All language subtitles for FEUD S01E02 The Other Woman 1080p AMZN WEB-DL DD+5 1 H 264-CasStudio_track3_[eng]

Jane, I'm only trying to explain
the way things are.

And if it weren't...
If... Now, if I weren't

in this chair...
Oh, Miss Crawford,
I'm so excited!

I'm going to be playing
your neighbor right next door.

So close.
(chuckles)

Can I please have
your autograph?

It's for my grandmother.

She's loved you
since she was a kid.

Thanks.

(chuckling)

(men chuckling)

Sometimes you need to
hit it square in the jaw.

(bottle falls)

(chuckles)

You know, Bob,
I was thinking.

We need to pack the bags
of the girl next door.

She's moving out.

Wh... Oh, Joan,
I-I don't have time to recast.

We're shooting tomorrow.

I have co-star approval.

She's not a co-star.

That's right.

And she never will be.

(knocking at door)

What?
(door opens)

You wanted to see me?

Yeah. Forget the little
daily gifts, Lucille.

I'm going to be
much too busy working

to shop for anything
in return.

Whatever you say.
Only let's not fight.

We have to support each other,
Bette.

I'm worried our director
isn't taking care of us,

so we have to take
care of each other.

What the hell does that mean?

You're the one that hired
the goddamn director.

I'm going to be blunt, Bette.

Aldrich is a lady-killer.

He likes young blondes.

The cookie
that's playing the neighbor.

I saw her. She's no threat.

Well, not now, of course.

But what happens when he starts
sleeping with her?

Suddenly she has more lines
and scenes than you do.

Now, I've asked him to replace
her with someone less showy,

less likely to pull focus,

but he refused.

'Course, you have more scenes
with her than I do, so...

perhaps I'm being out of line.

You know, Bette,

I just wanted to say...

I think what you're doing
with this part

is incredibly brave.

(door closes)

Bette?

Bette, where are you going?

Your big scene's up next.

I'm going home sick, Bob.

You don't look sick.

I am. I'm sick to my stomach
because of you.

I thought you wanted to
work with Crawford and me

because you respected us.

Because you wanted our opinions.
But clearly, you don't.

And that just makes me
want to vomit.

What are you talking about?
Crawford wants that woman that's
playing the neighbor gone,

and I have to agree.

You're casting with
the wrong head, Bob.

She's not an actress,

she's not going to
elevate the material.

I mean, look at her.

Her audition was wonderful.

I want her gone.

I won't do it.

Then I'm going home sick.

I forgot my purse.

Goddamn it!

*

*

(seagulls chirping,
waves crashing)

I think I'm all right.
Is that a mirror? Thank you.

You're in my light, honey.
Oh.

Did you see that...
What was it? Coming Home?
Mm-hmm, yeah.

Some kind of Vietnam
War thing. Oh, God.

MAN: Talk to me about
the origins of the feud.

BLONDELL:
Hell, those two?

They didn't actually need
a reason to hate each other.

It was chemical.

But things didn't start
to boil over until the '40s,

when they were in their 40s.

Bette's star was rising
at Warner's,

and over at MGM,
Joan's was starting to dim.

Cut!

I'm sorry.

Can someone
ask an executive

to come down
to the stage, please?

I'm so confused.

We... We're on our honeymoon.

We're recruited
by the British Secret Service

to stop the Nazis. Right?

Does this make sense
to anyone?

Can someone
explain it to me?

BLONDELL: Now that Garbo and
Shearer had packed it in,

Joan wanted roles with dignity.

She'd had it up to here

with the slatterns
and shopgirl roles

that had made her a star.

She fought tooth and nail
for the role of Marie Curie.

JOAN:
Listen, Louis.

Either I play
that egghead dame,

or I walk.

Then I suggest
you start walking.

* Somebody else
is taking my place *

BLONDELL: Two weeks later,
Joan signed with Warner's.

* Now shares your embrace *

Thank you, Daddy.

Oh, come on, Joan.

Let's cut the "Daddy" shit,
all right?

Might have worked
for that fat fuck over at MGM,

but you're working
for me now.

(chuckles)
Tchin tchin.

BLONDELL: Warner picked up
the former MGM glamour girl

at closeout, everything must go
bargain-basement rates.

And he still thought
he was paying too much.

