0:00:02 > 0:00:04This programme contains strong language
0:00:07 > 0:00:10They say places you knew as a child
0:00:10 > 0:00:12seem smaller when you see them again.
0:00:15 > 0:00:16It's not true.
0:00:18 > 0:00:19It's just as I left it.
0:00:41 > 0:00:42Keep the change.
0:00:45 > 0:00:47- Cut! - BELL RINGS
0:00:47 > 0:00:48Beautiful.
0:00:48 > 0:00:51Ladies and gentlemen, Miss Joan Crawford, our one-take wonder.
0:00:53 > 0:00:57- OK, next set up.- Wait, Bob, don't you want me to try it again?
0:00:57 > 0:00:58No need, Joanie. You nailed it.
0:00:59 > 0:01:01- Are you sure?- Absolutely.
0:01:01 > 0:01:02Well done.
0:01:03 > 0:01:06HE WHISPERS
0:01:06 > 0:01:07THEY GIGGLE
0:01:09 > 0:01:13There's nothing as exciting as the first day on a set, is there?
0:01:13 > 0:01:14It's my fifth day, but sure.
0:01:14 > 0:01:17THEY CONTINUE TO GIGGLE
0:01:20 > 0:01:22They're like bunny rabbits.
0:01:22 > 0:01:25It's past midnight. They've been at it since we got home from dinner.
0:01:25 > 0:01:26LOUD MUSIC PLAYS
0:01:26 > 0:01:30Miss Joan, you have an early call tomorrow. You must rest.
0:01:30 > 0:01:32Well, how can I sleep when my director and co-star
0:01:32 > 0:01:36are engaged in some tawdry bacchanal 30 feet away?
0:01:36 > 0:01:37Have a nightcap.
0:01:37 > 0:01:40I told you, Mamacita, I am not drinking on this production.
0:01:40 > 0:01:42I need a clear head.
0:01:42 > 0:01:43I could sing a lullaby.
0:01:46 > 0:01:47I'll call the front desk.
0:01:47 > 0:01:49Go to sleep, Mamacita.
0:01:50 > 0:01:52I don't care what they do in private,
0:01:52 > 0:01:54but staying up partying like teenagers
0:01:54 > 0:01:57can only detract from the quality of their work
0:01:57 > 0:01:59and, by extension, mine.
0:01:59 > 0:02:00And that I cannot abide.
0:02:00 > 0:02:02No, no, no, no.
0:02:02 > 0:02:06I'll simply go over there and politely ask them
0:02:06 > 0:02:09to consider the labours that lie ahead and encourage them to make
0:02:09 > 0:02:11more responsible choices.
0:02:13 > 0:02:14Should I wait up?
0:02:17 > 0:02:18Oh! Oh, my, my, Bette!
0:02:32 > 0:02:35- BETTE IMITATES JOAN: - And keep the change.
0:02:36 > 0:02:38Oh!
0:02:38 > 0:02:39THEY LAUGH
0:02:47 > 0:02:48Oh, damn it.
0:02:48 > 0:02:51Give it up, Bette. You're never going to be able to do it.
0:02:51 > 0:02:53I don't know how she managed to do all that business
0:02:53 > 0:02:55- in one take. - Oh, my goodness.
0:02:55 > 0:02:57If I didn't know better, I'd think you admire her.
0:02:57 > 0:02:59Well, why shouldn't she? It's no accident
0:02:59 > 0:03:00Joan's been a star since the silents.
0:03:00 > 0:03:03- She's an artist. - Between the sheets.- Oh!
0:03:03 > 0:03:04My, my, Bette.
0:03:04 > 0:03:07I thought your rivalry was put on for the press.
0:03:07 > 0:03:09I don't know what you're talking about. What rivalry?
0:03:09 > 0:03:12I got to hand it to you, Bette. After all you've been through,
0:03:12 > 0:03:14giving Joan the Oscar bait this go-around?
0:03:14 > 0:03:16It's mighty white of you.
0:03:16 > 0:03:18The picture is called Hush... Hush, Sweet Charlotte.
0:03:18 > 0:03:20- There you go.- I play Charlotte.
0:03:20 > 0:03:22Oh, well, then, let me congratulate you
0:03:22 > 0:03:25on your divine work in All About Margo Channing.
0:03:25 > 0:03:27Joan's playing the villain,
0:03:27 > 0:03:29and villains always have the meatier roles.
0:03:29 > 0:03:31She's the mastermind.
0:03:31 > 0:03:33- That's true. - You guys, stop teasing her now.
0:03:33 > 0:03:35Nobody's teasing anyone.
0:03:35 > 0:03:37Agnes, shouldn't you be giving me your...
0:03:37 > 0:03:39VOICES FADE AWAY UNDER MUSIC
0:05:03 > 0:05:06I hope you had a good breakfast.
0:05:06 > 0:05:09I do wish you'd give me a crack at those brows, Joan.
0:05:09 > 0:05:12The brows are mine and the mouth.
0:05:12 > 0:05:14Let's get started on the lashes.
0:05:19 > 0:05:20No.
0:05:23 > 0:05:25No.
0:05:31 > 0:05:32Yes.
0:05:38 > 0:05:39I'll just take...
0:05:45 > 0:05:47"Why wouldn't I tell him that his...
0:05:48 > 0:05:50"..his pure, darling little girl
0:05:50 > 0:05:53"was having a dirty little affair with a married man?"
0:05:53 > 0:05:56"You're a vile, sorry little bitch."
0:05:59 > 0:06:00Freshen me up, Mamacita.
0:06:03 > 0:06:05Well, God bless your heart.
0:06:05 > 0:06:09Here's Cousin Miriam all dolled up from tip-top to her toenails.
0:06:09 > 0:06:10Welcome.
0:06:10 > 0:06:15Well, I wanted to make sure that my look would survive the humidity.
0:06:15 > 0:06:17I didn't realise you were in this scene, Bette.
0:06:17 > 0:06:18I'm not.
0:06:20 > 0:06:22Often at night, she sits up, dressed...
0:06:24 > 0:06:26..as if she was still young, expecting a beau.
0:06:28 > 0:06:31I seem to remember once expecting something like that myself.
0:06:34 > 0:06:36You going to be all right here?
0:06:36 > 0:06:38I could stay over.
0:06:38 > 0:06:41You've been content to let me get by on my own all these years.
0:06:41 > 0:06:42Another night won't kill me.
0:06:42 > 0:06:45- BETTE WHISPERS:- You're not going to let her do it that way, are you?
0:06:45 > 0:06:47- Cut. - BELL RINGS
0:06:47 > 0:06:48- What? What happened? - Nothing, nothing.
