just love sewing and cooking.
0:08:06 > 0:08:08That's a good idea. So, Crawfish..
0:08:10 > 0:08:14..what do you say we toss back a few after work tonight?
0:08:14 > 0:08:16JOAN LAUGHS
0:08:16 > 0:08:18You and me?
0:08:18 > 0:08:19I'll buy.
0:08:22 > 0:08:24All right.
0:08:24 > 0:08:25And close the door.
0:08:25 > 0:08:27- What?- The door.
0:08:27 > 0:08:29- Close it?- Yeah.
0:08:35 > 0:08:39So, I had just wanted to thank you.
0:08:39 > 0:08:41Thank me? For what?
0:08:41 > 0:08:43For your advice.
0:08:43 > 0:08:46I'm putting BD to work on the picture.
0:08:46 > 0:08:49Bob wants her to play the neighbour girl.
0:08:49 > 0:08:51Really?
0:08:52 > 0:08:55- I see. - SHE LAUGHS
0:08:55 > 0:08:57That's why you asked me here,
0:08:57 > 0:08:59because you were afraid I would make a stink.
0:09:00 > 0:09:02I know what do you think of me, Bette.
0:09:02 > 0:09:04I know what you've always thought of me.
0:09:04 > 0:09:07I know what you think of my mothering.
0:09:07 > 0:09:11Well, I just want to say that if I appear to be overprotective
0:09:11 > 0:09:13or worry too much about my children,
0:09:13 > 0:09:17it's only because I had a mother who didn't care whether I lived or died.
0:09:17 > 0:09:19Threw me out like a pair of old shoes.
0:09:19 > 0:09:22- SHE CHUCKLES - Shipped me off to convent school
0:09:22 > 0:09:23when I was 12.
0:09:23 > 0:09:27- Maybe she was trying to protect your virtue.- Oh, no. No, no, no.
0:09:27 > 0:09:29That ship had sailed. She knew that.
0:09:29 > 0:09:32You lost your cherry when you were 12?
0:09:33 > 0:09:3411.
0:09:36 > 0:09:37Christ!
0:09:37 > 0:09:40I didn't even get a tingle till I was 25,
0:09:40 > 0:09:43and then I waited another two years before I did the deed,
0:09:43 > 0:09:46and that was on my goddamn honeymoon.
0:09:46 > 0:09:50Well, in the desert that was my childhood,
0:09:50 > 0:09:54I was grateful for any kind of genuine affection,
0:09:54 > 0:09:56to feel cherished.
0:09:56 > 0:09:58Who was the lucky Cub Scout?
0:10:00 > 0:10:04My mother's second husband, Henry Cassin.
0:10:04 > 0:10:06He was a lovely man.
0:10:06 > 0:10:08Meant the world to me.
0:10:08 > 0:10:12Well, we called him Daddy Cassin, but he wasn't really my daddy.
0:10:12 > 0:10:16We weren't blood relations, so it wasn't incest.
0:10:16 > 0:10:21But he was kind and gentle, and he loved me.
0:10:21 > 0:10:24I led him into it.
0:10:26 > 0:10:28You were just a child.
0:10:31 > 0:10:34Your mother should have kicked him out.
0:10:34 > 0:10:38Well, perhaps, but I was glad to get out of there.
0:10:38 > 0:10:40- JOAN LAUGHS - Get away from my mother.
0:10:40 > 0:10:44I mean, the nuns were brutal, but nothing compared
0:10:44 > 0:10:45to the way my mother treated me.
0:10:46 > 0:10:49The nuns actually taught me a great deal,
0:10:49 > 0:10:51things I still cherish -
0:10:51 > 0:10:56discipline, the importance of cleanliness and order.
0:11:00 > 0:11:03Well, after my father ditched us,
0:11:03 > 0:11:07we were also sent off to a boarding school.
0:11:07 > 0:11:09Not nuns.
0:11:09 > 0:11:11Puritan Yankees.
0:11:11 > 0:11:14You know, lots of fresh air, no electricity,
0:11:14 > 0:11:17naked baths in the snow.
0:11:17 > 0:11:18I loved it.
0:11:18 > 0:11:20Made me tough.
0:11:20 > 0:11:23Course it was very difficult
0:11:23 > 0:11:25being separated from my mother, but she had to work.
0:11:25 > 0:11:29I mean, and work she did, like a dog, until we were reunited.
0:11:29 > 0:11:33And then she never left my side to the end of her days.
0:11:33 > 0:11:35She, um...
0:11:35 > 0:11:37She died only last year.
0:11:39 > 0:11:41Do you miss her?
0:11:41 > 0:11:43Yes.
0:11:44 > 0:11:45Yes.
0:11:46 > 0:11:48I think maybe sh...
0:11:51 > 0:11:54She was my only true female friend.
0:11:57 > 0:11:58You're lucky.
0:12:01 > 0:12:07Look, we don't have to be best pals,
0:12:07 > 0:12:09just allies.
0:12:09 > 0:12:12We both want the same thing -
0:12:12 > 0:12:15for this picture to be a success.
0:12:15 > 0:12:19Well, I'm sure it will be, thanks to you.
0:12:19 > 0:12:22You're a shoo-in for Best Actress.
0:12:22 > 0:12:25I'm too old to even think about awards.
0:12:25 > 0:12:28- SHE CHUCKLES - There, you see that?
0:12:28 > 0:12:33Even that was almost convincing.
0:12:35 > 0:12:38I mean it, Lucille.
0:12:38 > 0:12:39I'm going to support this picture
0:12:39 > 0:12:43even if it means supporting you, too.
0:12:48 > 0:12:51That story you were set to run, I don't think you should.
0:12:51 > 0:12:55- HEDDA:- 'Don't go soft on me now. We have a strategy.'
0:12:55 > 0:12:58If you want to steal the picture, we should stick to it.
0:12:58 > 0:13:00- But she'll know it came from me. - 'How?'
