0:00:04 > 0:00:09Miss Davis? Buzz Gimple. May I say what an honour it is to meet you?
0:00:09 > 0:00:12I see Sid's got himself a Boy Friday. I approve.
0:00:12 > 0:00:15Oh, I'm not Sid's secretary. I'm your agent.
0:00:15 > 0:00:19I will be personally looking after your day-to-day concerns.
0:00:19 > 0:00:22This programme contains some strong language
0:00:22 > 0:00:24How old are you?
0:00:24 > 0:00:25Almost 23.
0:00:25 > 0:00:26- Almost? - Mm-hm.
0:00:28 > 0:00:31- Joanie! You look ravishing. - Oh!- You know the team.
0:00:31 > 0:00:33- Yes.- Would you care for something to drink?
0:00:33 > 0:00:36No, thank you. I'd like to get right down to business. Please sit down.
0:00:36 > 0:00:39Marty, I would like
0:00:39 > 0:00:43to take the twins to Greece and Italy this year.
0:00:43 > 0:00:46Every young person should experience ancient antiquity,
0:00:46 > 0:00:49so when do you think would be a good time to schedule that?
0:00:49 > 0:00:53Well, probably not August. Gets pretty hot in Greece in August.
0:00:53 > 0:00:55Right, boys?
0:00:55 > 0:00:57Well, no. I-I...
0:00:57 > 0:01:00I don't know what kind of offers have been coming in,
0:01:00 > 0:01:02so I thought we might review them
0:01:02 > 0:01:06and, uh, then I could plan accordingly.
0:01:06 > 0:01:09- Nothing?- At the moment, but we're going to change that.
0:01:09 > 0:01:11I wouldn't think I need to mention
0:01:11 > 0:01:14that I am opening a picture very soon.
0:01:14 > 0:01:15Yeah.
0:01:15 > 0:01:20What I'd like to do is maybe secure a few things before the movie opens.
0:01:20 > 0:01:22A guest spot on Perry Mason. Or, you know,
0:01:22 > 0:01:25dinner theatre has become very chic again.
0:01:25 > 0:01:30- There hasn't been any offers, Joan. - Well, how is that possible?
0:01:30 > 0:01:34I'm headlining a major motion picture which opens
0:01:34 > 0:01:39in 400 theatres nationwide in just a few weeks' time.
0:01:39 > 0:01:42And we're very excited about that. Aren't we, fellas?
0:01:44 > 0:01:49I did my part, Marty. I got myself back in the game.
0:01:49 > 0:01:53I found the project, I put up with that awful woman for months.
0:01:53 > 0:01:56And while I was suffering all that,
0:01:56 > 0:02:01what was William Morris doing for me?
0:02:01 > 0:02:03The landscape hasn't changed, Joan.
0:02:03 > 0:02:05There's just not a lot out there for a mature actress.
0:02:05 > 0:02:08You've heard the picture's stinko.
0:02:08 > 0:02:11You can't pay attention to the tongue-wagging in this town.
0:02:11 > 0:02:15- They're always rooting for failure. - What have they been saying?
0:02:15 > 0:02:18Well...
0:02:18 > 0:02:21..word around town is you and Crawford won't be able
0:02:21 > 0:02:23to get arrested after the movie opens.
0:02:23 > 0:02:26They're saying you've thrown what's left of your careers
0:02:26 > 0:02:29down the toilet by doing a B movie.
0:02:33 > 0:02:37I see. That explains why I've been shunted to the junior leagues.
0:02:37 > 0:02:40- No offence. - None taken.
0:02:40 > 0:02:43Don't give up the ghost, Miss Davis.
0:02:43 > 0:02:47Worst case, the movie bombs and people forget all about it.
0:02:47 > 0:02:49You'll be back.
0:02:49 > 0:02:53Well, I'm sure, once the picture opens, there'll be no end of offers.
0:02:53 > 0:02:55And we'll be here to field them!
0:02:57 > 0:03:00Fuck you, Marty.
0:03:00 > 0:03:05If I have to find my own projects and wait for you
0:03:05 > 0:03:07to field offers instead of drumming them up,
0:03:07 > 0:03:10I don't see the point in having an agent...
0:03:10 > 0:03:14..or a room full of fucking agents. You're all fired!
0:03:27 > 0:03:30Hey, Buzz. Looks like you lost a client.
0:03:30 > 0:03:32- Somebody die? - Not a person,
0:03:32 > 0:03:35just your credibility. Page seven.
0:03:35 > 0:03:38BETTE: "Mother of three,
0:03:38 > 0:03:40"30 years' experience in motion pictures,
0:03:40 > 0:03:46"wants steady employment in Hollywood. References upon request."
0:04:59 > 0:05:02You must listen.
0:05:02 > 0:05:04I made you waste...
0:05:04 > 0:05:08..your whole life...
0:05:08 > 0:05:11..thinking you'd crippled me.
0:05:13 > 0:05:16It's seamless, Mike. I can't see where the beach ends
0:05:16 > 0:05:18- and the sound stage begins. - Thanks, honey.
0:05:18 > 0:05:22- What do we think, skipper? - Yeah. Lock the picture, Mike.
0:05:22 > 0:05:25Make sure the optical print's ready for the sneak preview on Saturday.
0:05:25 > 0:05:27Do we know where that's happening yet?
0:05:27 > 0:05:29It's either Pedro or Long Beach.
0:05:29 > 0:05:33- Sure that's far enough away? - Well, I figure they're both ports.
0:05:33 > 0:05:36I can always hop on a freighter and make my escape.
0:05:36 > 0:05:38Is the picture still running?
0:05:38 > 0:05:41Because you two both sound like a couple of old biddies.
0:05:43 > 0:05:45Why is everyone acting like it's a failure
0:05:45 > 0:05:48- when it hasn't even opened yet? - You hear that whistling sound?
0:05:48 > 0:05:50It's a bomb falling. It's going to land in 400 theatres
0:05:50 > 0:05:53- all at the same time. - I don't agree.
0:05:53 > 0:05:55You know who goes to the movies nowadays? Kids and teenagers.
0:05:55 > 0:05:59I mean, nobody under the age of 35 even knows who these women are.
0:05:59 > 0:06:03You're wrong there, Bob. This is where television actually helps us.
0:06:03 > 0:06:04Kids today...they grew up
0:06:04 > 0:06:07watching old Crawford and Davis movies on Sunday afternoons.
0:06:07 > 0:06:11They know who they are. And don't you forget, they said the same thing
0:06:11 > 0:06:12about Gloria Swanson ten years ago.
0:06:12 > 0:06:16Sunset Boulevard had Bill Holden. It's not the same thing at all.
0:06:17 > 0:06:21- What you got there? - It's a script.- Oh, honey,
0:06:21 > 0:06:25- I can't even think about the next thing right now.- No, of course not.
0:06:25 > 0:06:28Hell, I'm not even convinced there's going to be a next thing.
0:06:28 > 0:06:30So, you coming to the public execution on Saturday?