0:06:48 > 0:06:50We're going to go again straightaway, Joanie.
0:06:50 > 0:06:53You don't even need this scene. I mean, it seems like
0:06:53 > 0:06:54it might not be necessary.
0:06:54 > 0:06:56You have something to say about my performance?
0:06:56 > 0:06:59- Then say it to me! - All right.
0:06:59 > 0:07:00This scene isn't really necessary,
0:07:00 > 0:07:03and you're telegraphing that Miriam is up to no good
0:07:03 > 0:07:05when the audience, at this point, has to think she's a saint.
0:07:05 > 0:07:07This is my performance.
0:07:08 > 0:07:10I have worked very hard on this.
0:07:10 > 0:07:12Joan, can we just shoot the scene?
0:07:12 > 0:07:14Let's worry about cutting and changing later on.
0:07:14 > 0:07:16Can you do it this time as if butter wouldn't melt in your mouth?
0:07:16 > 0:07:18- Good idea.- OK. Reset.
0:07:22 > 0:07:26I need to process your note, Bob, in my trailer.
0:07:33 > 0:07:36What the hell is she doing on this set during my scene?
0:07:36 > 0:07:38Running off at the mouth about my performance?
0:07:38 > 0:07:41And you, you just sitting there like a wet dog!
0:07:41 > 0:07:43Where the hell are your balls?
0:07:43 > 0:07:46Bette can say whatever she wants. She's a producer.
0:07:47 > 0:07:49What?!
0:07:49 > 0:07:51I made her associate producer. It was the only way
0:07:51 > 0:07:53to get her to sign on. She was holding the picture hostage.
0:07:53 > 0:07:55No, I don't want that! Goddamn it!
0:07:55 > 0:07:57Go on, Mamacita. Leave us alone.
0:07:57 > 0:07:59You made her a producer?
0:07:59 > 0:08:01Joanie, the title's meaningless.
0:08:01 > 0:08:03Bette just needs to feel she has authority.
0:08:03 > 0:08:07I have been working day and night to prepare for this role.
0:08:07 > 0:08:09Nothing's changed. You're still going to be great.
0:08:09 > 0:08:10You have no idea how much harder
0:08:10 > 0:08:14I have to work to be taken seriously as an actress.
0:08:14 > 0:08:18I didn't get my start in the theatre, like Miss Bette Davis.
0:08:18 > 0:08:21I broke in shaking my fringe in nightclubs.
0:08:21 > 0:08:24I'd come home after a gig with scotch on my dress,
0:08:24 > 0:08:27and I'll always have that stain on me
0:08:27 > 0:08:31and I'll always have to prove them wrong, and I can't...
0:08:31 > 0:08:34do it on Charlotte, because she won't let me!
0:08:34 > 0:08:37Joanie, you have to let go of that anger to her.
0:08:37 > 0:08:39- You can't give her the fight. - I am not angry with her!
0:08:39 > 0:08:41I'm angry with you.
0:08:42 > 0:08:44God, I must have been such a fool,
0:08:44 > 0:08:47thinking that you were paying me this great tribute
0:08:47 > 0:08:49by promising me top billing.
0:08:49 > 0:08:52And all the while, behind my back, you were promising her
0:08:52 > 0:08:55exactly what she deserved - producer.
0:08:57 > 0:08:58Well, Bob...
0:08:59 > 0:09:01..do you think I deserve it, too?
0:09:04 > 0:09:05Joanie, don't put me on the spot.
0:09:07 > 0:09:08You know what I'm going to enjoy?
0:09:10 > 0:09:14I'm going to enjoy watching you learn
0:09:14 > 0:09:18just how meaningless Bette thinks this title is.
0:09:29 > 0:09:31Where's Joan?
0:09:31 > 0:09:34Oh, she's out catching groundhogs to replenish her wig supply.
0:09:34 > 0:09:37You have to catch them in the dead of night.
0:09:37 > 0:09:40Why do you keep saying that? It's not nice.
0:09:41 > 0:09:43It's hard for a woman, losing her hair.
0:09:44 > 0:09:46- HE STUTTERS:- Her femin-in...
0:09:46 > 0:09:48Femin-in-inity.
0:09:48 > 0:09:51- You should be nice. - It's a joke, Victor!
0:09:51 > 0:09:54Oh, my God. Stop drinking. It's making you soft.
0:09:55 > 0:09:59Oh, you should have seen how the most beautiful woman that ever lived
0:09:59 > 0:10:01treated me back in the day.
0:10:01 > 0:10:03And I remember thinking then...
0:10:04 > 0:10:06"..Beauty fades. Just wait."
0:10:08 > 0:10:11- And it did.- Well, I remember seeing her in Humoresque,
0:10:11 > 0:10:15shunned by John Garfield, marching into the ocean,
0:10:15 > 0:10:17every hair in place.
0:10:18 > 0:10:22Beauty, dignity and death, all in one exquisite pose.
0:10:24 > 0:10:27She marched into the sea to her death...
0:10:28 > 0:10:29..and never got her hair wet.
0:10:32 > 0:10:33Well...
0:10:36 > 0:10:37..it meant a lot to me.
0:10:44 > 0:10:46Turndown service, Miss Davis?
0:10:46 > 0:10:49I wish I had known for a single day
0:10:49 > 0:10:52what it feels like to walk into a room
0:10:52 > 0:10:56and knock them out without a single word.
0:10:56 > 0:10:58Bette, you don't even know yourself.
0:10:58 > 0:10:59You've been too long in this business.
0:10:59 > 0:11:02Oh, you have no idea what it's like to be a woman in this business,
0:11:02 > 0:11:05with the constant scrutiny and competition.
0:11:05 > 0:11:07Ah, do we have to go through this melodrama right now?
0:11:07 > 0:11:08Fuck you, Bob.
0:11:08 > 0:11:10All right, tell me. Then tell me.
0:11:10 > 0:11:13No. You tell me, Mr Director Man.
0:11:13 > 0:11:16Have you ever been rebuffed by a woman because of how you look?
0:11:16 > 0:11:17I'm betting no.
0:11:17 > 0:11:20I'm guessing that your success was enough,
0:11:20 > 0:11:22that they fucked you despite your beer gut
0:11:22 > 0:11:25and your middle-age sag. Am I right?
0:11:26 > 0:11:27I don't make up the rules.
0:11:30 > 0:11:33My first screen test with Jack Warner,
0:11:33 > 0:11:35I stuck around and I hid behind a door
0:11:35 > 0:11:37because I wanted to hear his reaction.