* Little you care
for vows that you made *

Cancel my appointments
for the rest of the afternoon.

BLONDELL: Warner brought
Crawford in for one reason:

to use as a cudgel against
his problem child, Bette Davis.

Bette was the undisputed

queen of the lot...
(gasps)

...playing one Oscar-nominated
role after another.

Addie.

She was difficult. Expensive.

Addie, quick.
And far too powerful,

especially for a woman.

Joan was Jack's message
to Bette:

You're not the only bitch
in the kennel.

And Joan wasn't too proud
to take Bette's scraps.

VEDA: You've never spoken
of your people.

Who you came from.

Maybe that's
why Father...

BLONDELL:
Wasn't long

before she found
her comeback role.

A role that Bette
never would have passed on

had she realized
it was Oscar-worthy material.

(telephone rings)

What?

MAN:
Sir, Bette Davis is here.

She's demanding to see you.

Shit.

BETTE: I know
what you're doing, Jack,

giving Crawford
all my roles to control me,

make me insecure.

You said you were offended
that I offered it to you.

I didn't want to play
the mother of a teenager.

All right, well, then,
there's a lesson in all this,

isn't there, chickie?

Next time, you got to
fucking trust big daddy.

But aren't you even
just a little excited

about that pip of a
script I sent you?

Where I play a neglected wife
in a black fright wig

who tries to abort her child
by throwing herself down a hill

and then dies?

Fine. Don't do it.

Crawford loves it.

If you'll excuse me,

I'm late for my lunch now.
Let me guess, Lana Turner?

Nope.

Judy Garland?
Nope.

Ava Gardner?

Joan Crawford.

BLONDELL:
Poor Bette.

While Joan
now got the best parts

for women of a certain age,
it was Bette

who had to play the shopgirls
and the slatterns.

(sighs) What a dump.

BLONDELL: And it was Jack Warner
who, through it all,

made millions off both of 'em.

And probably always would.

Ain't that just the way?

Oh, there's my star.

I hate the breakfast scene.

I love that scene.
Too much exposition.

No, she's rubbing
Blanche's nose in it.

She stole her limelight.
You got to use that underneath.

I don't need subtext,
Bob, I need good text.

Bette, it's today's work,
it's a good scene,

and Joan likes it.

JOAN:
I never said that.

I agree with Bette.

The writing doesn't
begin to capture

how women get under
each other's skin.

The intent is there,

but the execution
is lackluster.

You work on that, Bob.

See what you can do.

We'll anxiously be
awaiting a rewrite.

How do you like that--
"anxiously" awaiting?

(both chuckling)

Isn't that a
pretty picture?

They're finally
getting along.

Yeah, and to think
only last week

they were wishing
each other dead.

(laughing)

(indistinct chatter)

JOAN:
Bette is just amazing.

Oh, she's going to win
all the awards this year.

(chuckles)
Hedda.

Are you two gals really
getting along together?

Come on, you can tell Hedda.

Hedda, we told you before,

we're getting on
like a house on fire.

I haven't seen this much shit
since my last bowel movement.

What year was that?

1932.

You know the good thing
about scotch, Bob,

is it only gets better
when it ages.

Broads...

they just get sour.

So I hear that
these two bitches are

really busting
your balls, huh, Bobby?

Aw, typical stuff,
you know.

Bette's always fighting me
for another close-up,

Joan's always fighting
me to take it out.

But they're burning up
the screen, Jack.

You should have
paired them years ago.

(chuckling):
No, thanks.

Two world wars were enough.

But there's something I want
to talk to you about, Bobby.

The front office tells me
that you're behind schedule,

and I don't like that.

Well, j-just by one day.
We just started.

I'll make it up.
Okay.

And also, I'm not gonna
release the picture

the way I said I would.

I'm gonna open it bigger.

The way no one's ever
done before.

A wide release.
400 screens.

Ha ha!
(both laughing)

Did I get you?
I got you!

Oh, you got me.
I got you.

400? Are you crazy?
What-- why?

Why? 'Cause you're right.

They're burning up
the screen together.

Bobby, their scenes
are fucking electric.

They are fucking electric!

And let's face it,
after Psycho,

horror's the future,
and we got it.

Okay, now here's what
we got to do.

There's got to be buzz.

Yeah, yeah, we can keep
the publicity machine going.