0:06:30 > 0:06:32Oh, I wouldn't miss it.
0:06:32 > 0:06:34I don't say this often enough, Pauline.
0:06:34 > 0:06:37I couldn't have done it without you.
0:06:37 > 0:06:40Correct on both counts.
0:06:40 > 0:06:42Go on, get drunk.
0:06:44 > 0:06:46Harriet, we may have to sell the house.
0:06:46 > 0:06:48What, are you worried about the picture?
0:06:48 > 0:06:50I think I may have misjudged the moment.
0:06:50 > 0:06:52You know, I wanted to get it done,
0:06:52 > 0:06:55I wanted a measure of control, but now we're...
0:06:55 > 0:06:57..we're in hock up to our eyeballs.
0:06:57 > 0:06:59If Baby Jane goes down, so do we.
0:06:59 > 0:07:02- Is it not good?- Honestly, I can't tell any more.
0:07:02 > 0:07:04Well, we knew it was a gamble from the start.
0:07:04 > 0:07:07If we have to sell the house, we'll sell the house.
0:07:07 > 0:07:09Yeah, well, what about the kids?
0:07:09 > 0:07:12We'll sell them, too. But I think we'll get more for the house.
0:07:12 > 0:07:14HE CHUCKLES
0:07:14 > 0:07:16You don't have to go down with the ship, you know.
0:07:16 > 0:07:19If you divorce me before Saturday, you might still get something.
0:07:19 > 0:07:22Oh, I'm no fool. I'll wait until your next hit before I divorce you.
0:07:22 > 0:07:24I see!
0:07:24 > 0:07:27You'll stick around for worse, but if better comes along,
0:07:27 > 0:07:28you're on the phone to the lawyer?
0:07:32 > 0:07:34Try not to worry so much.
0:07:34 > 0:07:37You know that you always get like this before a preview.
0:07:39 > 0:07:41HE SIGHS
0:07:45 > 0:07:51# When you're young and so in love as we
0:07:51 > 0:07:53- DOORBELL RINGS - # And bewildered
0:07:53 > 0:07:56# by the world we see
0:07:56 > 0:08:02# Why do people hurt us so? Only those in love would know... #
0:08:02 > 0:08:04Mamacita!
0:08:04 > 0:08:05Miss Crawford is out.
0:08:05 > 0:08:08That's good. May I come in?
0:08:08 > 0:08:11# What a town without pity can do... #
0:08:11 > 0:08:14It's called The Black Slipper. It's written just for Joan.
0:08:14 > 0:08:17She'd play a choreographer falsely accused
0:08:17 > 0:08:20of shoving a principal dancer off a catwalk.
0:08:20 > 0:08:22She gets locked up for murder,
0:08:22 > 0:08:24pushed around by some hard-bitten convict broads.
0:08:24 > 0:08:27Then she's proven innocent and whisked from her cell
0:08:27 > 0:08:31to dance the dead girl's role on stage.
0:08:33 > 0:08:36It's a story about the irrepressible human sprit.
0:08:37 > 0:08:40You want to leave the script for Miss Crawford?
0:08:42 > 0:08:45You're Joan's right-hand lady.
0:08:45 > 0:08:48I know what that means, because I'm a right-hand lady, too.
0:08:48 > 0:08:51You know better than anybody how to get Joan on board.
0:08:51 > 0:08:56I want your advice on how to do that for this.
0:08:56 > 0:08:58I see.
0:08:58 > 0:09:00Mr Aldrich will direct?
0:09:00 > 0:09:02No.
0:09:02 > 0:09:04Who is involved?
0:09:04 > 0:09:07Me. I wrote it.
0:09:07 > 0:09:08And I want to direct.
0:09:08 > 0:09:13Look, I realise there is not exactly a robust tradition
0:09:13 > 0:09:15of women directors for me to build on.
0:09:15 > 0:09:16Only a handful of gals have gotten studios
0:09:16 > 0:09:18to trust that they could handle a picture.
0:09:21 > 0:09:24You think I'm crazy.
0:09:24 > 0:09:26I think this is a marvellous idea.
0:09:26 > 0:09:30- You do?- This is America. No-one can tell you you're crazy.
0:09:30 > 0:09:35In Werdohl, you know how you must live when you are born.
0:09:35 > 0:09:37Born to a shoemaker, you must make shoes.
0:09:37 > 0:09:39Born a girl, you must be a mother.
0:09:39 > 0:09:41Here, you decide.
0:09:41 > 0:09:45There is opportunity to become anything you want.
0:09:45 > 0:09:47I will make your case with Miss Joan.
0:09:56 > 0:09:59Miss Crawford! You're in early this evening.
0:09:59 > 0:10:02- And looking particularly stunning. - Oh, why, thank you, Philip.
0:10:02 > 0:10:04Yes, we're motoring on to Long Beach this evening
0:10:04 > 0:10:06- to catch a new motion picture. - Oh!
0:10:06 > 0:10:09Does Baby Doll premiere tonight?
0:10:09 > 0:10:12Baby Jane. No, and it's not a premiere.
0:10:12 > 0:10:14It's merely a...preview.
0:10:14 > 0:10:17But the stars will be in attendance. How thrilling.
0:10:17 > 0:10:22Well, I'm afraid my co-star felt it more urgent to travel to Maine
0:10:22 > 0:10:23to visit her daughter.
0:10:23 > 0:10:26I actually think Miss Davis smelled failure
0:10:26 > 0:10:28in the air and ran away. But not me.
0:10:28 > 0:10:33Win, lose or draw, I'll always show up on time, hit my mark
0:10:33 > 0:10:36and promote the product, whether it's Pepsi-Cola
0:10:36 > 0:10:37or a new motion picture.
0:10:37 > 0:10:40Michael will be your waiter this evening.
0:10:43 > 0:10:45Are they still watching?
0:10:45 > 0:10:47Is who still watching?
0:10:47 > 0:10:48Everybody.
0:10:51 > 0:10:52Yes.
0:10:52 > 0:10:54They smell blood in the water.
0:10:54 > 0:10:58- They are smiling. - Well, of course they're smiling.
0:10:58 > 0:11:02"Why, I can smile and murder whiles I smile."
0:11:04 > 0:11:06JOAN CHUCKLES
0:11:06 > 0:11:08Jackals.
0:11:08 > 0:11:11It's just like 1937 all over again.
0:11:11 > 0:11:14- When Hitler took Austria.- No, when they labelled me box-office poison.
0:11:14 > 0:11:18I couldn't get arrested in this goddamn town.
0:11:18 > 0:11:22But I was a young woman then.
0:11:22 > 0:11:25I still had time to claw my way back to the top.
0:11:25 > 0:11:27But not now.
0:11:27 > 0:11:29Baby Jane was my last chance.
0:11:29 > 0:11:31Maybe not.
0:11:31 > 0:11:34I read a beautiful script today with a wonderful role for you.
0:11:34 > 0:11:39- Pauline dropped it off at the house. - Who is Pauline?