0:13:00 > 0:13:02Anyone on that set could've complained
0:13:02 > 0:13:04about her offensive body odour.
0:13:04 > 0:13:07But nobody works under those lights in such close contact as I do.
0:13:07 > 0:13:09- She'll know. - HEDDA CHUCKLES
0:13:09 > 0:13:10Well, I'll be damned.
0:13:10 > 0:13:14Joan Crawford, Miss Crystal Allen herself,
0:13:14 > 0:13:16is actually losing her nerve.
0:13:16 > 0:13:19'No, it's just that I think I am beginning
0:13:19 > 0:13:21'to understand her a little bit.'
0:13:21 > 0:13:24I mean, she's a single mother working in Hollywood.
0:13:24 > 0:13:27I don't think you can begin to appreciate, Hedda,
0:13:27 > 0:13:29just how tough that can be.
0:13:29 > 0:13:31You know, Joan, I could've gone out
0:13:31 > 0:13:34and bought myself a passel of brats, too, but why bother?
0:13:34 > 0:13:36The town's already full of 'em.
0:13:37 > 0:13:39There's no need to be small.
0:13:39 > 0:13:42Remind me to tell you that on Oscar night
0:13:42 > 0:13:45when she picks up the award for Best Actress.
0:13:49 > 0:13:53You said he was from Broadway. He's not. I checked.
0:13:53 > 0:13:56All his stage work is from San Diego.
0:13:56 > 0:13:59Yeah, the Old Globe. He's a distinguished Shakespearian actor.
0:13:59 > 0:14:02Oh, I'm sure his Falstaff is the talk of Tijuana.
0:14:02 > 0:14:05- Oh, Christ, look at him. - He's eating because he's nervous.
0:14:05 > 0:14:09Look, let's just get through this rehearsal, then see how you feel.
0:14:09 > 0:14:11Nobody's that nervous.
0:14:12 > 0:14:17- Hi, Mom!- Uh, why are you reading it as if you're thrilled to see me?
0:14:17 > 0:14:20You're watching a shitty Crawford picture on television.
0:14:20 > 0:14:22You're distracted. Try it again.
0:14:22 > 0:14:26I always think it's nice to break bread with strangers, don't you?
0:14:26 > 0:14:28Oh, yes. Yes, indeed.
0:14:29 > 0:14:30Sorry.
0:14:30 > 0:14:32Bob, don't you think it would be better
0:14:32 > 0:14:34if I just took the entire plate from her?
0:14:34 > 0:14:36BOB CHUCKLES Knock yourself out. I ain't hungry.
0:14:36 > 0:14:39Ha! Oh. Oh, that reaction is priceless.
0:14:39 > 0:14:42I imagine that would be Jane's reaction, too -
0:14:42 > 0:14:44taken aback by Edwin's boorishness.
0:14:44 > 0:14:47She'd wonder, "Is this man a sophisticated artist
0:14:47 > 0:14:49"or a cheap pig?"
0:14:49 > 0:14:51I guess she'll find out.
0:14:51 > 0:14:52I guess she will.
0:14:52 > 0:14:55And then the television talks,
0:14:55 > 0:14:59"When your dog says woof, feed him Iliad."
0:14:59 > 0:15:03Then I say to the TV, "Oh, shut up."
0:15:07 > 0:15:09Now you talk some more.
0:15:09 > 0:15:12OK, Bette, you'll hear the buzz, you go upstairs to confront Blanche.
0:15:12 > 0:15:17Then, Victor, you're left here on your own to explore. OK?
0:15:17 > 0:15:19Well, how come we never see her around?
0:15:19 > 0:15:22We've been living next door to them for six months now
0:15:22 > 0:15:25and the only one I ever see is that fat sister
0:15:25 > 0:15:26slouching around.
0:15:26 > 0:15:29Get ready. And...buzz.
0:15:29 > 0:15:31Will you please excuse me?
0:15:31 > 0:15:32Oh, certainly.
0:15:37 > 0:15:39You like him.
0:15:40 > 0:15:42I like talent.
0:15:42 > 0:15:44You know, Julie says that sister is kind of peculiar.
0:15:44 > 0:15:47Did you ever notice that?
0:15:47 > 0:15:49No, I never have.
0:15:51 > 0:15:52You're good.
0:15:55 > 0:15:56Oh.
0:15:56 > 0:15:59It's like Mommy just gave me a new pony.
0:15:59 > 0:16:02I'm awful, aren't I?
0:16:05 > 0:16:07You'll get better.
0:16:13 > 0:16:16KNOCK AT DOOR Yeah.
0:16:18 > 0:16:20I just got off the phone with Hopper.
0:16:20 > 0:16:22She wanted me to comment on a story.
0:16:22 > 0:16:25What story?
0:16:25 > 0:16:27Bette. Bette...
0:16:27 > 0:16:29Where's your wheelchair?
0:16:29 > 0:16:31It's on the set, of course. Why?
0:16:31 > 0:16:34Because you're going to need it after I break your goddamn legs.
0:16:34 > 0:16:35Where do you get off telling Hopper
0:16:35 > 0:16:37that you're going to be in the Best Actress category
0:16:37 > 0:16:39and I've decided to be in Supporting?
0:16:39 > 0:16:41- It was your idea. - What? Have you lost your mind?
0:16:41 > 0:16:44Ha, well, now, she'd had a bit to drink, that's true,
0:16:44 > 0:16:47but she seemed lucid and certainly sincere.
0:16:47 > 0:16:50You said you didn't care about awards,
0:16:50 > 0:16:52that you wanted to support me.
0:16:52 > 0:16:55And you took that to mean that I would go into Supporting
0:16:55 > 0:16:57and hand you Lead Actress?
0:16:57 > 0:16:59Well, I thought it was a collegial gesture.
0:16:59 > 0:17:02I mean, after all, you have bookend Oscars.
0:17:02 > 0:17:03I've only got one.