I'll give your PR people
full access to the set.

No, no, no, there's got to
be more than that, bubbie.

You got to keep 'em
at each other's throats.

You have to.

I'll make sure their names
are in the papers.

That's not a problem.

But if you do this,
you'll be able to

write your own ticket
in this town.

L'chaim, bubbeleh.

Well done, Bobby.
Come on!

Let's go see
what they're doing.

It's not just about morale,

it's also about respect--
I've lost both.

Ever since I fired
that tomato

who was playing
the neighbor girl,

the whole crew knows that
I was pushed into it.

The whole crew knows
Crawford and Davis

are running the show--
they double-teamed me.

I'm telling you, Harriet,
Jack Palance and Lee Marvin

would have never
pulled this shit.

Yeah, they don't have to.
They're men.

Yeah, well, that makes
them half as cunning

and nowhere near as ruthless.

I'd think you'd be happy

that both your stars
are getting along.

Yeah, they're not
getting along.

They're just teaming up.

It's like
the Hitler/Stalin pact.

You know, maybe Warner's
got the right idea.

He wants to leak some dirt
to the gossip columns, you know,

get a little catfight going.

Bob, that's terrible.

Well, it could get a lot of
pre-release publicity that way.

Anyway, pitting them
against each other

might be just the way
to control them.

Bob, don't you dare.
It's too cruel.

They need to feel
secure and supported.

But not by each other.
I can support 'em both.

Well, don't fool yourself.

Even you're not man enough
to satisfy two women.

What the hell is that
supposed to mean?

Why don't you ask your
little strudel, Gretchen?

Harriet, where are you
getting this from?

Gossip on a set
is poison, Bob,

and spreads fast.

It's a small town,

and everybody finds
out everything.

Even your wife.

Well, it's bullshit.

Maybe, but it hurts
just the same.

And you should consider that

before you start
spreading gossip of your own.

*

HEDDA:
Hi, Bill.

Oh, Roger, hi.

Nancy, you look beautiful.

Barbara, how are you?

Hello, Bob.

And let me just say again

what a thrill it is
for me to be directing

these two legends
of the screen.

Mm. Really, Bob?

That's it?
That's it.

I'll leave it up to you
to spruce up the adjectives.

Oh, I think you've
got me confused

with Adela Rogers St. Johns.

I came here for
red meat, not pabulum.

No one wants to read about
how those two battle-axes

make nice with each other.

Well, what can I
tell you, Hedda?

They're both consummate
professionals.

You know who you
remind me of?

Not John Ford.

Now, there's a man
who commands

not only a movie set,

but his own press.

He knows how
to play the game.

Which is why he's
as vital now

as he was before talkies.

Where are you, Bob?
Three bombs.

You want to go back
to directing television?

This picture could
make you relevant again.

I have too much dignity to get
into the gutter with you, Hedda.

Well, I hope dignity

pays your gas bill.

All right, wait, wait.

I might have something,
but you didn't hear it from me.

Blind item, my specialty.

Well, it...

This is about...
Crawford's tits.

Oh, I'm all ears.
Well, that's just it.

Crawford's all tits.

Davis has been complaining
that they're too perky.

Perky?

Fake.

She wears falsies?
Yeah.

(chuckling)

You know, Davis is
a real artist.

She says she can't
play to them.

And she says she's scared
of falling onto them

in the beach scene because
she thinks she'll chip a tooth.

Ha!
Says those things
are hard as rocks.

Oh, that's great.

Yeah.

"Chip a tooth."

Yeah, that's great.

(engine revving,
tires screech)

Miss Crawford...

Miss Crawford,
do you have any response

to the comments made by
Miss Davis in Hopper's column?

Oh, I certainly do,

but nothing I'd let
my children read

in a family newspaper.

(service buzzer buzzing)

All right, Blanche Hudson,

Miss Big Fat Movie Star!

Miss Rotten Stinking Actress!

Bob, I have to talk to you.
What?

Cut!
I'm in the middle
of a fucking take!

What is it?
Have you seen

Hedda's column this morning?

Oh, for Christ's sake!
Okay, take a break,
everybody.

No, I haven't.
Why, does she mention us?

Us? Oh, no, no.

Not us. Me? Yes.

Would you like me
to read it to you?