0:11:39 > 0:11:41You've met her over 50 times. She works for Mr Aldrich.
0:11:41 > 0:11:45Bob has a new script? Well, why didn't you tell me?
0:11:45 > 0:11:47Not Mr Aldrich.
0:11:47 > 0:11:49Miss Pauline...she wrote this script.
0:11:49 > 0:11:51- But Bob will direct it. - No.
0:11:51 > 0:11:55She would also direct the picture. And you would star.
0:11:55 > 0:11:57Oh, Christ.
0:11:57 > 0:11:59A woman director?
0:11:59 > 0:12:02Well, it really is over.
0:12:15 > 0:12:18Please tell me these canisters are marked correctly.
0:12:18 > 0:12:22At the preview for Kiss Me Deadly, the canisters got switched
0:12:22 > 0:12:24and the atomic bomb went off in the second act.
0:12:24 > 0:12:26I hear this one bombs in the first.
0:12:26 > 0:12:28Just eat your goddamned sandwich.
0:12:28 > 0:12:30CHATTER
0:12:40 > 0:12:42Well, it's time to face the music, Mamacita.
0:12:45 > 0:12:48LIVELY MUSIC ON SCREEN
0:13:08 > 0:13:10All right, Blanche Hudson!
0:13:10 > 0:13:14Miss Big, Fat Movie Star!
0:13:14 > 0:13:17Miss Rotten, Stinking Actress!
0:13:17 > 0:13:19Blanche?
0:13:19 > 0:13:22You aren't ever going to sell this house.
0:13:22 > 0:13:25And you aren't ever going to leave it either.
0:13:31 > 0:13:34AUDIENCE GASPS
0:13:39 > 0:13:41LAUGHTER IN AUDIENCE
0:14:07 > 0:14:10- Mamacita, they loved it. - They loved you, Miss Joan.
0:14:10 > 0:14:12You know, Warner's going to have trouble
0:14:12 > 0:14:14hiding the profits on this one.
0:14:14 > 0:14:16Mm... Bob?
0:14:17 > 0:14:19- WOMAN:- It's Joan Crawford!
0:14:28 > 0:14:30Did you enjoy the film?
0:14:30 > 0:14:34- So much!- Did you? Oh, thank you for coming!
0:14:37 > 0:14:38HE MOUTHS
0:14:49 > 0:14:53# What ever happened to Baby Jane?
0:14:53 > 0:14:56# She could dance, she could sing
0:14:56 > 0:14:59# Make the biggest theatre ring
0:14:59 > 0:15:01# Jane could do most anything
0:15:01 > 0:15:05# What ever happened to Baby Jane?
0:15:06 > 0:15:09# What ever happened to Baby Jane?
0:15:09 > 0:15:13# When she'd walk down the street
0:15:13 > 0:15:15# All the world was lying at her feet
0:15:15 > 0:15:17# There was no-one half as sweet
0:15:17 > 0:15:20# What ever happened to Baby Jane?
0:15:22 > 0:15:26# I see her old movies on TV
0:15:26 > 0:15:29# And they are always a thrill to me
0:15:29 > 0:15:32# My daddy says I can be just like her
0:15:32 > 0:15:36# How I wish, I wish, I wish, I wish I were
0:15:36 > 0:15:38# What ever happened to Baby Jane?... #
0:15:38 > 0:15:40APPLAUSE
0:15:40 > 0:15:43# To her smile, her golden hair
0:15:43 > 0:15:45# Why must everything be so unfair?
0:15:45 > 0:15:47# Is there no-one left to care?
0:15:47 > 0:15:51# What happened to Baby Jane?
0:15:51 > 0:15:53# What really happened to Baby Jane?... #
0:15:53 > 0:15:55Enjoy the show. It's a lot of fun.
0:15:55 > 0:15:57Yeah, nothing more fun than a hit.
0:15:57 > 0:15:59# ..to Baby Jane? #
0:16:02 > 0:16:04APPLAUSE
0:16:07 > 0:16:09Oh, Christ.
0:16:09 > 0:16:13"Miss Crawford is such a sweetly smiling fraud
0:16:13 > 0:16:16"that one feels virtually nothing for her.
0:16:16 > 0:16:19"No wonder her crazy sister finds her a deadly bore."
0:16:19 > 0:16:21That's what you get for reading the New York Times.
0:16:21 > 0:16:25It's one review, Joan. The notices have been uniformly good.
0:16:25 > 0:16:28Oh, good... Oh, there have been raves. But they're all about her.
0:16:28 > 0:16:31Listen.
0:16:31 > 0:16:33"A brilliant tour-de-force."
0:16:33 > 0:16:35"A brave and naked portrayal."
0:16:35 > 0:16:38"You won't be able to take your eyes off Miss Davis."
0:16:38 > 0:16:41She has the critics. So what? You have the audience.
0:16:41 > 0:16:44You're the one they're rooting for, not her.
0:16:44 > 0:16:48You know, I-I really thought this film was going to be a flop.
0:16:48 > 0:16:52I really did, Hedda. And I thought, "Well, this is going to kill me."
0:16:52 > 0:16:55But now I wish it had, because this is even worse.
0:16:55 > 0:16:58It's like I wasn't even in the goddamned picture.
0:16:58 > 0:17:00And now there's talk of Oscar nominations.
0:17:00 > 0:17:03She'll get a nomination, but so will you.
0:17:03 > 0:17:05Oh, you can't really believe that.
0:17:05 > 0:17:08They wouldn't dare nominate her and not you.
0:17:08 > 0:17:12Yes, all right, she plays a lunatic, but you play a cripple!
0:17:15 > 0:17:17Bobby, my boy, we're breaking records!
0:17:17 > 0:17:20- Yeah, the picture's doing pretty good.- "Pretty good"?
0:17:20 > 0:17:23Baby Jane is the number one picture in America.
0:17:23 > 0:17:26Well, actually, it's more like number eight so far this year.
0:17:26 > 0:17:28No. For what we spent on it, it's number one.
0:17:28 > 0:17:30Come on, sit down.
0:17:30 > 0:17:33All right, so what's this I hear from your agent, huh?
0:17:33 > 0:17:36I sent you half a dozen scripts. You don't like any of them?
0:17:36 > 0:17:38They're all Baby Jane all over again.
0:17:38 > 0:17:40Well, that's cos you hit on a winning formula.
0:17:40 > 0:17:42It's not a formula, Jack, it was one movie,
0:17:42 > 0:17:45which nearly killed me, being locked up with those two dames.
0:17:45 > 0:17:47I want to do something a lot less dangerous, you know?
0:17:47 > 0:17:49Like a, uh, like a war picture or a Western.
0:17:49 > 0:17:52No. Let's leave the war pictures and the Westerns to John Ford, OK?
0:17:52 > 0:17:55When it comes to two broads beating the hell out of each other,
0:17:55 > 0:17:57that's where you really shine.
0:17:57 > 0:18:02No, Jack. No more B horror movies. I'm capable of so much more.