0:17:03 > 0:17:05Well, you tell Hopper to print this -
0:17:05 > 0:17:08I'm not sharing shit with you.
0:17:08 > 0:17:09And let me tell you something else,
0:17:09 > 0:17:11I'm going to be the first person to have three Oscars.
0:17:11 > 0:17:14Even though everyone knows I already should have,
0:17:14 > 0:17:15because I got robbed in 1950.
0:17:15 > 0:17:18That's certainly ungracious, yes, and dismissive
0:17:18 > 0:17:21of Miss Judy Holliday's winsome performance.
0:17:21 > 0:17:23She won by default!
0:17:23 > 0:17:26That bitch Anne Baxter, she pushed her way into my category
0:17:26 > 0:17:27and we split the vote.
0:17:27 > 0:17:28That's why she won.
0:17:28 > 0:17:31Well, need I remind you that, unlike Eve,
0:17:31 > 0:17:35you and I share equal billing on this.
0:17:35 > 0:17:38- We're both leads.- Ladies, why are we fighting about the Oscars?
0:17:38 > 0:17:40We haven't even finished making this movie yet.
0:17:40 > 0:17:42Can we please concentrate on the matter at hand?
0:17:42 > 0:17:46- There's room for both of you to succeed.- Ha, in this town?
0:17:46 > 0:17:48- Are you nuts?- Fuck off, Bob.
0:17:48 > 0:17:51And it was Gloria Swanson who was robbed in 1950,
0:17:51 > 0:17:54not you, bitch!
0:17:54 > 0:17:56DOORS SLAM
0:17:57 > 0:18:02Well, boss, it looks like you got yourself
0:18:02 > 0:18:04another war picture after all.
0:18:06 > 0:18:08- BIKE BELL RINGS - Good morning, Frank.
0:18:08 > 0:18:12- I trust you had a restful weekend. - JOAN CHUCKLES
0:18:12 > 0:18:16Oh, Mamacita, don't you just love a Monday?
0:18:18 > 0:18:20- Good morning.- Morning.
0:18:25 > 0:18:28This is going to be a long goddamn week.
0:18:28 > 0:18:31- BELL RINGS - OK, Bette, I need the same energy.
0:18:31 > 0:18:35You come bursting through the door and then you rush over to Blanche.
0:18:35 > 0:18:36OK?
0:18:36 > 0:18:38You rush over to the bed,
0:18:38 > 0:18:39you untie her,
0:18:39 > 0:18:41lift her off the bed,
0:18:41 > 0:18:42drag her to the door.
0:18:42 > 0:18:44Joan, Blanche is passed out.
0:18:44 > 0:18:47OK? So you just lie slack. You're dead weight.
0:18:47 > 0:18:50I'll say she is.
0:18:50 > 0:18:53- OK. Here we go. - BELL RINGS
0:18:53 > 0:18:54- MAN:- Roll camera!
0:18:54 > 0:18:56- MAN:- Speed!
0:18:58 > 0:19:01And action!
0:19:01 > 0:19:03BETTE PANTS
0:19:03 > 0:19:06Blanche. Blanche.
0:19:06 > 0:19:08You-you...
0:19:08 > 0:19:12you got to...got to...help me.
0:19:12 > 0:19:14Here, we've got to leave.
0:19:14 > 0:19:16Leave. Please.
0:19:16 > 0:19:18Please, Blanche.
0:19:18 > 0:19:20Blanche!
0:19:20 > 0:19:22Please!
0:19:22 > 0:19:23BETTE GRUNTS
0:19:23 > 0:19:26- JOAN GIGGLES - Cut!
0:19:26 > 0:19:28- Cut! - BELL RINGS
0:19:28 > 0:19:32- OK, let's do it again. - Oh, I'm so sorry. I'm ticklish.
0:19:32 > 0:19:34It's OK, Joan. It's OK. We'll do it again. No problem.
0:19:34 > 0:19:37- Are you ready? - OK, keep it together.
0:19:37 > 0:19:38- Back to one. - BELL RINGS
0:19:38 > 0:19:40- Roll camera!- Speed!
0:19:40 > 0:19:42And...action!
0:19:42 > 0:19:45BETTE GRUNTS JOAN COUGHS
0:19:45 > 0:19:48- Cut!- I'm sorry! I'm sorry.
0:19:49 > 0:19:51- Must be the dust.- Back to one.
0:19:54 > 0:19:58BETTE SLURPS
0:20:01 > 0:20:04- Cut.- Cut.- I'm sorry.- What?
0:20:04 > 0:20:06Does she have to stand there?
0:20:06 > 0:20:08She's not the director. Why is she standing there?
0:20:08 > 0:20:09If I were the director,
0:20:09 > 0:20:12I'd tell you to do it again and again until it was convincing.
0:20:12 > 0:20:14Bette, please.
0:20:14 > 0:20:16- MAN:- Speed!- OK, you ready, Bette?
0:20:16 > 0:20:18- Yeah.- And action.
0:20:21 > 0:20:24Oh, that face.
0:20:24 > 0:20:26Right into camera.
0:20:26 > 0:20:28- SHE CHUCKLES - This really is a horror picture.
0:20:28 > 0:20:29- Cut! - BELL RINGS
0:20:29 > 0:20:31All right, let's do it again.
0:20:31 > 0:20:32Maybe we'll actually get it right this time.
0:20:32 > 0:20:35- I really think this will be the one. - That's encouraging,
0:20:35 > 0:20:37since you don't actually have to do anything.
0:20:37 > 0:20:39- Roll camera!- Speed!
0:20:39 > 0:20:41- Action. - BETTE GRUNTS
0:20:41 > 0:20:43BETTE GROANS JOAN LAUGHS
0:20:43 > 0:20:44Oh, what the fuck? Cut!
0:20:44 > 0:20:46And I know what you're trying to do.
0:20:46 > 0:20:48I'm not trying to do anything.