0:11:37 > 0:11:41Did he see my talent, my humour, my intelligence,
0:11:41 > 0:11:43my brave attack on the scene?
0:11:44 > 0:11:46But he wasn't interested in any of that.
0:11:46 > 0:11:48- Guess what he said? - What did he say?
0:11:48 > 0:11:50He said I had "zero sex appeal."
0:11:50 > 0:11:52He said, "Who would want to fuck that?"
0:11:57 > 0:11:58I was 22.
0:11:59 > 0:12:01And nobody ever had.
0:12:10 > 0:12:11You should go to bed.
0:12:30 > 0:12:33Guess who he said he wished I looked like?
0:12:36 > 0:12:37Joan Crawford.
0:12:54 > 0:12:59Why wouldn't I tell him that his pure, darling little girl
0:12:59 > 0:13:02was having a dirty little affair with a married man?
0:13:02 > 0:13:04You vile, sorry little bitch!
0:13:04 > 0:13:07How did I know it was going to end in murder
0:13:07 > 0:13:08with John being butchered?
0:13:08 > 0:13:11- Cut. Fantastic, Joanie, fantastic. - BELL RINGS
0:13:11 > 0:13:13OK, turning around on Bette.
0:13:13 > 0:13:14You all right?
0:13:14 > 0:13:17No, I'm fine. It's just so hot.
0:13:17 > 0:13:19Yeah. It's a little different down here
0:13:19 > 0:13:20than the freezing cold sound stage.
0:13:20 > 0:13:24Bob! Bob, where do you want me for Bette's off-camera?
0:13:24 > 0:13:26You know, I don't think I need you.
0:13:26 > 0:13:29It's tight. I can have the script girl give me your lines.
0:13:29 > 0:13:31But it's our scene.
0:13:31 > 0:13:33I mean, don't you want me here to give you something to build on?
0:13:33 > 0:13:35You already have. Why don't you find
0:13:35 > 0:13:37a dark air-conditioned spot and lie down?
0:15:17 > 0:15:18Hello?
0:15:25 > 0:15:26Hello!
0:15:30 > 0:15:32- Lucille. - This entire production
0:15:32 > 0:15:36is an elaborate opportunity for you to humiliate me, isn't it?
0:15:36 > 0:15:37- What are you talking about? - You, Bob,
0:15:37 > 0:15:41the whole fucking crew abandoned me out at that plantation!
0:15:41 > 0:15:45- Mamacita had to find a phone and call a city cab...- Jesus, Joan.
0:15:45 > 0:15:49- ..to bring us back.- I had no idea. - No, I don't believe you.
0:15:49 > 0:15:52The proclaimed alliance back in Los Angeles,
0:15:52 > 0:15:55you never had any intention of honouring.
0:15:55 > 0:15:57- That is not true. - Christ, what a fool I was
0:15:57 > 0:15:58to sign up for this picture.
0:15:58 > 0:16:01And a bigger fool to think I could ever trust you.
0:16:01 > 0:16:03I need you to be brilliant.
0:16:03 > 0:16:04I'm just trying to help you get there.
0:16:04 > 0:16:06Oh, you're giving me a hand up?
0:16:07 > 0:16:10Because you're the superior talent.
0:16:10 > 0:16:11Well, I don't want your help.
0:16:11 > 0:16:13You've always been overrated.
0:16:13 > 0:16:15I guess that explains my 11 Oscar nominations.
0:16:15 > 0:16:18The Academy doesn't reward you for your talent,
0:16:18 > 0:16:20for Christ's sakes, Bette.
0:16:20 > 0:16:24They reward you because they see how hard you sweat.
0:16:24 > 0:16:26They don't see the character, they see the acting.
0:16:26 > 0:16:29And they don't see you at all because of all your glamour make-up.
0:16:29 > 0:16:31Well, let me give you a tip.
0:16:31 > 0:16:36The answer to feeling unattractive isn't to make yourself even uglier!
0:16:45 > 0:16:47I'm a character actress.
0:16:50 > 0:16:52Well, I said what I came to say.
0:16:54 > 0:16:55I'm going to bed.
0:16:57 > 0:16:58Joan.
0:17:05 > 0:17:08How did it feel to be the most beautiful girl in the world?
0:17:16 > 0:17:17It was wonderful.
0:17:18 > 0:17:22The most joyous thing you could ever imagine,
0:17:22 > 0:17:24and it was never enough.
0:17:28 > 0:17:29Well, what about you?
0:17:30 > 0:17:34How did it feel to be the most talented girl in the world?
0:17:37 > 0:17:38Great.
0:17:41 > 0:17:42But it was never enough.
0:17:51 > 0:17:53THUNDER RUMBLES
0:17:53 > 0:17:54From Mr Aldrich.
0:17:54 > 0:17:56Oh, thank you, driver.
0:17:57 > 0:18:01Well, at least he remembered to send a car this time.
0:18:01 > 0:18:03Maybe now that we are back in Los Angeles
0:18:03 > 0:18:04things will go more smooth.
0:18:04 > 0:18:06- Call sheet for Monday. - Let me see.
0:18:07 > 0:18:10"Report to 20th Century Fox...
0:18:11 > 0:18:16"..stage seven, scene 42, 6:00 am."
0:18:16 > 0:18:18Scene 42.
0:18:18 > 0:18:21Oh, that's my scene with Mr Cotten.
0:18:21 > 0:18:24The seduction scene, it's a wonderful scene.
0:18:24 > 0:18:25And Bette's not in it.
0:18:26 > 0:18:27What's this?
0:18:29 > 0:18:31Script revisions?
0:18:31 > 0:18:32For what?
0:18:35 > 0:18:36Where is my monologue?
0:18:39 > 0:18:41What? It's all been cut.
0:18:42 > 0:18:45This is her doing and Bob is colluding with her.
0:18:45 > 0:18:48That's why he sent the car, to soften the blow.
0:18:48 > 0:18:51Driver, I'm not going to Brentwood.
0:18:51 > 0:18:53Take me to Cedars-Sinai Hospital.
0:18:54 > 0:18:56I'm suddenly feeling very, very ill.
0:18:59 > 0:19:02Well, according to her doctors, it's respiratory.
0:19:02 > 0:19:04Respiratory? What a load of shit.
0:19:04 > 0:19:07She's faking it. She's mad because we trimmed a few of her lines,
0:19:07 > 0:19:08so she's holding up production.
0:19:08 > 0:19:10I used to play the same tricks
0:19:10 > 0:19:12when I was at Warner's under contract.
0:19:12 > 0:19:13We can't let her get away with it.
0:19:13 > 0:19:15Mother, Jeremy and I need to speak to you.