"The woman is crazy.

"I always suspected
she had a false front,

"and now I know for sure.

And they're 34 double Ds."
(laughing)

Are you going to let her
get away with this?

Get away with what?
I said no such thing.

Joan, I'm sure
Bette's comments

were taken out of context.

Who gives a shit, Lucille?

Everybody knows
you pad your bra.

You've been doing
it for years.

Bob, will you please
tell Miss Davis

that I will sue her

if she continues
to make comments

that are injurious

to my ability to earn a living.

Ha! Earn a living?

Every time you belch,
Pepsi gives you ten grand.

How dare you mention Pepsi!

Unlike you,
it's good and pure.

It's pure, all right.
Pure vodka!

Betty, Joan,
come on, ladies, please.

Let's just...

JOAN:
She's jealous of me.

She has always been
so jealous of me.

Joanie, who wouldn't be?
Look at you.

ROBERT:
You're beautiful, talented.

You're a legend.

And I understand
that you're upset.

But put all that passion,
all that anger

into your performance.

Forget about her.
Forget her.

Listen to me.

I am the only opinion
that matters.

(exhales)

Oh!

I'll make you proud of me,

I promise.

OLIVIA: Years later,
when I heard what was going on,

I was furious.

I mean, at the time,
we didn't know

that these two great screen
legends, friends of ours,

were being manipulated so
cruelly by the men around them.

Well, not that we could've
done anything about it.

You know how much power
women had back then?

Exactly as much
as we got now: zippo.

Well, you have to remember,

this was before the modern
women's lib movement.

Which I admire very
much, by the way.

Me, too.

But imagine a studio today

tried to pit Miss Jane Fonda
against Miss Dyan Cannon.

I mean, the girls would revolt.

Oh, horseshit.

Nothing's changed.

No matter how liberated,
women'll do

what they always do
when they're cornered:

eat their own and pick
their teeth with the bones.

(telephone ringing)

Louella, darling.

Joan here.

Listen, I'm calling about
the article Hedda wrote today.

I have a rebuttal.

No, but for you.

Are you writing it down?

Good.

Miss Davis looks old enough
to be my mother.

One look at her face
and you'd think

she hasn't had a happy day,
or night, in her life.

Yes, you can quote me.

I'm counting on it.

(tires screeching)

SYLVIA: Miss Davis, care
to comment on the fact

that Miss Crawford says you look
old enough to be her mother?

What's your name, sweetheart?

Sylvia.

Fuck off, Sylvia.

Oh! Come on.

Go to my room
and read a goddamn book.

(knocking on door)

Come in.

Let's have a little talk.

I'd love that.

Although I know you
prefer chewing the fat

with gossip columnists.

I don't know what
you're talking about.

Louella Parsons, today.

You're quoted on the
record, Lucille.

Oh, yes. That.

Let me just cut through
the movie star bullshit

you cling to when the waters get
too deep for you to stay afloat,

and explain
something to you.

I can't wait to hear.

You seem to have forgotten
that the unflattering makeup

I'm wearing in this picture
is a choice

designed to create a character.
I'm not interested

in vanity,
I'm not interested in gossip.

I'm interested in the work.

That's what I want to do,
so I suggest you stop

fitting in calls to Parsons
between your morning coffee

and taking a shit
of butterflies and moonbeams

and whatever else comes
flying out of your ass.

If you don't, it's your funeral.

Are you threatening me?

You'll kill me?

Worse. I'm gonna steal
this picture right out

from under your nose
and you know I can do it.

I am doing it.

Says who?

The crew, the director.

Everybody.

Mr. Aldrich says
he loves my performance.

Interesting.

(door opens)

(door closes)

JOAN: After all those years,
I'm still in this chair.

Doesn't that give you
some kind of responsibility?

Jane, I'm just trying to
explain how things really are.

This is fantastic footage, Bob.

It's fantastic.

I-I mean, you can
literally feel the hate

steaming off the screen.
It's... It...

Are you sure it's not the acting
you're responding to?

Uh, Hank, turn the sound down.

What, are you kidding me?
There's so much ham up there

I'm gonna have to go to my rabbi
this afternoon and atone.

No! I'm talking about
what's underneath

all that scene chewing.

Pure, naked rancor.

I love it. I want more.

More?
Yeah.

Come here, come here.