0:20:48 > 0:20:50Honestly, Jane.
0:20:51 > 0:20:53BETTE GRUNTS
0:20:56 > 0:20:58- And cut. - BELL RINGS
0:20:58 > 0:21:00- BETTE GRUNTS - Bette, cut!
0:21:00 > 0:21:02Cut! All right, moving on.
0:21:02 > 0:21:05Joan, we're going to need you in here for the medium shots.
0:21:06 > 0:21:09BETTE GRUNTS JOAN GROANS
0:21:12 > 0:21:13Ah!
0:21:15 > 0:21:17Ow!
0:21:17 > 0:21:19Oh! Goddamn it!
0:21:19 > 0:21:21- Cut, cut, cut, cut.- Oh, Christ! - Are you OK?
0:21:21 > 0:21:24- She did that on purpose! - I barely touched her.
0:21:24 > 0:21:28Oh, Jesus. Well, are you just going to stand there, you bastard?!
0:21:28 > 0:21:30Did you get it?
0:21:30 > 0:21:33BETTE GRUNTS
0:21:36 > 0:21:38Help me.
0:21:38 > 0:21:41Leave. BETTE GRUNTS
0:21:41 > 0:21:45- And cut!- Oh! Son of a bitch! BELL RINGS
0:21:45 > 0:21:47Get me an osteopath, for God's sakes.
0:21:47 > 0:21:49- What's wrong? What's wrong? - BETTE GROANS
0:21:49 > 0:21:51Jesus. Oh, my God! Don't touch me.
0:21:51 > 0:21:53- OK.- Can we do it again?- No, no. - Oh, are you kidding me?
0:21:53 > 0:21:55Don't even think about it.
0:21:55 > 0:21:58LOUD THUD
0:21:58 > 0:22:01I mean, it must be awful.
0:22:01 > 0:22:04You know, Julie says that sister is kind of peculiar.
0:22:04 > 0:22:07Christ, this is painful.
0:22:07 > 0:22:09Oh, come on, Bette, it's not that bad.
0:22:09 > 0:22:12Don't condescend, Bob. She's awful.
0:22:12 > 0:22:14- ON FILM:- Like a regular sentence, you know?
0:22:14 > 0:22:15L-Like just a regular person talking.
0:22:15 > 0:22:17Like, here? OK.
0:22:17 > 0:22:20Try just a little less. Just a-a...
0:22:20 > 0:22:23- Start again, start again. - OK. From the top, or...?
0:22:23 > 0:22:26Maybe you could put her dialogue off camera.
0:22:26 > 0:22:28You're overreacting. It's a small part. She'll be fine.
0:22:28 > 0:22:30- I guess she should know. - She's beautiful.
0:22:30 > 0:22:32She's not an actress.
0:22:32 > 0:22:34No, she's not.
0:22:34 > 0:22:38- ON FILM:- Try as if you were talking to your best friend.
0:22:38 > 0:22:41She should be billed as BD Merrill, not Davis.
0:22:41 > 0:22:43Julie says that sister is...
0:22:43 > 0:22:46- ON FILM:- A little louder. - What? That's her name.
0:22:46 > 0:22:47He adopted her. Legally.
0:22:47 > 0:22:51You know, Julie says that sister is kind of peculiar.
0:22:51 > 0:22:53- Did you ever notice that?- Oh, God.
0:22:53 > 0:22:56- What should I say to her? - Well, she's your kid.
0:22:56 > 0:22:58You're not going to tell her she stinks on ice.
0:22:58 > 0:23:00You'll... You'll lie to her.
0:23:00 > 0:23:02Don't they ever have company?
0:23:02 > 0:23:05I mean, it must be awful.
0:23:05 > 0:23:08Well, I think you're good. Really good.
0:23:08 > 0:23:11You don't know what that means to me, coming from you.
0:23:11 > 0:23:15Sure, I do. All the queens love me. HE SIGHS
0:23:15 > 0:23:17It's true.
0:23:17 > 0:23:18Do it again.
0:23:19 > 0:23:22Fine.
0:23:22 > 0:23:24What a dump! HE GASPS DELIGHTEDLY
0:23:24 > 0:23:26- SHE CHUCKLES - Oh, it's marvellous.
0:23:26 > 0:23:28HE SIGHS
0:23:28 > 0:23:32You know, I think it's so admirable the way you've embraced my tribe.
0:23:32 > 0:23:35The truth is, I only really knew I'd made it
0:23:35 > 0:23:38once the female impersonators started doing me in their acts.
0:23:38 > 0:23:41That guarantees you're leaving behind a real legacy.
0:23:41 > 0:23:44Ah, the only real legacy is children.
0:23:47 > 0:23:52Not all destined to become parents, but we are all somebody's child.
0:23:52 > 0:23:54And your mother. She loves you? Supports you?
0:23:57 > 0:23:59Mother's always been just...
0:23:59 > 0:24:02..very supportive.
0:24:03 > 0:24:04Good.
0:24:04 > 0:24:08We have to love our kids, no matter what.
0:24:08 > 0:24:09Like my Margot.
0:24:09 > 0:24:12Oh. Who's Margot?
0:24:12 > 0:24:15My youngest. We adopted her when she was just a baby.
0:24:15 > 0:24:17Sweet little thing.
0:24:17 > 0:24:18By the time she was three,
0:24:18 > 0:24:21it was clear she wasn't like other children.
0:24:21 > 0:24:24She was diagnosed mentally retarded.
0:24:24 > 0:24:27Oh. I'm so sorry.
0:24:27 > 0:24:29She's in a special school in Maine.
0:24:29 > 0:24:30She gets everything she needs.
0:24:30 > 0:24:33And it ain't cheap, let me tell you that.
0:24:33 > 0:24:35It's one of the main reasons I'm doing this picture,
0:24:35 > 0:24:36is to pay her tuition.
0:24:36 > 0:24:39Mother. I'd like to run lines.