0:19:15 > 0:19:16Say hello to Mr Aldrich, BD.
0:19:16 > 0:19:18Yeah. Hello, Mr Aldrich.
0:19:18 > 0:19:20And this is her elderly playmate, Jerome.
0:19:20 > 0:19:22It's Jeremy, actually.
0:19:22 > 0:19:23He's got an accent.
0:19:25 > 0:19:27What is it, BD? I'm managing a crisis.
0:19:27 > 0:19:28Your whole life is managing a crisis.
0:19:28 > 0:19:31I just need you to sign these consent forms.
0:19:31 > 0:19:32Consent for what?
0:19:32 > 0:19:34For Jeremy and I to get married.
0:19:35 > 0:19:37Don't be ridiculous, you're 16 years old.
0:19:37 > 0:19:39And wise quite beyond her years.
0:19:39 > 0:19:41And that's a credit to you as a mother.
0:19:41 > 0:19:42Ah, don't sweet-talk me, bub.
0:19:42 > 0:19:44That English accent might thrill the little girls,
0:19:44 > 0:19:47but it does nothing for me. I played Elizabeth I, twice.
0:19:47 > 0:19:49You're not marrying a 40-year-old man.
0:19:49 > 0:19:51- I'm 29, actually. - You're twice her age.
0:19:51 > 0:19:53Old enough to give your daughter everything she deserves -
0:19:53 > 0:19:56protection, affection and financial stability.
0:19:56 > 0:19:58I give her all that.
0:19:58 > 0:20:00We're in love, Mother.
0:20:00 > 0:20:03And we're getting married, whether it's now or two years from now
0:20:03 > 0:20:04when we won't need your permission.
0:20:04 > 0:20:07You don't want my permission, you want my attention.
0:20:07 > 0:20:09Now you have it, and the answer is no.
0:20:09 > 0:20:11Fine! Force your daughter into a life of sin,
0:20:11 > 0:20:13- if that's what you want. - It is what I want.
0:20:13 > 0:20:15In fact, march yourself up those stairs
0:20:15 > 0:20:17to my bedroom and grab my copy of The Feminine Mystique,
0:20:17 > 0:20:20and read it before you ruin your life.
0:20:20 > 0:20:23What life? I have no life.
0:20:23 > 0:20:24Come on, Jeremy.
0:20:24 > 0:20:26A pleasure to have met you.
0:20:26 > 0:20:27Christ. I thought we had reached
0:20:27 > 0:20:30some kind of detente, but it's always a battle.
0:20:30 > 0:20:32But she's not going to win, not this time, Bob.
0:20:32 > 0:20:34Jesus, Bette.
0:20:34 > 0:20:37It's not a competition, she's your daughter.
0:20:37 > 0:20:39No. I meant Crawford.
0:20:39 > 0:20:42She's not going to shut down production.
0:20:42 > 0:20:43Not for one single day.
0:20:46 > 0:20:48WOMAN IN VOICEOVER: Dateline Hollywood, California.
0:20:48 > 0:20:51Production on 20th Century Fox's lavish Gothic drama
0:20:51 > 0:20:55Hush... Hush, Sweet Charlotte, continues despite rumblings
0:20:55 > 0:20:59that the back of a stand-in is doing the work of a star.
0:20:59 > 0:21:00Action!
0:21:00 > 0:21:02Miriam?
0:21:02 > 0:21:04I just can't believe it.
0:21:05 > 0:21:07You look marvellous.
0:21:07 > 0:21:09What is it you can't believe, Drew?
0:21:09 > 0:21:12That I'm here or that I look the way I do?
0:21:12 > 0:21:13Ah, come on, Miriam.
0:21:13 > 0:21:15Don't make fun of an old man.
0:21:15 > 0:21:17Cut!
0:21:17 > 0:21:18Whispers of a production shutdown
0:21:18 > 0:21:21have been dogging the project in recent weeks.
0:21:21 > 0:21:24And not far away, one of the picture's stars, Joan Crawford,
0:21:24 > 0:21:28recovers from what her doctors are calling a mystery ailment.
0:21:28 > 0:21:30Insiders say that Joan
0:21:30 > 0:21:33may just have a bad case of the BDs,
0:21:33 > 0:21:34as in Bette Davis.
0:21:34 > 0:21:36Rumours are that Bette's new role
0:21:36 > 0:21:38as a producer on the picture
0:21:38 > 0:21:40have made her even more demanding than ever.
0:21:40 > 0:21:43And after a string of lacklustre follow-ups
0:21:43 > 0:21:45to the triumph of Baby Jane,
0:21:45 > 0:21:47Bette really needs this one to work.
0:21:47 > 0:21:49Nobody should be praying harder
0:21:49 > 0:21:52for Joan's speedy recovery than Bette Davis.
0:21:52 > 0:21:56JOAN: Hedda, darling, tell your readers this:
0:21:56 > 0:21:58I am bedded here with the script, making notes
0:21:58 > 0:22:01and coming up with all sorts of wonderful ideas
0:22:01 > 0:22:03for improvements.
0:22:03 > 0:22:06And, as a result of my convalescence,
0:22:06 > 0:22:09Charlotte is sure to be a much better picture
0:22:09 > 0:22:11once I recover.
0:22:17 > 0:22:19MUSIC: You Don't Own Me by Lesley Gore
0:22:19 > 0:22:20KNOCK ON DOOR
0:22:23 > 0:22:25Well, Bob, what a lovely surprise.
0:22:25 > 0:22:27MUSIC CONTINUES
0:22:27 > 0:22:28Mamacita, turn that off.
0:22:30 > 0:22:33Uh, c-could you give us a few moments, please?
0:22:36 > 0:22:39Seeing you is a tonic.
0:22:39 > 0:22:41Has it really been 12 days?
0:22:41 > 0:22:43I would have come sooner, Joanie, but...
0:22:43 > 0:22:46..I've been busy trying to keep a train on track.
0:22:46 > 0:22:49Well, I'm touched you could find a spare moment.
0:22:49 > 0:22:51I have nothing but spare moments.
0:22:51 > 0:22:53I've run out of material to shoot.
0:22:54 > 0:22:56If I don't roll cameras on you tomorrow morning,
0:22:56 > 0:22:59the studio's threatening to close us down.
0:23:00 > 0:23:02I need you to come back to work, Joanie.
0:23:02 > 0:23:03Bob, you know that's all I want.
0:23:03 > 0:23:05Great.
0:23:05 > 0:23:07Now, Bette's agreed to behave herself.
0:23:07 > 0:23:08So tomorrow 7am on set,
0:23:08 > 0:23:10otherwise the show's off.