0:18:02 > 0:18:05I'm back now. I want to show people what I can really do.
0:18:05 > 0:18:07Wh-What, like your Oscar-winning masterpiece?
0:18:07 > 0:18:10Why not?
0:18:10 > 0:18:12Well...
0:18:12 > 0:18:14..how about because that's never going to happen?
0:18:14 > 0:18:16I mean, what do you think,
0:18:16 > 0:18:18you're like a big star director all of a sudden, Bob?
0:18:18 > 0:18:21I mean, no offence, but you're a journeyman.
0:18:21 > 0:18:25Strictly B list. Don't start getting ideas in your head
0:18:25 > 0:18:27that you're like Michelangelo. You know, you're the Wop
0:18:27 > 0:18:30working in the fucking tile factory.
0:18:30 > 0:18:31We need...tiles.
0:18:31 > 0:18:35Yeah, well, even the schmuck in the tile factory has dreams, Jack.
0:18:36 > 0:18:39Dreams are delusions.
0:18:39 > 0:18:41And right now, you're delusional.
0:18:43 > 0:18:46The next script I give you you're going to do.
0:18:47 > 0:18:50Well, thank you for the opportunity of Baby Jane.
0:18:50 > 0:18:53I really appreciate it, Jack.
0:18:53 > 0:18:56But I'm done with horror and ageing actresses.
0:18:56 > 0:18:59I'm not going to say yes to anything that doesn't challenge me.
0:19:01 > 0:19:02OK.
0:19:02 > 0:19:04Fine.
0:19:04 > 0:19:06Go get challenged.
0:19:06 > 0:19:10But when your next movie is a bomb, or the one after that,
0:19:10 > 0:19:12you'll be back.
0:19:13 > 0:19:15And you know what?
0:19:15 > 0:19:17I'll probably take your call.
0:19:17 > 0:19:20Do you know why?
0:19:20 > 0:19:22Cos I got a soft spot for losers, Bobby.
0:19:24 > 0:19:26A soft spot.
0:19:28 > 0:19:29You'll be back.
0:19:33 > 0:19:35- KNOCK ON DOOR - Come in.
0:19:37 > 0:19:39Miss Pauline.
0:19:39 > 0:19:41Oh! Pauline, hello.
0:19:41 > 0:19:43No, Mamacita, please stay.
0:19:43 > 0:19:47This pile is for charity. But all of that
0:19:47 > 0:19:49I want you to hang back up in the closet, please.
0:19:49 > 0:19:53- A little early spring cleaning? - Thank you for coming to see me.
0:19:53 > 0:19:56Thank you for asking. And congratulations,
0:19:56 > 0:20:00by the way, on Baby Jane. You couldn't pay for better reviews.
0:20:00 > 0:20:03I let the fans tell me when a picture is successful,
0:20:03 > 0:20:04not the critics.
0:20:06 > 0:20:09Pauline, I want to thank you for passing this along to me.
0:20:09 > 0:20:11I did you the courtesy of not reading it.
0:20:11 > 0:20:14I see no reason to venture an opinion
0:20:14 > 0:20:17on something I have no intention of doing.
0:20:17 > 0:20:20Well, I wish you would reconsider.
0:20:21 > 0:20:23I know that it's unorthodox,
0:20:23 > 0:20:27the idea of a woman director, but it's not unprecedented.
0:20:27 > 0:20:30Think of the women who ruled the silent era.
0:20:30 > 0:20:32Where are they now?
0:20:32 > 0:20:36What do you guess prevented the next great wave of women directors?
0:20:36 > 0:20:38I don't know.
0:20:38 > 0:20:40Well, I do. I was there.
0:20:40 > 0:20:44Money. Money came along.
0:20:44 > 0:20:47Silents were low-cost, low-risk.
0:20:47 > 0:20:51A producer might shrug at the idea of an ingenue or girl editor
0:20:51 > 0:20:56taking a turn behind the camera, but when the studios came to power,
0:20:56 > 0:21:01they moved women to the feminine work - costumes, continuity.
0:21:02 > 0:21:07Directors needed stamina, leadership, fiscal responsibility,
0:21:07 > 0:21:09so men were given the bullhorn.
0:21:09 > 0:21:13And I can't say that we are any worse off for it.
0:21:13 > 0:21:15M-Miss Crawford...
0:21:15 > 0:21:17..I just need my first bite.
0:21:17 > 0:21:20Men they will hire based on potential,
0:21:20 > 0:21:22but women, we need experience.
0:21:24 > 0:21:28I'm not turning you down because you're a woman.
0:21:30 > 0:21:33I'm turning you down because you're a nobody.
0:21:33 > 0:21:38And at this late stage of my career,
0:21:38 > 0:21:40I don't have the luxury
0:21:40 > 0:21:44of putting myself in the hands of a nobody.
0:21:44 > 0:21:47I have very few chances left.
0:21:49 > 0:21:53And my last chance is not going to be your first.
0:21:53 > 0:21:55I hope you understand that.
0:21:58 > 0:22:01I'm sorry I took up your time.
0:22:02 > 0:22:03Pauline?
0:22:05 > 0:22:06You should consider yourself lucky.
0:22:06 > 0:22:09You get to work with the best Hollywood has to offer.
0:22:09 > 0:22:13I mean, if you're seen grabbing for too much,
0:22:13 > 0:22:15you may appear ungrateful.
0:22:16 > 0:22:18I appreciate that advice.
0:22:22 > 0:22:24DOOR CLOSES
0:22:26 > 0:22:28It was a sensation.
0:22:28 > 0:22:30You have to understand that women's movies
0:22:30 > 0:22:33had been out of vogue for quite some time.
0:22:33 > 0:22:38I think the biggest money-maker that year was Lawrence Of Arabia.
0:22:38 > 0:22:40I don't think there was even a girl camel in that one.
0:22:42 > 0:22:45So with two women stars of our era
0:22:45 > 0:22:48to suddenly have the most successful picture
0:22:48 > 0:22:52in the theatres among young people, well,
0:22:52 > 0:22:54we thought it signalled a sea change.
0:22:54 > 0:22:56We had thought we'd all start working again,
0:22:56 > 0:22:59- there'd be a flood of women's pictures.- Didn't turn out that way.
0:22:59 > 0:23:02Sure as hell didn't. The studios thought it was a fluke.
0:23:02 > 0:23:04They always think it's a fluke when a picture carried
0:23:04 > 0:23:07by the girls succeeds at the box office.
0:23:07 > 0:23:09And they so often do.
0:23:09 > 0:23:11Baby Jane was hot.
0:23:11 > 0:23:13Joan felt left out in the cold.
0:23:13 > 0:23:16She did what actors have done since Euripides.
0:23:16 > 0:23:19- She started hitting the bottle. - So you're saying, on the record,
0:23:19 > 0:23:23- that Joan Crawford was an alcoholic? - Oh, I'm not saying it, honey.
0:23:23 > 0:23:25Joan herself said it.