0:24:39 > 0:24:41I'm already doing that with Mr Buono, sweetheart.
0:24:41 > 0:24:43But I have a scene that shoots tomorrow.
0:24:43 > 0:24:47Oh, well, then, you should be in bed getting your beauty rest.
0:24:50 > 0:24:51I want to do a good job.
0:24:51 > 0:24:54I'm sure you'll do your best, BD.
0:24:55 > 0:24:57Goodnight.
0:25:05 > 0:25:07So, page 75.
0:25:07 > 0:25:09Oh, yes.
0:25:17 > 0:25:20Girls? Mommy's home.
0:25:24 > 0:25:26Girls?
0:25:30 > 0:25:32Girls!
0:25:40 > 0:25:42They're not here. Don't you remember?
0:25:42 > 0:25:44They start camp today. Two weeks.
0:25:44 > 0:25:48Of course. I guess I'm going to have to get used to it.
0:25:48 > 0:25:49To camp?
0:25:49 > 0:25:55No, to this - coming home to this awful silence.
0:25:56 > 0:26:01You deserve silence. Children are hard work.
0:26:01 > 0:26:04Once the work is done, silence is the reward.
0:26:04 > 0:26:05Reward?
0:26:05 > 0:26:09You know, Mamacita, one of the things I loved most
0:26:09 > 0:26:13about having these children, all of them,
0:26:13 > 0:26:16was that no matter what I was doing,
0:26:16 > 0:26:20making a picture, or out for an event,
0:26:20 > 0:26:24the mad rush that was once my life,
0:26:24 > 0:26:32was that I'd always come home to this wonderful noise and joy.
0:26:32 > 0:26:36JOAN CHUCKLES AND SNIFFLES
0:26:36 > 0:26:40Well, it's the condition of being a professional woman, I suppose.
0:26:40 > 0:26:43Maybe all women.
0:26:43 > 0:26:45One day, you...
0:26:45 > 0:26:48..you wake up and you find...
0:26:48 > 0:26:51JOAN SOBS QUIETLY
0:26:51 > 0:26:54..you've no husband,
0:26:54 > 0:26:58your career is over,
0:26:58 > 0:27:02the children are grown and left the nest,
0:27:02 > 0:27:06and all you're left with is yourself.
0:27:06 > 0:27:11Yes, women outlive men, children leave -
0:27:11 > 0:27:13best get used to it.
0:27:13 > 0:27:15JOAN CHUCKLES
0:27:15 > 0:27:17Oh, Mamacita.
0:27:17 > 0:27:19JOAN LAUGHS
0:27:19 > 0:27:23How I love your Teutonic pragmatism.
0:27:23 > 0:27:26No, you're right. It's no tragedy.
0:27:26 > 0:27:29It's simply a new chapter, that's all.
0:27:29 > 0:27:34And me being alone doesn't have to mean being lonely.
0:27:34 > 0:27:36Does it?
0:27:39 > 0:27:40JOAN CHUCKLES
0:27:40 > 0:27:44I'll embrace the change of things to come
0:27:44 > 0:27:48and really learn how to enjoy me.
0:27:48 > 0:27:49OK.
0:27:51 > 0:27:53Goodnight.
0:28:01 > 0:28:03SHE SNIFFLES
0:28:18 > 0:28:21GUNSHOTS
0:28:21 > 0:28:23GUNSHOTS ON TV CONTINUE
0:28:23 > 0:28:25- TV:- Don't shoot! We give up!
0:28:25 > 0:28:26How about you, Nevada?
0:28:26 > 0:28:28More sandwich?
0:28:28 > 0:28:30- TV:- You'll have to come and get me. - JOAN SIGHS
0:28:30 > 0:28:33- Drop your gun.- Thank you, Mamacita.
0:28:33 > 0:28:35GUNSHOTS ON TV
0:28:43 > 0:28:46- SHE INHALES - I want the dirt.
0:28:46 > 0:28:48You'll have to settle for sand.
0:28:52 > 0:28:55- JOAN:- Oh, you think she's hard to take on a sound stage?
0:28:55 > 0:28:57My God, you should see her in the wild.
0:28:57 > 0:29:00- HEDDA LAUGHS - In broad daylight, it's horrifying.
0:29:00 > 0:29:02BETTE: Coca-Cola, Bob?
0:29:02 > 0:29:04- You're a bad girl, Bette. - BETTE CHUCKLES
0:29:04 > 0:29:06- So, where's the Queen of Sheba? - In her dressing room.
0:29:06 > 0:29:07She's coming.
0:29:07 > 0:29:12All those years of alcohol abuse have exacted a terrible price.
0:29:16 > 0:29:20Christ. It's 100 degrees, and she's drunk.
0:29:20 > 0:29:21'And so unprofessional.
0:29:21 > 0:29:23'She refused a mobile dressing room,
0:29:23 > 0:29:27'insisted on being ferried back and forth to a motel,
0:29:27 > 0:29:30'while the rest of us sat and waited for her
0:29:30 > 0:29:31'in the scorching sun.'
0:29:31 > 0:29:33That's scandalous.
0:29:33 > 0:29:37It's warm, Mamacita. I'm going to need my water standing by.
0:29:37 > 0:29:38Which water?
0:29:38 > 0:29:40Joan.
0:29:40 > 0:29:42Bob.
0:29:42 > 0:29:44Joan.
0:29:44 > 0:29:46Good morning.
0:29:46 > 0:29:48Let me show you where you're going to be dying.
0:29:48 > 0:29:51I'm going to have to go back to my dressing room for a moment,
0:29:51 > 0:29:52but I'll be right back.
0:29:52 > 0:29:55Your dressing room's 100 yards away. Let's rehearse the scene first.
0:29:55 > 0:29:57Mamacita, get the driver.
0:29:57 > 0:29:59CAR DOOR CLOSES
0:29:59 > 0:30:01I'll be right back.