0:23:11 > 0:23:13Or is that what you want?
0:23:13 > 0:23:15Perhaps now would be a good time
0:23:15 > 0:23:17to discuss some of my thoughts about the script.
0:23:17 > 0:23:20I've given it a very close read
0:23:20 > 0:23:22and I have a few suggestions that I think
0:23:22 > 0:23:24could make all the difference.
0:23:25 > 0:23:27First of all, Bob,
0:23:27 > 0:23:29we know so little about Miriam.
0:23:29 > 0:23:33Wouldn't it be wonderful to see her in the bloom of her youth?
0:23:33 > 0:23:35Is it really believable
0:23:35 > 0:23:37that Miriam has only one suitor?
0:23:37 > 0:23:40Shouldn't she have more beaus?
0:23:40 > 0:23:41How many more beaus?
0:23:41 > 0:23:42Two.
0:23:42 > 0:23:44A politician and an attorney.
0:23:46 > 0:23:47And, really,
0:23:47 > 0:23:49her entrance into the picture?
0:23:49 > 0:23:50Oh, it's all wrong.
0:23:50 > 0:23:53A taxi cab, Bob? No.
0:23:53 > 0:23:54Well, how about a flying carpet?
0:23:56 > 0:23:57Oh, Bob!
0:23:57 > 0:23:59No, but it is the South.
0:23:59 > 0:24:02She should be greeted back home
0:24:02 > 0:24:05with a big Southern ball.
0:24:05 > 0:24:07I mean, just think of the production value.
0:24:07 > 0:24:08Think of the money.
0:24:08 > 0:24:09But, of course,
0:24:09 > 0:24:11I'm not a producer.
0:24:11 > 0:24:12I'm only an actress.
0:24:12 > 0:24:14But it would be money well spent.
0:24:14 > 0:24:16Charlotte's a recluse.
0:24:16 > 0:24:18She wouldn't be hosting a ball in a decaying mansion.
0:24:18 > 0:24:20I'm not suggesting she host it.
0:24:20 > 0:24:22She can be there, of course.
0:24:22 > 0:24:24In a corner, hidden.
0:24:24 > 0:24:26Under the stairs, watching.
0:24:26 > 0:24:29All we see are her big eyes.
0:24:32 > 0:24:33You know, Joan,
0:24:33 > 0:24:36the last time I let an actor call all the shots,
0:24:36 > 0:24:37I made 4 For Texas.
0:24:37 > 0:24:39I can't afford another bomb.
0:24:39 > 0:24:43If Charlotte doesn't work, I'm back making crap TV.
0:24:43 > 0:24:46So I suggest you put down your fucking script
0:24:46 > 0:24:48and pick up your fucking contract
0:24:48 > 0:24:50and give that a close fucking read.
0:24:53 > 0:24:54Tomorrow morning, 7am,
0:24:54 > 0:24:56and not a minute later.
0:25:05 > 0:25:08Oh, Jake, how great to see you.
0:25:08 > 0:25:09Thank you.
0:25:09 > 0:25:11Oh, Sonny, nice to see you again.
0:25:11 > 0:25:14Christ on a crutch.
0:25:14 > 0:25:17She thinks we're still doing the last picture.
0:25:19 > 0:25:20This is good here, dear.
0:25:20 > 0:25:21Yes, thank you.
0:25:28 > 0:25:30Oh, thank you, thank you all so much.
0:25:30 > 0:25:33I can't tell you what it means to me to be back here.
0:25:33 > 0:25:36I guess this old workhorse is only really happy
0:25:36 > 0:25:37when she's out in the field.
0:25:49 > 0:25:51Welcome back, Lucille.
0:25:51 > 0:25:53I removed the thorns.
0:25:57 > 0:25:58And...action.
0:25:58 > 0:25:59Oh, come on, Miriam.
0:25:59 > 0:26:01Don't make fun of an old man.
0:26:01 > 0:26:05You know I never was any good at expressing myself.
0:26:05 > 0:26:06Well, that's not so at all, Drew.
0:26:06 > 0:26:09You were always very quick with your compliments.
0:26:09 > 0:26:12It was your intentions that sometimes were a little vague.
0:26:12 > 0:26:14We used to slide down this banister,
0:26:14 > 0:26:16the three of us, and I was
0:26:16 > 0:26:18always the champion.
0:26:18 > 0:26:19Oh, we just let you win
0:26:19 > 0:26:20cos you were the youngest.
0:26:20 > 0:26:22- Stop it.- Cut.
0:26:23 > 0:26:26- What?- I'm sorry, it's too long. I mean, she's here
0:26:26 > 0:26:28to see Charlotte, she should just get on with it.
0:26:28 > 0:26:30No, I have another page of dialogue
0:26:30 > 0:26:31with Mr Cotten.
0:26:31 > 0:26:33Yes, we should cut that.
0:26:35 > 0:26:37You OK, Joan?
0:26:37 > 0:26:40No, I just felt a little dizzy, I'm sorry. I...
0:26:40 > 0:26:43I had a rather light breakfast.
0:26:43 > 0:26:44Oh...
0:26:45 > 0:26:46Oh.
0:26:50 > 0:26:51I can't breathe.
0:26:58 > 0:27:00I can't believe you let her get away with it.
0:27:00 > 0:27:01You know I was right about the scene.
0:27:01 > 0:27:03You know what, Bette? Being right doesn't mean shit
0:27:03 > 0:27:05if you're driving talent off the stage.
0:27:05 > 0:27:08You want to be a producer? Well, a producer gets results.
0:27:08 > 0:27:10You want to be a lion tamer? Great.
0:27:10 > 0:27:12Go tame the goddamn lion.
0:27:14 > 0:27:15That's a wrap!
0:27:23 > 0:27:24- TV:- You won't have to bother now.
0:27:24 > 0:27:27Oh, yes, I do. My share...
0:27:27 > 0:27:28DOOR SLAMS
0:27:28 > 0:27:32Fine. You can get married, but I'm in charge of everything.
0:27:35 > 0:27:37JOAN COUGHS
0:27:37 > 0:27:39- Better, Joan?- Thank you.
0:27:39 > 0:27:42Ray, is there some reason we're not getting started?
0:27:42 > 0:27:45It's very taxing for Miss Crawford to be out of bed in her condition.
0:27:45 > 0:27:48Bed is the last place that woman gets any rest.
0:27:48 > 0:27:51- Gentlemen.- Miss Davis, please remember what we discussed.
0:27:55 > 0:27:56Gentlemen.