0:23:25 > 0:23:28Quote, "The twin curses of being a star
0:23:28 > 0:23:31"are alcoholism and loneliness." End quote.
0:23:31 > 0:23:34Can you explain that sentiment to me?
0:23:34 > 0:23:39Well, the highs you experience being a star, they're incredible.
0:23:39 > 0:23:42When you're in a role, you get to fall in love.
0:23:42 > 0:23:45You get to be glamorous.
0:23:45 > 0:23:48You can tell people how you feel deep down inside.
0:23:48 > 0:23:50Oh, it's a constant high.
0:23:50 > 0:23:53And then, when you don't have a job, a success,
0:23:53 > 0:23:57or someone else is riding high,
0:23:57 > 0:23:59it gets very, very quiet.
0:24:01 > 0:24:04You can hear the voices of doubt.
0:24:04 > 0:24:08Pick up a bottle, and suddenly the party starts all over again.
0:24:08 > 0:24:10The pain goes away.
0:24:12 > 0:24:14DOORBELL RINGS
0:24:14 > 0:24:15Get her.
0:24:23 > 0:24:24Well, look who's here.
0:24:24 > 0:24:26- If it isn't Jack Warn... - What is this shit
0:24:26 > 0:24:30about you not wanting to promote the picture? Jesus Christ, Joan.
0:24:30 > 0:24:33I already have a cross-country tour announced for the two of you.
0:24:33 > 0:24:35I'm not travelling with that woman.
0:24:35 > 0:24:36HE GROANS
0:24:36 > 0:24:40Besides, why should I promote your picture
0:24:40 > 0:24:42when you won't return the favour?
0:24:42 > 0:24:45I know you have been out there
0:24:45 > 0:24:48actively campaigning for Davis for Best Actress.
0:24:48 > 0:24:50Yeah, I have. And I've been doing the same for you.
0:24:50 > 0:24:54You got to get over this. This is one of the biggest successes
0:24:54 > 0:24:57you've had in years, and instead of going out there
0:24:57 > 0:24:59and promoting it and making it bigger,
0:24:59 > 0:25:01what are you doing? Sitting here getting pickled.
0:25:01 > 0:25:03I'm not pickled!
0:25:03 > 0:25:05Like a herring.
0:25:05 > 0:25:06It's eleven in the morning.
0:25:06 > 0:25:08- Look, Jack... - HE GROANS
0:25:08 > 0:25:10- Jesus! - ..I need your support.
0:25:10 > 0:25:12I mean, come on.
0:25:12 > 0:25:14- If she gets nominated and I don't...- Honey...
0:25:14 > 0:25:16..I don't know what I'm going to do about it.
0:25:16 > 0:25:18- I mean, I need you to push just as hard for me...- OK. All right.
0:25:18 > 0:25:21- ..as you are for her.- Come on. - Even harder.- OK. Come on. Stop it.
0:25:21 > 0:25:24- Stop it. Stop it. Stop it. Stop. - Shut up, you asshole.
0:25:24 > 0:25:27- What?!- It wasn't cute when you were 45,
0:25:27 > 0:25:31and it sure as hell isn't cute now, so stop it.
0:25:32 > 0:25:34- You know what? - What?
0:25:34 > 0:25:38You were never in my corner. All these years, you always thought
0:25:38 > 0:25:41Davis had more talent than I did.
0:25:41 > 0:25:43She does.
0:25:44 > 0:25:46She can act rings around you.
0:25:46 > 0:25:49But your ass is nice and your tits aren't sagging, so...
0:25:49 > 0:25:51- Get out of my house. - OK.
0:25:52 > 0:25:55You don't want to do this tour, that's fine.
0:25:55 > 0:25:58But when those nominations come out, I want you
0:25:58 > 0:26:00to be shaking hands and sucking cocks,
0:26:00 > 0:26:02even if you yourself are not nominated.
0:26:02 > 0:26:04Every statue that this picture wins
0:26:04 > 0:26:07brings another million dollars into our pockets.
0:26:07 > 0:26:09And you have a piece of the picture.
0:26:09 > 0:26:12It is your goddamn fiduciary responsibility.
0:26:14 > 0:26:16Asshole!
0:26:18 > 0:26:21Poor Joan. I sometimes feel that she had more trouble
0:26:21 > 0:26:24dealing with success than she did failure.
0:26:24 > 0:26:29Bette, on the other hand, well, she hadn't had a hit in years.
0:26:29 > 0:26:32After all that time in the desert, she wasn't about to let
0:26:32 > 0:26:34this one go without enjoying it.
0:26:34 > 0:26:36CHEERING AND APPLAUSE
0:26:41 > 0:26:44Hey, Bette! Where's your sister? Where's Joan Crawford?
0:26:44 > 0:26:45On the beach.
0:26:45 > 0:26:46Dead!
0:26:46 > 0:26:48LAUGHTER
0:26:48 > 0:26:51For the first time ever, Bette seemed to enjoy her public.
0:26:51 > 0:26:54She seemed to embrace the idea of being a star.
0:26:54 > 0:26:58And she was going to hold on to that feeling for dear life,
0:26:58 > 0:27:00because she knew it might never come again.
0:27:00 > 0:27:03So, what's it like to be the cat's pyjamas?
0:27:03 > 0:27:05LAUGHTER
0:27:05 > 0:27:08Is that what the kids are calling it now?
0:27:08 > 0:27:10I hear that you and your co-star are more popular
0:27:10 > 0:27:13with the Brylcreem and acne set than Fabian.
0:27:13 > 0:27:16If that's so, I would suggest they send all their fan mail
0:27:16 > 0:27:19to Mr Jack Warner, care of Warner Brothers Studios.
0:27:19 > 0:27:21He didn't want to make this picture, you know.
0:27:21 > 0:27:25- You know what his initial reaction was?- No. What?
0:27:25 > 0:27:29- He said he wouldn't put up a nickel for us "two old broads".- No!
0:27:29 > 0:27:31Yes. Can you imagine? I mean, really.
0:27:31 > 0:27:34I guess we showed him there's still a lot of life left
0:27:34 > 0:27:36in these two old broads.
0:27:40 > 0:27:43PHONE RINGS
0:27:46 > 0:27:47Hello?
0:27:48 > 0:27:50Hello?
0:27:50 > 0:27:52Oh.
0:27:52 > 0:27:55So you finally deigned to pick up, huh?
0:27:55 > 0:27:57I had just walked in the... Joan?
0:27:57 > 0:28:02Please stop referring to me as an old broad,
0:28:02 > 0:28:04or I'll have to consult my lawyer. It's slander.
0:28:04 > 0:28:09And it impairs my ability to secure future work.
0:28:09 > 0:28:14The only thing impairing your ability is a fifth of vodka.
0:28:14 > 0:28:16This is sad, Joan. I'm sad for you.
0:28:16 > 0:28:20- For me?- Yes. Jesus Christ, we're a goddamned bona fide hit,
0:28:20 > 0:28:22and you're incapable of enjoying it.
0:28:22 > 0:28:25It looks like you've been enjoying it enough for the both of us.