0:30:04 > 0:30:06Lucky she's laying on her back all day.
0:30:06 > 0:30:09For her, it was just another day at the beach,
0:30:09 > 0:30:15but for me, I really had to draw on some very deep feelings.
0:30:17 > 0:30:19It took all the skill that I had
0:30:19 > 0:30:23just to bring some reality to the moment.
0:30:23 > 0:30:25Because you're a pro.
0:30:25 > 0:30:27I'm not falling on those.
0:30:27 > 0:30:29I don't do stunts.
0:30:29 > 0:30:33And I got absolutely no support from my director
0:30:33 > 0:30:35or from my co-star.
0:30:35 > 0:30:37The selfish bitch.
0:30:39 > 0:30:41And cut.
0:30:41 > 0:30:43- BOB CHUCKLES - Print that one, Ernie.
0:30:43 > 0:30:47- Let's go in tighter.- Aah. - No, Joan.
0:30:47 > 0:30:49- Joan.- What?
0:30:49 > 0:30:51Wai-Wait, don't go anywhere. We're just swinging a lens.
0:30:51 > 0:30:53I'll be back in two ticks.
0:30:53 > 0:30:54We're losing the light.
0:30:54 > 0:30:56Tighter.
0:30:57 > 0:30:59Are you sure that's not too tight?
0:30:59 > 0:31:00Well, get it even.
0:31:00 > 0:31:02All right.
0:31:02 > 0:31:03Is that as tight as it'll go?
0:31:03 > 0:31:05- MAMACITA SCOFFS - Already it's too much.- Oh, shut up.
0:31:05 > 0:31:07Just go ahead and tie it, for Christ's sake.
0:31:07 > 0:31:09CAR DOOR CLOSES
0:31:14 > 0:31:16Is it me, or is she getting younger?
0:31:16 > 0:31:18- PAULINE:- You're just now noticing?
0:31:18 > 0:31:20Every time she comes back from her trailer,
0:31:20 > 0:31:21she's lost five more years.
0:31:21 > 0:31:24Oh, Christ. Let's just get through this.
0:31:24 > 0:31:26'It was my big scene.'
0:31:26 > 0:31:28My dying confession.
0:31:28 > 0:31:31I knew she would do something to steal it.
0:31:31 > 0:31:33Roll those big bug eyes or something,
0:31:33 > 0:31:36anything to draw the focus to her.
0:31:36 > 0:31:37Action.
0:31:37 > 0:31:39Jane, I'm...
0:31:39 > 0:31:41I'm dying.
0:31:42 > 0:31:45There's no time.
0:31:45 > 0:31:46You must listen.
0:31:47 > 0:31:49I made you...
0:31:50 > 0:31:52..waste your whole life.
0:31:55 > 0:31:57She looks too goddamn good.
0:31:57 > 0:32:00So what did the old harpy do to cock it up?
0:32:02 > 0:32:05Nothing.
0:32:05 > 0:32:06Nothing at all.
0:32:06 > 0:32:09I got through my entire speech.
0:32:09 > 0:32:12I think I even moved her with my performance.
0:32:12 > 0:32:16Well, I'm already writing the rave in my head.
0:32:16 > 0:32:18- ROBERT:- Jesus, Ernie. How's she doing that?
0:32:18 > 0:32:20She looks 20 years younger.
0:32:20 > 0:32:22Almost losing the light.
0:32:22 > 0:32:25- I think it must be those reflectors I'm hitting her with.- No.
0:32:25 > 0:32:27I swear to God.
0:32:27 > 0:32:30It's the goddamn acting.
0:32:45 > 0:32:48'I hate this fucking picture.'
0:32:52 > 0:32:54But if it's successful,
0:32:54 > 0:32:57I can make a pretty penny.
0:32:59 > 0:33:02OK. OK.
0:33:03 > 0:33:05That's good.
0:33:13 > 0:33:15SHE SIGHS
0:33:15 > 0:33:18I was in the neighbourhood.
0:33:18 > 0:33:19How nice.
0:33:21 > 0:33:22Thank you.
0:33:22 > 0:33:26So, word on the street is that Crawford's walking away
0:33:26 > 0:33:27with the picture.
0:33:27 > 0:33:30Is that what all the streetwalkers are saying, Hedda?
0:33:30 > 0:33:33- That's the buzz.- Oh, and who's the busy little bee?
0:33:33 > 0:33:36Careful. Once you sting, you die.
0:33:36 > 0:33:38HEDDA LAUGHS But not the queen.
0:33:38 > 0:33:41- BETTE CHUCKLES - Oh, come on, Bette.
0:33:41 > 0:33:44All those ridiculous studio press releases
0:33:44 > 0:33:46touting how wonderfully well you two have been getting along?
0:33:46 > 0:33:48It's hogwash.
0:33:48 > 0:33:50I happen to know every single nasty thing
0:33:50 > 0:33:53you've done to Crawford over the last six weeks.
0:33:53 > 0:33:56- Kicking a woman in the head? - HEDDA CHUCKLES
0:33:56 > 0:34:00Academy members don't reward that sort of behaviour.
0:34:00 > 0:34:04I mean, regardless of what we think of Crawford,
0:34:04 > 0:34:06she is an institution.
0:34:06 > 0:34:10Or belongs in one if she really thinks you're her friend.
0:34:10 > 0:34:12Oh, Bette.
0:34:14 > 0:34:16I'm offering you an opportunity.
0:34:16 > 0:34:20Give me your side of the story, and then when it all comes out,
0:34:20 > 0:34:22you won't have to be painted as the bad guy.
0:34:22 > 0:34:26- I win awards playing bad guys. - But that's on the screen.
0:34:26 > 0:34:28- This is real life. - Real life? Ha!
0:34:28 > 0:34:31This isn't real life. This is Hollywood, Hedda.
0:34:31 > 0:34:34It's all fake, from the manicured lawns in the desert
0:34:34 > 0:34:37to your manufactured concern.