You've got to make
each one think

that you like
the other one more.
Oh, Jesus, Jack.

The atmosphere on set's
frosty enough as it is.

You sure you want me
to stir that pot?

What are you,
red all of a sudden?

You got something
against capitalism? Huh?

(laughs) Look, Bob,
come here, look.

What we're looking
at right there

is a raw display
of the free market.

That's vigorous competition.

That's the American way.

The more that they
despise each other,

the more that each
one tries to crush

the other one,

the better they get!

But they're already good.

No, they're great. Great, but
they can be greater still.

Do you think that Wellington
was such a hot general?

He wasn't. He was a piker,

until he had to go
up against Napoleon.

And why?

Because he hated
Napoleon's guts.

He hated him.

It was his hatred
that made him great.

Jack, that was war.

So is this.

Turn it up!

JOAN: You wouldn't do
all these awful things to me

if I weren't
still in this chair.

Ha! Look at that,
look at that!

But you are, Blanche.

You are in that chair.
(Jack laughs)

ROBERT: Cut.
Fantastic.

Fantastic, Bob.

(Jack continues laughing)

Bob, sorry I'm late.
Two hours late, Bette.

You asked me to be here at noon
and on a Saturday.

It's unforgivable, I know.
I overslept.

I... I was in a panic
last night, I had a drink.

I...

(sighs)

This week
has been murder for me.

Yeah, it's been tough
on everybody.

(sighs)
I have no idea

if what I'm doing
is working at all.

Is it a brave choice,

or is it just
in reaction to her?

She infuriates me,

I just want to smother her
with my performance.

And Jane wants to smother
Blanche. It's perfect.

Is it?

I don't want to end up
a joke, Bob.

I feel I need
to get control,

and I don't know
if I can do that

when I'm seeing red
all the time.

Maybe I should invite her
to dinner.

No. No.

No, no, no.

You know, there's such a thing
as alchemy, Bette.

You don't mess with alchemy.

My advice, you just keep doing
what you're doing.

Muscle out the
next few weeks.

Stay in your own lane,

because that road is gonna
get you to your next Oscar.

Trust me.

I do trust you.

You won't let me look
ridiculous.

Of course not.

All right, let's look
at the scene.

"I've Written
a Letter to Daddy,"

frankly, scares
the shit out of me.

I'm not a singer, never was.

Oh, come on, Bette,
you sang with the U.S.O.

That's why I want you to perform
the number live, on the set.

You just said you wouldn't
let me look ridiculous.

And I won't, but it's all about
the pathos, Bette. The loss.

Jane just wants
to be that adored

eight-year-old girl again.

It's her selling the number,
not you.

Come on.

Why don't we give
it a whirl, huh?

Come on.

(Bette clears throat)

* I've written
a letter to Daddy. *

No, you don't need that.
You know the words.
Ugh...

You need your hands,

Jane is open.

Big, theatrical gestures.

Remember, she's vaudeville.

* I've... *

* I've written
a letter to Daddy *

BOTH:
* His address *

* Is heaven above *

* I've written
"Dear Daddy, we miss you" *

* And wish you were here
with us to love *

* Instead of a stamp
I put kisses *

(both laugh)

* The postman says
that's best to do *

* I'm writing
a letter to Daddy *

* Saying *

* "I love you." *

You got plans for dinner?

I feel like I owe you something

for having you cool your heels
all morning.

I promised Harriet
I'd take her to Perino's.

Bring her.

(chuckles softly)

JOAN: I want you
to take all the costumes

and just lay them out
in the dressing room

and that way, I can go through
them and determine which...

...I said, okay, how about...

(laughs)

(chuckles)

The crew is abuzz.

About my performance?

About their relationship.

Apparently,
they've been working

on her scenes
all weekend long.

So, you like the tie?

Mm. I do.

(telephone ringing)

Hello?

Hmm?

It's Joan Crawford.

Joan?

It's fucking midnight.

(crying):
Bob, he left me.

Who?

Peter.

Oh, we had a terrible row.

He said this picture meant more
to me than he did and he left.

He was drunk.

Oh, God.

I have to quit the picture, Bob.
I can't continue.

A-All right, uh, j-just,
just give me a few.

I'll put, I'll throw some
clothes on. I'll be right over.