0:28:25 > 0:28:29- Half the success belongs to you. - Well, then I'd appreciate it
0:28:29 > 0:28:32if you would enjoy it half as much.
0:28:32 > 0:28:34JOAN HANGS UP
0:28:35 > 0:28:37SHE SIGHS
0:28:41 > 0:28:43Pathetic old drunk.
0:28:57 > 0:29:01Sinatra's comedic contributions to the Western.
0:29:01 > 0:29:03He wants to rewrite half of my goddamn lines.
0:29:03 > 0:29:06Well, maybe you got to snap your fingers to get the jokes.
0:29:06 > 0:29:09Oh, I hope his limo gets lost in the Mojave.
0:29:09 > 0:29:10Take a break.
0:29:17 > 0:29:21- The Black Slipper. - I wrote it for Joan.
0:29:21 > 0:29:23When the hell did you find the time to do that?
0:29:23 > 0:29:26Well, if it's something you care about,
0:29:26 > 0:29:29- you get up early, right? - I didn't know you were a writer.
0:29:29 > 0:29:32I'm also a director. At least, I think I am.
0:29:32 > 0:29:36- No, I-I am. - Uh, Pauline, I'm lost.
0:29:36 > 0:29:38I wrote it to give myself a picture to direct, Bob.
0:29:38 > 0:29:41You said you couldn't have done Baby Jane without me.
0:29:41 > 0:29:43That is what you said. Well, I know how to cast,
0:29:43 > 0:29:46I know how to prep, I know how to handle the studio. And I am good.
0:29:46 > 0:29:48I've been there every day.
0:29:48 > 0:29:51I've managed more disasters than the Army Corps of Engineers.
0:29:51 > 0:29:53Of course, I realise there are things
0:29:53 > 0:29:54I do need to learn about the camera...
0:29:54 > 0:29:57Easy, partner. You don't have to convince me.
0:29:57 > 0:29:59You're good on story. You have an impeccable eye.
0:29:59 > 0:30:02And you handled those two old broads like a lion tamer.
0:30:02 > 0:30:04Thank you.
0:30:04 > 0:30:06Anything else you can pick up in a textbook.
0:30:06 > 0:30:10So then you will read it and you would consider producing?
0:30:10 > 0:30:12Why do you sound so surprised?
0:30:12 > 0:30:14Because some men find it off-putting,
0:30:14 > 0:30:16imagining a woman in charge.
0:30:16 > 0:30:18Really? What men?
0:30:18 > 0:30:21Oh, your friends at the old folks' home?
0:30:21 > 0:30:24It's a new world, Pauline.
0:30:24 > 0:30:28Thank you, Bob. I will not forget this.
0:30:28 > 0:30:31Well, since you're in charge now,
0:30:31 > 0:30:34why don't I let you tell Sinatra where he can put this?
0:30:35 > 0:30:38SHE SIGHS
0:30:38 > 0:30:39Boss.
0:30:46 > 0:30:50- You don't trust women very much, do you?- Why don't you trust people?!
0:30:50 > 0:30:52No, no! Go back to your-your fancy party!
0:30:52 > 0:30:54I don't need you! Go on! Get out!
0:30:54 > 0:30:56KEYS JANGLE
0:30:56 > 0:31:01It's all right, Sergeant. I think I just lost a client, that's all.
0:31:02 > 0:31:06- Good night, toughy. - And cut!- OK, that's lunch!
0:31:06 > 0:31:09- One hour! - Thank you. What a gentleman.
0:31:09 > 0:31:13- I liked that. How did you think it went? Are you happy?- I am happy.- Mm.
0:31:13 > 0:31:17What is this big fish doing in my little pond?
0:31:17 > 0:31:20- Bette, how you doing? - I'm doing television.
0:31:20 > 0:31:23I want you to take me out to a fancy, expensive restaurant.
0:31:23 > 0:31:25You got it.
0:31:25 > 0:31:29I want you to have this. Open it.
0:31:30 > 0:31:33SHE CHUCKLES
0:31:33 > 0:31:36It's the one millionth ticket sold for Baby Jane,
0:31:36 > 0:31:37or that's what they told me.
0:31:37 > 0:31:40Oh, how nice! I hope I don't have to pawn it.
0:31:40 > 0:31:43- Yeah. I saw your Variety ad. - Oh, that was just a joke.
0:31:43 > 0:31:47Yeah, I know that's how people are taking it, but I know better.
0:31:47 > 0:31:49All right, I admit, I was in a panic.
0:31:49 > 0:31:52- Everyone thought Baby Jane would bomb.- And it didn't.- No, it didn't.
0:31:52 > 0:31:55And I'm still not getting any offers.
0:31:55 > 0:31:58- What are you talking about? You're doing Perry Mason.- Television.
0:31:58 > 0:31:59There's no shame in doing television.
0:31:59 > 0:32:02Says the man who just signed Sinatra and Dean Martin
0:32:02 > 0:32:04to a multimillion-dollar Western romp.
0:32:04 > 0:32:07Yeah, you're right. It's disgraceful how you and Joan
0:32:07 > 0:32:09aren't getting the credit you deserve.
0:32:09 > 0:32:12You should both be up to your necks in offers.
0:32:12 > 0:32:15Well, this town has always been a boys' club,
0:32:15 > 0:32:16and the boys are not polite.
0:32:16 > 0:32:19They're not going to hold the door open for me.
0:32:19 > 0:32:21I'm going to have to kick it open, the way I always have.
0:32:23 > 0:32:25I've found a script.
0:32:25 > 0:32:28I want you to direct.
0:32:28 > 0:32:29It's about two sisters...
0:32:29 > 0:32:32Oh, Bette, no, I'm not going another 12 rounds with you two.
0:32:32 > 0:32:35Crawford's not getting anywhere near this one.
0:32:35 > 0:32:36So who do you see for your co-star?
0:32:36 > 0:32:38Me.
0:32:38 > 0:32:40I play both parts. They're twins.
0:32:40 > 0:32:42Didn't you do that already? '46. A Stolen Life.
0:32:42 > 0:32:45But the technology has so improved. And so have I.
0:32:45 > 0:32:47We shouldn't be repeating ourselves, Bette.
0:32:47 > 0:32:49I don't think that's a good move for either of us.
0:32:52 > 0:32:55I understand. Completely.
0:32:55 > 0:32:57Don't give it a second thought.
0:32:57 > 0:32:59I'm really pleased for you, Bob,
0:32:59 > 0:33:02that you've turned everything around, and I'm so happy
0:33:02 > 0:33:06that someone is getting credit for our success.
0:33:06 > 0:33:10And now you can go off and make a big Western with the boys.
0:33:12 > 0:33:15And I have my little ashtray.
0:33:15 > 0:33:17Oh, come on. You're going to get more than an ashtray.
0:33:17 > 0:33:20We both know you're going to be nominated for another Oscar.
0:33:20 > 0:33:22- What if I lose? - You won't lose.