0:34:38 > 0:34:40Well, I am concerned.
0:34:40 > 0:34:42I so wanted to write a story
0:34:42 > 0:34:47about how two of Hollywood's golden titans were getting along,
0:34:47 > 0:34:50as an example to ladies everywhere.
0:34:50 > 0:34:53But I am a truth teller, I must report the facts,
0:34:53 > 0:34:57regardless of how ugly they may be.
0:34:57 > 0:35:02You have been circling this project like a vulture from the start.
0:35:02 > 0:35:03It's women like you,
0:35:03 > 0:35:06who've nurtured venom and resentment for years,
0:35:06 > 0:35:08that make it such a battle for the rest of us
0:35:08 > 0:35:10who are actually putting our asses on the line
0:35:10 > 0:35:12and risking something.
0:35:12 > 0:35:13Truth teller.
0:35:15 > 0:35:17That's right.
0:35:17 > 0:35:22And the truth is, I hear your daughter stinks on ice.
0:35:22 > 0:35:25- She practically ruins the picture. - Get out.
0:35:25 > 0:35:29And BD's name better not show up in one of your poison-pen columns.
0:35:29 > 0:35:31Everything's fair game, Bette.
0:35:31 > 0:35:33Not my child.
0:35:33 > 0:35:36And for your information, she doesn't ruin the picture.
0:35:36 > 0:35:38Her role isn't important enough to do that.
0:35:38 > 0:35:40FOOTSTEPS APPROACH
0:35:45 > 0:35:46Shit.
0:36:19 > 0:36:21- I know you.- Oh.
0:36:21 > 0:36:24I've seen you on Hawaiian Eye.
0:36:24 > 0:36:26You're Charles Laughton.
0:36:46 > 0:36:49MOANING
0:36:50 > 0:36:53I want to be in pictures.
0:36:53 > 0:36:56That's why I came out here from Nebraska.
0:36:56 > 0:36:58You think I could be in pictures?
0:36:58 > 0:37:01You think I could be a star?
0:37:02 > 0:37:06You have...loads of potential.
0:37:06 > 0:37:08- Police! - WHISTLE BLOWS
0:37:08 > 0:37:11- Police, hold it.- Hey.
0:37:12 > 0:37:14WHISTLE BLOWS INDISTINCT CHATTER
0:37:14 > 0:37:16- Let's go. Come on. - There's been a mistake.
0:37:16 > 0:37:19This is...I was looking for a gas station.
0:37:19 > 0:37:21PHONE RINGS
0:37:23 > 0:37:25What?
0:37:27 > 0:37:29KEYS JANGLE DOOR UNLOCKS
0:37:29 > 0:37:31Well, them's the breaks, lady.
0:37:31 > 0:37:33You can bail your friend out after the judge sees him in a few hours.
0:37:33 > 0:37:36He's not seeing a judge in a few hours
0:37:36 > 0:37:38because he did not do anything.
0:37:38 > 0:37:40My friend is an actor,
0:37:40 > 0:37:41and he was there doing research
0:37:41 > 0:37:44for a part in a motion picture.
0:37:44 > 0:37:46I suppose you could verify that?
0:37:48 > 0:37:50What do you think?
0:37:53 > 0:37:55Can't thank you enough for doing this.
0:37:55 > 0:37:58You'll understand why I couldn't call my own mother.
0:37:58 > 0:38:00I spent 30 years earning a little capital.
0:38:00 > 0:38:02I don't mind spending it on a friend.
0:38:02 > 0:38:04But Victor, you've got to be more careful.
0:38:04 > 0:38:06Something like this could ruin your career.
0:38:06 > 0:38:09I hate keeping secrets. I hate lying.
0:38:10 > 0:38:14Lying is what we do for a living, kid.
0:38:14 > 0:38:16DRAMATIC MUSIC PLAYS
0:38:19 > 0:38:22SOUNDTRACK FADES
0:38:28 > 0:38:30Jack, I know it's a little rough around the edges,
0:38:30 > 0:38:34but this short editing schedule you've got me on is pretty brutal.
0:38:34 > 0:38:35JACK CHUCKLES
0:38:35 > 0:38:37I'll tell you what's brutal,
0:38:37 > 0:38:40I got 400 theatres booked already.
0:38:40 > 0:38:42400.
0:38:42 > 0:38:44And this is what you give me?
0:38:44 > 0:38:45Come on.
0:38:45 > 0:38:49Look, Bob, the picture's not terrible, until the end,
0:38:49 > 0:38:52and that's the only thing that anybody's going to remember.
0:38:52 > 0:38:54If you don't have an ending that works,
0:38:54 > 0:38:55you don't have a picture, right?
0:38:55 > 0:38:57You want to change the ending.
0:38:57 > 0:38:59No, I don't want to... I... Goddamn it!
0:38:59 > 0:39:03I want the ending that we agreed on.
0:39:03 > 0:39:05Crawford dying on the beach.
0:39:05 > 0:39:07That's what I want.
0:39:07 > 0:39:09Instead, every time you cut back to her,
0:39:09 > 0:39:11it looks like she's getting better.
0:39:11 > 0:39:14It's like fucking Camille in reverse.
0:39:14 > 0:39:16Yeah, yeah, OK, we can reshoot that.
0:39:16 > 0:39:18You're goddamn right we can.
0:39:18 > 0:39:21Yeah, but I can't take the entire company back to the beach.
0:39:21 > 0:39:23Well, then just bring the beach to the stage.
0:39:23 > 0:39:25- OK.- OK.
0:39:25 > 0:39:27How much do you want to spend on that?
0:39:27 > 0:39:29JACK CHUCKLES
0:39:29 > 0:39:31I am not spending anything on that, Bob.
0:39:31 > 0:39:33That's coming out of your end.
0:39:33 > 0:39:36I'm going to New York to see My Fair Fucking Lady.