0:27:56 > 0:27:59There's now been 29 days since Miss Crawford completed
0:27:59 > 0:28:02a full day's work on Charlotte, resulting in
0:28:02 > 0:28:05expensive delays and cost overruns for this studio.
0:28:05 > 0:28:07Our insurer, to this point,
0:28:07 > 0:28:09has covered those losses on the basis
0:28:09 > 0:28:11of Miss Crawford's diagnosis
0:28:11 > 0:28:13of a rare form of pneumonia.
0:28:13 > 0:28:16But her health does not seem to be improving.
0:28:16 > 0:28:19- That's because her condition is mental.- Is Miss Davis' presence
0:28:19 > 0:28:21in this meeting constructive or necessary?
0:28:21 > 0:28:23I'm a producer on this picture. I'm in all the meetings
0:28:23 > 0:28:25whether your client likes it or not.
0:28:25 > 0:28:27According to Bob, it's a vanity title.
0:28:27 > 0:28:30It was. And that was my fault.
0:28:30 > 0:28:32But not any more.
0:28:32 > 0:28:35From now on, my stamp is on everything.
0:28:35 > 0:28:38As I was saying, given that Miss Crawford's condition
0:28:38 > 0:28:40does not seem to be improving,
0:28:40 > 0:28:42the studio would like to give her the freedom to devote
0:28:42 > 0:28:44all her energy to getting well again.
0:28:44 > 0:28:47In that spirit, we're offering to release her from all
0:28:47 > 0:28:49contractual obligations.
0:28:49 > 0:28:51Mr Aldrich is ready to start looking
0:28:51 > 0:28:52for somebody else to play Miriam.
0:28:52 > 0:28:55Ray, we all know there is no
0:28:55 > 0:28:56Hush... Hush, Sweet Charlotte
0:28:56 > 0:28:58without a reteaming of Crawford and Davis.
0:28:58 > 0:29:01Wrong. This is not a sequel to Baby Jane.
0:29:01 > 0:29:03And there will be no need to resort to a poor substitute.
0:29:03 > 0:29:06Miss Crawford is following all her doctor's instructions
0:29:06 > 0:29:08to the letter, with the genuine intention
0:29:08 > 0:29:10of returning to work as soon as possible.
0:29:10 > 0:29:13Well, Leonard, I'll be candid.
0:29:13 > 0:29:14Our insurer has doubts
0:29:14 > 0:29:16about how genuine those intentions are.
0:29:16 > 0:29:19They insist that your client
0:29:19 > 0:29:21submit to an independent medical exam.
0:29:21 > 0:29:23Tiny Tim over there isn't going to let your doctors
0:29:23 > 0:29:24get anywhere near her.
0:29:24 > 0:29:28She's gassing us all with her VapoRub for show.
0:29:28 > 0:29:30She's not sick. She's on strike.
0:29:30 > 0:29:33Until Bob accepts all her loony script changes
0:29:33 > 0:29:35and makes her the star of Charlotte.
0:29:35 > 0:29:38Miss Davis, if you're incapable of restraining yourself,
0:29:38 > 0:29:40I'll have to ask you to leave.
0:29:47 > 0:29:49I would be perfectly happy
0:29:49 > 0:29:51to submit to an independent exam.
0:29:52 > 0:29:53Very well.
0:29:53 > 0:29:56But before you reject our initial offer,
0:29:56 > 0:29:58know that if our doctor
0:29:58 > 0:29:59clears Miss Crawford to return to work
0:29:59 > 0:30:02and she fails to do so, we will sue her
0:30:02 > 0:30:05to recoup every cent of our losses.
0:30:09 > 0:30:13Splendid. And I want chimes to ring the moment they become man and wife.
0:30:13 > 0:30:15Just as their lips touch. Can that be arranged?
0:30:15 > 0:30:18We have bells at the church. They toll.
0:30:18 > 0:30:20Oh, I don't want a funeral bell.
0:30:20 > 0:30:23I want a glorious, joyful chime.
0:30:23 > 0:30:26Er...what do you think of that, BD?
0:30:26 > 0:30:27Sure.
0:30:28 > 0:30:30Do you like it or not? It's your wedding.
0:30:30 > 0:30:32Whatever you think's best.
0:30:34 > 0:30:36Could you all please go into the dining room
0:30:36 > 0:30:38and give us a moment? Thank you.
0:30:38 > 0:30:41Darling, I want you to answer me truthfully,
0:30:41 > 0:30:44and don't for a second worry about the consequences.
0:30:45 > 0:30:47Are you having second thoughts
0:30:47 > 0:30:49about marrying Jeremy?
0:30:49 > 0:30:51What? No. I just don't see
0:30:51 > 0:30:54why we have to make such a big production out of the wedding.
0:30:54 > 0:30:57Well, I'll tell you why.
0:30:57 > 0:30:59A wedding is a big, special party because
0:30:59 > 0:31:02everything after that is hard work and repetition.
0:31:02 > 0:31:05It's work to keep a house.
0:31:05 > 0:31:08It's work to fix him the same goddamn glass of Scotch
0:31:08 > 0:31:11every night and feign interest while he rants about his boss.
0:31:11 > 0:31:13It's work to tolerate
0:31:13 > 0:31:16his forgetting to ask you about your day,
0:31:16 > 0:31:18and your feelings, and your thoughts.
0:31:18 > 0:31:21And it's work to feel like a staging ground
0:31:21 > 0:31:23for someone else's ambitions.
0:31:23 > 0:31:25You just described my life with you.
0:31:27 > 0:31:30Well, then I've prepared you to be a good wife.
0:31:32 > 0:31:34And I'm going to miss you terribly when you're gone.
0:31:37 > 0:31:39This wedding is something I can give you.
0:31:39 > 0:31:41And if you want it,
0:31:41 > 0:31:43I want it to be perfect.
0:31:45 > 0:31:48Your first wedding is the one that you remember the most.
0:31:48 > 0:31:50My first wedding?
0:31:51 > 0:31:53Jeremy and I are forever.
0:31:53 > 0:31:54Of course, darling, I...
0:31:54 > 0:31:55Of course.
0:31:55 > 0:31:59And however long that forever lasts,
0:31:59 > 0:32:01I want you know that you will always
0:32:01 > 0:32:03have a place to come home to.
0:32:03 > 0:32:05Christ, is that why you agreed to this,
0:32:05 > 0:32:07because you thought I'd come running back?
0:32:07 > 0:32:09- No, no, no, no, no, no... - No, Mother.
0:32:09 > 0:32:10I'm leaving.
0:32:10 > 0:32:14I'm going to be Jeremy's wife, not yours.
0:32:14 > 0:32:16Oh, and guess what?