0:33:23 > 0:33:27A nomination is not going to be enough to turn this around for me.
0:33:27 > 0:33:31I've just proven that I can still open a picture.
0:33:31 > 0:33:33If the offers aren't coming in now...
0:33:33 > 0:33:36Yeah, but they will come in. And if they don't, I promise you,
0:33:36 > 0:33:39I will personally write you another big, fat fucking hit.
0:33:41 > 0:33:43Yeah. That's what Mankiewicz said, too,
0:33:43 > 0:33:45right after I lost for All About Eve.
0:33:47 > 0:33:49I'm still waiting.
0:33:54 > 0:33:55Hey.
0:33:56 > 0:33:59- That's it. - Oh, wow!
0:33:59 > 0:34:02Frank? Some of these costuming ideas, I don't think
0:34:02 > 0:34:04they're very practical in this context.
0:34:04 > 0:34:08You got cream suede boots, uh, linen pants, gold ascot...
0:34:08 > 0:34:11- Gold silk ascot.- Yeah, well, yeah, a top hat and tux
0:34:11 > 0:34:13for the act three brawl... I mean, come on,
0:34:13 > 0:34:14this is the Wild West, it's Galveston.
0:34:14 > 0:34:16You know, I mean, think of the dust.
0:34:16 > 0:34:19There's chaw spit flying all over the place.
0:34:19 > 0:34:21I mean, there's horseshit on the streets.
0:34:21 > 0:34:23Zack Thomas doesn't walk in horseshit.
0:34:23 > 0:34:26Yeah, and what about, look, page 33. You got Fifi shining your shoes,
0:34:26 > 0:34:29and you want Anita Ekberg to give you a shave on page 108?
0:34:29 > 0:34:32Bob...go to the club and get a drink.
0:34:32 > 0:34:34I hear a heart attack coming on.
0:34:34 > 0:34:40Zack Thomas is intent on recouping his 100,000 from Joe Jarrett.
0:34:40 > 0:34:41That is the picture.
0:34:41 > 0:34:44Now, if every time we see Zack he's getting a foot rub,
0:34:44 > 0:34:46how's the audience going to understand his ambition?
0:34:46 > 0:34:50People know what I want, and they know I don't sweat getting it.
0:34:50 > 0:34:52Match me.
0:35:03 > 0:35:05Zack, what are we going to do about Jarrett
0:35:05 > 0:35:08- and his gambling boat now?- Well, you don't leave me much choice.
0:35:08 > 0:35:10He now has the dock rights, thanks to you.
0:35:10 > 0:35:14But don't worry about it, Harv, opening night will be closing night.
0:35:14 > 0:35:16Certainly hope so.
0:35:16 > 0:35:21I sometimes think I don't have the intestinal fortitude for this job.
0:35:21 > 0:35:23The word is "guts," Harv.
0:35:23 > 0:35:26Cut, cut. Frank, you're looking straight down the camera.
0:35:26 > 0:35:29- I'm pretending it's a mirror.- Well, that's fine, but look to one side.
0:35:29 > 0:35:32No. You go see a Sinatra comedy, you want to see his baby blues.
0:35:32 > 0:35:35You're not Sinatra, you're Zack Thomas, and this isn't
0:35:35 > 0:35:38centre stage at the Sands. It's a saloon in Galveston.
0:35:38 > 0:35:42Frank, listen, we have an opportunity here to make
0:35:42 > 0:35:43a picture that's saying something
0:35:43 > 0:35:46about the rivalry and greed that civilised the American West.
0:35:46 > 0:35:48It's saying nothing but tits and fistfights
0:35:48 > 0:35:51- and me looking like a real cool daddy. Come on!- OK, OK.
0:35:51 > 0:35:52I'm not going to argue with you.
0:35:52 > 0:35:55Let's go back to, uh, um, "You don't leave me much choice."
0:35:55 > 0:35:57Got it.
0:35:57 > 0:35:59OK. Let's roll.
0:35:59 > 0:36:01Rolling.
0:36:04 > 0:36:06And...action.
0:36:06 > 0:36:08HE BELCHES
0:36:08 > 0:36:12How can I concentrate with this beluga whale belching next to me?
0:36:12 > 0:36:14Oh, that's... it's a character choice,
0:36:14 > 0:36:16- Mr Sinatra. - Who asked you?! Huh?
0:36:16 > 0:36:18OK, come on, come on. Let's concentrate. Let's go again.
0:36:18 > 0:36:20- We're still rolling. - Come on!
0:36:22 > 0:36:25OK, going again. And...action.
0:36:27 > 0:36:29- "You don't leave me much choice." - I know the line,
0:36:29 > 0:36:32- you stupid bitch!- All right, all right, that's out of bounds.
0:36:32 > 0:36:35Out of bounds?! Who the fuck do you think you are, "out of bounds"?!
0:36:35 > 0:36:38You're nobody. I ought to have you decapitated and buried
0:36:38 > 0:36:40in the fucking desert, you sweaty, four-eyed ape.
0:36:40 > 0:36:42They won't even mark your grave with an X.
0:36:42 > 0:36:45And no one'll notice you're gone!
0:36:51 > 0:36:56- And that's lunch! One hour! - BELL RINGS
0:36:56 > 0:36:57Warner wants to see you.
0:36:57 > 0:36:59Yeah, why does that sound like a relief?
0:37:01 > 0:37:04Here. Sinatra's changes. Just put them in some kind of order.
0:37:07 > 0:37:10- I'm sorry, honey. You OK? - Yeah.
0:37:15 > 0:37:16Couch.
0:37:20 > 0:37:23Don't be nervous, Bob.
0:37:23 > 0:37:26I asked you here because...
0:37:26 > 0:37:28..I didn't like the way we left things last time.
0:37:28 > 0:37:32I wanted to apologise for my harsh and insulting language.
0:37:32 > 0:37:34I'm sorry.
0:37:34 > 0:37:37I was hurt, I felt rejected and I lashed out.
0:37:37 > 0:37:39It's all right.
0:37:39 > 0:37:43No. It's not. Just because I made Bob Aldrich
0:37:43 > 0:37:46doesn't mean that he has to obey my every command.
0:37:46 > 0:37:51You're not a poodle. Are you, Bob? You're your own man.
0:37:52 > 0:37:54Well, thanks for that. I appreciate it.
0:37:54 > 0:37:58- Well, I hope we can still be friends.- Yeah, sure. Why not?
0:38:00 > 0:38:01So...
0:38:01 > 0:38:04..I hear the Sinatra dailies are unwatchable.
0:38:04 > 0:38:06- Uh, we'll get there. - Yeah?
0:38:06 > 0:38:10I also hear that he's treating you like a halfwit toilet attendant.
0:38:10 > 0:38:12Well, I wouldn't say we've, uh,
0:38:12 > 0:38:16- we've hit a groove of mutual respect!- Come on, Bobby.
0:38:16 > 0:38:19You can't hide from old Jack. I can hear it in your voice.
0:38:19 > 0:38:20Your sphincter's clenching up.