0:39:36 > 0:39:38Just do it by the time I get back, all right?
0:39:39 > 0:39:42And get that hangdog expression off your face. Come on, come on.
0:39:42 > 0:39:45It's not like you just took a dump all over Casablanca.
0:39:45 > 0:39:47It's a B-movie.
0:39:47 > 0:39:49It's always been a B-movie.
0:39:49 > 0:39:50Always will be a B-movie.
0:39:50 > 0:39:52B, B, B, B...
0:39:59 > 0:40:01This?
0:40:02 > 0:40:04Toss that in the box.
0:40:06 > 0:40:08You know, there was a time when I wouldn't be the one doing this,
0:40:08 > 0:40:10I would be off to my next project,
0:40:10 > 0:40:13but now it's not even clear there will be a next project.
0:40:17 > 0:40:18BD?
0:40:20 > 0:40:22I'm sorry I wasn't better.
0:40:22 > 0:40:25I wanted to do a good job.
0:40:25 > 0:40:27Oh, sweetheart, you did a fine job.
0:40:27 > 0:40:29You did a very fine job.
0:40:29 > 0:40:31A creditable job.
0:40:31 > 0:40:34I mean, it was your first picture. You looked beautiful.
0:40:34 > 0:40:37And you...spoke clearly.
0:40:37 > 0:40:38You hit your marks,
0:40:38 > 0:40:42you didn't look into the lens once, not once.
0:40:42 > 0:40:44You make it look so easy.
0:40:44 > 0:40:46BD SIGHS
0:40:47 > 0:40:49I hope I didn't ruin it.
0:40:51 > 0:40:54If Crawford couldn't ruin the picture,
0:40:54 > 0:40:55nobody could.
0:41:34 > 0:41:35MUSIC BOX CLICKS
0:41:35 > 0:41:38MUSIC BOX PLAYS
0:42:06 > 0:42:09You might want to take special note of my projected income,
0:42:09 > 0:42:11I have a new picture coming out in a few months.
0:42:11 > 0:42:13You're clearly a woman of means, Miss Crawford.
0:42:13 > 0:42:16That's not really the issue.
0:42:16 > 0:42:18Well, there should be no issue.
0:42:18 > 0:42:22It's my deepest desire to offer a loving home
0:42:22 > 0:42:23to a motherless child.
0:42:23 > 0:42:25It's no longer 1940.
0:42:25 > 0:42:29I mean, the notion of a single mother adopting
0:42:29 > 0:42:31should no longer be an issue.
0:42:32 > 0:42:35While your marital status may present some questions,
0:42:35 > 0:42:38that's not why we're turning down your application.
0:42:39 > 0:42:42You're turning me down?
0:42:42 > 0:42:43Why?
0:42:43 > 0:42:45Because it's no longer 1940.
0:42:45 > 0:42:47You're simply too old.
0:42:52 > 0:42:54BETTE: Margot?
0:42:54 > 0:42:56Margot, darling, it's Mommy.
0:42:56 > 0:42:58- MARGOT:- Mommy?
0:42:58 > 0:43:00Yes, sweetheart, how are you?
0:43:01 > 0:43:05Miss Ashland told me that, uh, you've been painting
0:43:05 > 0:43:07some beautiful pictures.
0:43:07 > 0:43:08Mommy, where are you?
0:43:11 > 0:43:14Mommy's been working in California.
0:43:14 > 0:43:17And she really misses you.
0:43:17 > 0:43:19BETTE SIGHS
0:43:19 > 0:43:21But I'm coming home soon.
0:43:21 > 0:43:23And, uh...
0:43:23 > 0:43:27Well, I-I'll drive up and we'll have a very long visit,
0:43:27 > 0:43:30and we'll go swimming if it's not too chilly.
0:43:30 > 0:43:32Would you like that, sweetheart?
0:43:32 > 0:43:33RUSTLING OVER THE PHONE
0:43:35 > 0:43:36Margot?
0:43:38 > 0:43:39Margot?
0:43:42 > 0:43:44I'm sorry, Miss Davis.
0:43:44 > 0:43:47I think she got a little distracted.
0:43:52 > 0:43:54I understand.
0:44:07 > 0:44:08Jane, I...
0:44:10 > 0:44:11I'm dying.
0:44:13 > 0:44:15There's no time.
0:44:15 > 0:44:17You must listen.
0:44:19 > 0:44:22I made you waste your whole life,
0:44:22 > 0:44:25thinking you'd crippled me.
0:44:25 > 0:44:27Please stop.
0:44:29 > 0:44:31You didn't do it, Jane.
0:44:34 > 0:44:36I did it myself.
0:44:38 > 0:44:40Don't you understand?
0:44:42 > 0:44:44I crippled myself.
0:44:48 > 0:44:51You weren't driving that night.
0:44:53 > 0:44:56You were too drunk, I wouldn't let you drive.
0:44:58 > 0:45:00I made you go open the gates.
0:45:02 > 0:45:04I watched you get out of the car.
0:45:05 > 0:45:08You'd been so cruel to me at the party,
0:45:08 > 0:45:10imitating me,
0:45:10 > 0:45:12making people laugh at me.
0:45:14 > 0:45:17I watched you get out of the car.
0:45:18 > 0:45:21I wanted to run you down.
0:45:21 > 0:45:22Crush you.
0:45:25 > 0:45:27But you saw the car coming.
0:45:31 > 0:45:33I hit the gates.
0:45:34 > 0:45:39I...snapped my spine.
0:45:43 > 0:45:44Then, you mean...
0:45:48 > 0:45:51..all this time we could've been friends?
0:45:58 > 0:46:01- Cut. Print that one. - BELL RINGS
0:46:01 > 0:46:02Brilliant.
0:46:02 > 0:46:03SHE SIGHS
0:46:03 > 0:46:05- MAN:- Ladies and gentlemen, that's a wrap.
0:46:05 > 0:46:07APPLAUSE