0:32:16 > 0:32:18For your information,
0:32:18 > 0:32:21my first wedding was perfect.
0:32:21 > 0:32:24It was Saturday...at City Hall.
0:32:24 > 0:32:26We did it the minute you signed the consent form.
0:32:26 > 0:32:29And there were no chimes for our first kiss
0:32:29 > 0:32:31and it was beautiful.
0:32:31 > 0:32:33So all of this...
0:32:33 > 0:32:35..you're not doing it for me.
0:32:35 > 0:32:37You're doing it for you.
0:32:53 > 0:32:55Just a slightly elevated temperature.
0:32:55 > 0:32:58Really? I feel so warm. Feverish.
0:32:58 > 0:33:00Do you suppose it's neurological?
0:33:00 > 0:33:02What other symptoms are you experiencing?
0:33:02 > 0:33:03Well, light-headedness and...
0:33:03 > 0:33:07..dizzy spells in the most inopportune moments.
0:33:09 > 0:33:11Breathe in.
0:33:12 > 0:33:14Deeper, please.
0:33:15 > 0:33:16SHE COUGHS Oh.
0:33:18 > 0:33:20Excuse me.
0:33:20 > 0:33:23Lately I've only been able to manage the...
0:33:23 > 0:33:25shallowest of breaths.
0:33:30 > 0:33:33Bob can call me if he needs, but there's really not much to it.
0:33:33 > 0:33:36- Officially, she's completely clear. - You've got to be kidding me.
0:33:36 > 0:33:38- Good luck with her.- Thank you.
0:33:40 > 0:33:43Well, he says you can come back to work, Joan.
0:33:43 > 0:33:45Said he'll clear you for a marathon, if you want.
0:33:45 > 0:33:47He's the studio's doctor.
0:33:47 > 0:33:49What did you expect him to say?
0:33:49 > 0:33:50He also said you tried to seduce him.
0:33:50 > 0:33:53That is ridiculous and offensive.
0:33:53 > 0:33:55Mamacita, take me to the car.
0:33:55 > 0:34:00This whole experience has been very fatiguing.
0:34:00 > 0:34:02I'm asking you as a fan.
0:34:02 > 0:34:03Do not do this to yourself.
0:34:03 > 0:34:05And what is it you imagine I'm doing?
0:34:05 > 0:34:08Losing every ally. They are going to sue you.
0:34:08 > 0:34:10No-one will stop them. You're ending your career.
0:34:10 > 0:34:13How dare you? You're a secretary.
0:34:13 > 0:34:15Stop following me around, nipping at my heels,
0:34:15 > 0:34:17impugning my integrity.
0:34:17 > 0:34:19The moment I get home, I'm calling Bob
0:34:19 > 0:34:21and demanding you be taken off of Charlotte.
0:34:21 > 0:34:25Don't bother. I've already told Bob that I am done after this.
0:34:25 > 0:34:27I came out here to work.
0:34:27 > 0:34:29That seems to be the last thing that anyone cares about.
0:34:29 > 0:34:31I don't know if this town attracts narcissists
0:34:31 > 0:34:33or actually creates them.
0:34:33 > 0:34:36But I have no intention of sticking around to find out.
0:34:38 > 0:34:40Good luck, Joan.
0:34:42 > 0:34:43What did I think of what Joan did?
0:34:43 > 0:34:45I thought it was pretty great.
0:34:45 > 0:34:48You didn't think it was... undignified?
0:34:48 > 0:34:50Faking sick?
0:34:50 > 0:34:51Let me tell you something.
0:34:51 > 0:34:55At a certain point, a woman becomes invisible.
0:34:55 > 0:34:57You get fat or old...
0:34:57 > 0:34:59..people don't even see you any more.
0:34:59 > 0:35:02Oh, come on, think of it this way -
0:35:02 > 0:35:05you've been eating in a restaurant your whole life.
0:35:05 > 0:35:07You're a great customer.
0:35:07 > 0:35:10Good tipper. Staff loves you. You spend all your money there.
0:35:10 > 0:35:14And then one day, they won't serve you.
0:35:14 > 0:35:15Won't take your money.
0:35:15 > 0:35:18Won't even let you see the menu.
0:35:18 > 0:35:20Well, who could blame you
0:35:20 > 0:35:23for wanting to stand up and rip the tablecloth off?
0:35:23 > 0:35:24DOORBELL RINGS
0:35:28 > 0:35:29Mamacita?
0:35:29 > 0:35:31Will you get the door?
0:35:31 > 0:35:33Tell them I'm in the bath.
0:35:36 > 0:35:37DOORBELL RINGS AGAIN
0:35:38 > 0:35:40Mamacita!
0:35:42 > 0:35:44KNOCK ON DOOR
0:35:44 > 0:35:45Oh.
0:35:49 > 0:35:50KNOCKING CONTINUES
0:36:02 > 0:36:05- Yes?- Good morning, ma'am. Are you Miss Joan Crawford?
0:36:07 > 0:36:08They make me ask that.
0:36:08 > 0:36:11Please sign for documents from 20th Century Fox.
0:36:13 > 0:36:15- What is it? - That's above my pay grade.
0:36:15 > 0:36:17I just make sure you can't deny receipt in court.
0:36:17 > 0:36:18Have a happy day, ma'am.
0:36:30 > 0:36:31SHE GASPS
0:36:51 > 0:36:53Wearing a 100,000 sapphire necklace
0:36:53 > 0:36:56over a hospital gown by Dior,
0:36:56 > 0:36:59Joan Crawford is the most glamorous and popular patient
0:36:59 > 0:37:01in the celebrity wing of Cedars-Sinai Hospital.
0:37:01 > 0:37:04Each day, doctors and nurses line up for the privilege
0:37:04 > 0:37:07of taking care of the ailing movie queen.
0:37:07 > 0:37:10Meanwhile, production on her latest picture,
0:37:10 > 0:37:1220th Century Fox's Hush...Hush, Sweet Charlotte
0:37:12 > 0:37:15has been halted indefinitely.
0:37:15 > 0:37:17And with cast and crew still on full salary,
0:37:17 > 0:37:21Charlotte's shaping up to be one of 20th's priciest pictures this year.
0:37:23 > 0:37:27What can you possibly hope to gain by delaying production any further?
0:37:27 > 0:37:28You'll get no concessions.
0:37:28 > 0:37:30Concessions? Oh, no.
0:37:30 > 0:37:33We're way beyond that. I don't want concessions.
0:37:33 > 0:37:35I want blood. I want to shut this picture down.
0:37:35 > 0:37:37Oh, Joan.