0:38:20 > 0:38:23- Which is exactly what I told you would happen.- I know you're getting
0:38:23 > 0:38:26some kind of grim satisfaction out of this,
0:38:26 > 0:38:30but I slaved over that script. I slaved over it. And this...
0:38:30 > 0:38:32..suntanned man-child is mutilating it.
0:38:32 > 0:38:35Yeah. Yeah. No, I've-I've heard. I've heard.
0:38:37 > 0:38:38What's this?
0:38:38 > 0:38:41That's a gift for my good friend Bob.
0:38:41 > 0:38:43Fresh, unmutilated properties.
0:38:43 > 0:38:45Further tales of old hags.
0:38:45 > 0:38:49No, no, no. Now, listen. Pick one and bring it to Bette.
0:38:49 > 0:38:54As a bonus, I will release your dog-shit Sinatra Western.
0:38:54 > 0:38:56Who else would do that for you?
0:38:58 > 0:39:01All right, come on, run along now, I got writing to do.
0:39:01 > 0:39:05I'm working on my autobiography. What do you think I should call it?
0:39:05 > 0:39:07I'm thinking of Life Of A Showman.
0:39:07 > 0:39:09- Yeah, that's great. - Mm-hm. That's good, right?
0:39:09 > 0:39:12Oh, also, good luck on Monday.
0:39:12 > 0:39:16I mean in general, for Baby Jane. It's sure to pick up a few nods,
0:39:16 > 0:39:17but I want you to be prepared
0:39:17 > 0:39:19for the possibility that you'll be left out.
0:39:19 > 0:39:21But don't take it personally.
0:39:21 > 0:39:24You're just not the type that your peer group acknowledges.
0:39:25 > 0:39:27I'll see you later.
0:39:27 > 0:39:29Can I ask you something, Jack?
0:39:29 > 0:39:32- Yes, of course! - Be straight with me.
0:39:32 > 0:39:35Never any other way, Bob.
0:39:35 > 0:39:38Do you think I have the potential for greatness?
0:39:41 > 0:39:42No.
0:39:56 > 0:39:58Honey, get Frank.
0:39:58 > 0:40:00He took a jet to New York, Pop.
0:40:00 > 0:40:03- What? - H-He said to shoot around him.
0:40:11 > 0:40:13What is this, Bob?
0:40:13 > 0:40:16Sinatra's notes, which I invite you to stuff into a Molotov cocktail.
0:40:16 > 0:40:19No, this was my script. I worked on this for months,
0:40:19 > 0:40:23and you used it for scrap paper. Did you even read it?
0:40:23 > 0:40:26I-I needed something to write on. It's not like I tossed it out.
0:40:26 > 0:40:29No, you just told me to "stuff it into a Molotov cocktail".
0:40:29 > 0:40:31Pauline!
0:40:31 > 0:40:34I'm drowning here. I'm underwater.
0:40:34 > 0:40:36And you're asking me to move a mountain for you.
0:40:36 > 0:40:38Even if you didn't pick the shittiest time possible,
0:40:38 > 0:40:40I'm not a miracle worker.
0:40:40 > 0:40:43No-one will let a woman direct a picture. You're in fantasyland.
0:40:43 > 0:40:46Now, if you want to come back to the real world
0:40:46 > 0:40:49and keep working as my assistant, good. If not, take a walk,
0:40:49 > 0:40:51because I don't have time or energy
0:40:51 > 0:40:54to coddle a middle-aged boy singer and you, too!
0:41:13 > 0:41:17One slice each, apple, pecan and whipped cream.
0:41:17 > 0:41:18With two Pepsi-Colas.
0:41:18 > 0:41:21Well, no time like the present to develop diabetes.
0:41:21 > 0:41:25Miss Joan forbids sweets. She says sugar is a dangerous food.
0:41:25 > 0:41:27I take my thrills where I can.
0:41:27 > 0:41:30- Bring the bill to me. - You don't have to treat, Mamacita.
0:41:30 > 0:41:32I don't need consolation.
0:41:34 > 0:41:38My mother wasted her entire life bringing us pot roasts on trays
0:41:38 > 0:41:40and ironing my father's boxer shorts.
0:41:40 > 0:41:42Not that there's anything wrong with domestic work.
0:41:42 > 0:41:46I only mean that...Joan is right.
0:41:46 > 0:41:48I've got a good thing going with Bob.
0:41:48 > 0:41:50I can't throw it away on a pipe dream.
0:41:50 > 0:41:54- I've got to live in the real world. - But the real world is changing.
0:41:54 > 0:41:57Mornings when Miss Joan has a hangover,
0:41:57 > 0:42:00I take the twins to the library. I'm a new citizen.
0:42:00 > 0:42:02I learn about my country in the reference room.
0:42:02 > 0:42:06I read the almanac, the atlas, the census report.
0:42:06 > 0:42:09You didn't tear these out of a library book, did you?
0:42:09 > 0:42:11This is the United States sex ratio.
0:42:11 > 0:42:15Look here. In 1910, there are how many more men than women?
0:42:15 > 0:42:17- 2.7 million. - In 1940?
0:42:17 > 0:42:19Zero point five.
0:42:19 > 0:42:22And now we outnumber them by more than one million.
0:42:22 > 0:42:25Mm-hm. Should someone tell the men they're going extinct?
0:42:25 > 0:42:29Not extinct. Minority. Men were first to immigrate.
0:42:29 > 0:42:32On frontier, only men, like bathhouse.
0:42:32 > 0:42:35That explains big 1910 number. However,
0:42:35 > 0:42:38men have shorter lives, because they are less strong,
0:42:38 > 0:42:41and many die in war. That explains the decline.
0:42:43 > 0:42:45Census projections.
0:42:45 > 0:42:49By 1970, there will be six million more women than men.
0:42:49 > 0:42:5352% of total population. Do you know what this means?
0:42:53 > 0:42:56- A lot of lonely gals. - Studios will have obligations
0:42:56 > 0:43:00to make half of stories about women, by women, for women.
0:43:00 > 0:43:03It only makes economic sense.
0:43:03 > 0:43:07Keep your head up. Your day is coming.
0:43:11 > 0:43:13Mamacita!
0:43:15 > 0:43:17You're a real big-picture thinker.
0:43:27 > 0:43:29PHONE DIALLING TONE
0:44:01 > 0:44:03Mamacita?
0:44:04 > 0:44:07PHONE DIALLING TONE
0:44:13 > 0:44:16PHONE DIALLING TONES
0:44:44 > 0:44:46Hmm.
0:44:46 > 0:44:48- Miss Joan? - Oh!
0:44:49 > 0:44:52Oh, you startled me, Mamacita.
0:44:52 > 0:44:56What's going on? I asked you to wake me at five thirty.
0:44:56 > 0:45:00They're announcing the Oscar nominations today.
0:45:00 > 0:45:01Miss Joan...
0:45:02 > 0:45:04..I want you to sit down.
0:45:09 > 0:45:11NO-O-O-O-O-O!