0:37:37 > 0:37:40I'll lose hundreds of thousands of dollars
0:37:40 > 0:37:42but so will Bette.
0:37:42 > 0:37:47And I can live happily and frugally just knowing that.
0:37:48 > 0:37:51And Bob Aldrich can shutter his production company
0:37:51 > 0:37:55and end his career directing shitty television.
0:37:55 > 0:37:57Fuck them both.
0:37:57 > 0:38:00You were always ambitious.
0:38:00 > 0:38:03But when did you become so vindictive?
0:38:03 > 0:38:06I've always been valued for my beauty.
0:38:06 > 0:38:08And more times than not,
0:38:08 > 0:38:10nothing else.
0:38:10 > 0:38:12But now the only bed I can find any power in
0:38:12 > 0:38:14is this hospital bed.
0:38:14 > 0:38:17Well, why don't you free yourself from all this?
0:38:17 > 0:38:20Tell 'em you're too ill to continue.
0:38:20 > 0:38:21Let them recast the role.
0:38:21 > 0:38:24Oh, they've already tried. I know that.
0:38:24 > 0:38:27They've gone out to Loretta Young, to Stanwyck.
0:38:27 > 0:38:30Both dear friends of mine. No, there isn't an actress in town
0:38:30 > 0:38:32who would take food out of my mouth.
0:38:32 > 0:38:34That's because most of them don't eat.
0:38:36 > 0:38:38Don't fool yourself, Joanie.
0:38:39 > 0:38:41You watch and see, George.
0:38:42 > 0:38:44Next week at this time,
0:38:44 > 0:38:46that picture will be cancelled,
0:38:46 > 0:38:51and Joan Crawford will make a sudden
0:38:51 > 0:38:52and remarkable recovery.
0:38:58 > 0:39:01Tell Zanuck no. Absolutely not!
0:39:01 > 0:39:03I am not going to do this slice of Americana
0:39:03 > 0:39:05with the very British Miss Vivien Leigh.
0:39:05 > 0:39:07Who would believe her as a Southern belle?
0:39:07 > 0:39:09She played Scarlett O'Hara.
0:39:09 > 0:39:10Unconvincingly.
0:39:10 > 0:39:12Do you want to make this movie, Bette,
0:39:12 > 0:39:14- or don't you? - I don't want to just make it.
0:39:14 > 0:39:15I want to make it properly,
0:39:15 > 0:39:18And it's got to be someone I can work with, someone I trust.
0:39:18 > 0:39:21Someone who's right for the goddamn part.
0:39:21 > 0:39:22Now call her!
0:39:25 > 0:39:29Darlings, I'm so flattered you thought about me.
0:39:29 > 0:39:30But it's impossible.
0:39:30 > 0:39:34I've only just aired out my Swiss chalet for the season.
0:39:34 > 0:39:38And, besides, I've done my turn at Grand Guignol already.
0:39:39 > 0:39:40Aggh!
0:39:40 > 0:39:43Help! Please help!
0:39:43 > 0:39:46I'm trapped in a small private elevator!
0:39:46 > 0:39:51The whole experience just left me feeling...humiliated,
0:39:51 > 0:39:52and I'd rather not repeat it.
0:39:52 > 0:39:55Oh, no, Olivia. This is completely different.
0:39:55 > 0:39:56This time you're not the victim.
0:39:56 > 0:39:58You'd be the villainess.
0:39:58 > 0:40:00Oh, no. I don't do bitches.
0:40:00 > 0:40:02They make me so unhappy.
0:40:02 > 0:40:04You should call my sister.
0:40:06 > 0:40:10So you can imagine my surprise two days later when I opened my door
0:40:10 > 0:40:13to a very dishevelled Mr Robert Aldrich.
0:40:13 > 0:40:17He had taken three planes, a train,
0:40:17 > 0:40:20a taxi up a goat trail, just to get to see me.
0:40:20 > 0:40:22So of course I heard him out.
0:40:22 > 0:40:25And, what do you know, he had a very different image
0:40:25 > 0:40:26for Cousin Miriam.
0:40:26 > 0:40:27FANFARE ON RADIO
0:40:36 > 0:40:37News from Tinseltown!
0:40:37 > 0:40:40It looks like 20th Century Fox's beleaguered production,
0:40:40 > 0:40:43Hush...Hush, Sweet Charlotte is back on again.
0:40:43 > 0:40:46The studio is saying bye-bye, Joan Crawford,
0:40:46 > 0:40:48and hello to Miss Olivia de Havilland!
0:40:48 > 0:40:49- They can't do that. - Miss de Havilland,
0:40:49 > 0:40:52another two-time Academy Award-winning actress,
0:40:52 > 0:40:55- joins her old pal, Bette Davis.- No!
0:40:55 > 0:40:58The pair last worked together in 1942 on In This Our Life.
0:40:58 > 0:40:59No!
0:40:59 > 0:41:01No! No!
0:41:01 > 0:41:04Oh!
0:41:07 > 0:41:09JOAN WEEPS
0:41:09 > 0:41:10No! No.
0:41:13 > 0:41:15Wait, what are you doing?
0:41:15 > 0:41:17- Mamacita.- Leaving.
0:41:17 > 0:41:19I told you the next time you throw something at my head,
0:41:19 > 0:41:21I leave.
0:41:21 > 0:41:22Now I leave.
0:41:22 > 0:41:24No! No, wait!
0:41:24 > 0:41:28No. Mamacita, wait! Please.
0:41:28 > 0:41:31You can't leave me now!
0:41:31 > 0:41:33Not after what they've done to me.
0:41:33 > 0:41:35You have done this to yourself.
0:41:35 > 0:41:37No!
0:41:37 > 0:41:40# Hush hush, sweet Charlotte
0:41:42 > 0:41:46# Charlotte, don't you cry
0:41:48 > 0:41:51# Hush hush, sweet Charlotte
0:41:51 > 0:41:57# He'll love you till he dies...
0:41:57 > 0:41:58Livvie!
0:41:58 > 0:42:00# Oh, hold him, darling
0:42:00 > 0:42:02# Please hold him tight... #
0:42:02 > 0:42:05Livvie! Oh, my darling.
0:42:05 > 0:42:07And do you feel guilty at all
0:42:07 > 0:42:08about ending Joan Crawford's career?
0:42:10 > 0:42:11Time did that all on its own...
0:42:13 > 0:42:14..as it does to us all.
0:42:14 > 0:42:19# You dreamed that he said goodbye
0:42:20 > 0:42:25# Hush hush, sweet Charlotte
0:42:25 > 0:42:28# He'll love you
0:42:28 > 0:42:33# Till he dies... #