You promise?
Yeah, yeah, I promise.

Okay.

(chuckles)

(doorbell chimes)

*

(knock at door)

(door opens)

Who is it? Who's there?

Who the hell
do you think it is, Joan?

It's Bob, you called me here.

Oh, Bob. No, I thought
for a moment

maybe Peter had come home.

Yeah, I'm sorry
about Peter, Joan.

You know what I'm sorry about?

I'm sorry I gave up a wonderful
relationship with a man

who truly cherished me,
a doctor no less,

for you and this picture.

Really, it's just too much.

What are you talking about?

You know goddamn well

what I'm talking about.

You and Davis,
cavorting behind my back.

Oh, you're being ridiculous.
Am I?

(chuckles)
Weekend rehearsals, my ass.

How long have
you been sleeping with her?

I'm not sleeping with her.

I won't be made a fool of.

I'm out, but don't worry,

I won't stand in your way.

I'm sure Warner
will let you recast.

We're not recasting, Joan.
Jesus.

This picture's only happening
because of you.

Well, I'm glad
you remember that.

What else do
you remember, Bob?

Joan.
Hmm?

Bob, do you remember

our private rehearsals
on Autumn Leaves?

Come on.

Rehearse with me now, Bob.

Take me through a love scene.

There is no love
scene in the picture.

(whispering):
Then I want a rewrite.

Oh, goddamn it, Joan.
Will you knock it off?

You think I don't
know what this is?

What, you think you're
gonna get me into bed,

I'm just gonna hand
the picture to you?

That's exactly what
happened on Autumn Leaves.

You saw me having coffee
with Cliff Robertson,

next thing I know your
hand's down my pants.

Screw you.

No, not this time, Joan.

Listen to me.

I'm trying to hold onto my
marriage for Christ's sakes.

Good, well...

JOAN: Peter?

What are you doing here?

I thought you were
in Palm Springs.

Yeah, the road got washed out.

I'll see you on
the set, Joan.

You want to explain that?

Explain? To you?
(chuckles)

I don't have to explain
a goddamn thing to you.

You're the one who
left me this weekend,

leaving me here all alone.

I think it's
time to recast.

Recast?

Recast you.

Your lines are stale.

You delivery's predictable.

I'm going downstairs.

When I come back,
I want you gone.

* And left you *

* So you can *

* Fly... *

It's a relief!

(doorbell chimes)

Where is she?

What the hell is this?

I'm sorry, Miss Joan.

She's small,
but she's quick.

Why that looks
like an exclusive.

In The Examiner,
in Louella's column.

You deliberately called up

that incontinent cow
just to scoop me.

Thank you, Sven.
That'll be all for now.

No, Sven's staying put.

I want this young man
to bear witness.

He should know whose carcass
it is he's been handling,

and just how many others
in this town

could identify it in the dark.

That column has
already been written.

"Joan Crawford's
Early, Tawdry Years."

And it's been locked away
in my desk drawer since 1946,

the last time you went
to Louella behind my back.

Oh, I told you then, Hedda,
I didn't go to Louella

about my divorce from Philip.

No, she came to me.

And you confirmed it. And after
I gave you your career back.

Box Office Poison.

That's what they
called her,

until I started
promoting her in my column

because I felt sorry for her.

Well, she is right about that.

When I was down
on my luck,

Hedda is the only person
in this Christless town

to extend a hand
in friendship,

to show some
human decency.

She didn't have to,

and I have always been truly
grateful to her for doing it,

truly, truly grateful.

Well, then why would you
go to my mortal enemy?

Because it was the only way

I could get your attention.

Thank you, Sven,
I'll see you on Friday.

Hedda, Hedda.

Yes.

Let's go down to the pool,
soak up some vitamin D.

(whispering):
Listen, we have to talk.

Okay.

Give me a moment to change.

Oh.

JOAN:
I'll just say it, Hedda.

I'm in trouble.

What kind of trouble?

No, no, no. This
isn't for publication.

I'm appealing to you
as a friend.

All right. Closed.

Shoot.

I'm broke.

Up to my eyeballs in debt.
No.

No. You practically
own Pepsi-Cola.

Pepsi-Cola owns me.

Or it owned Al, at any rate,

and when he died,
his debts became mine.

Two million dollars.

Hedda, that's what I owe.

Two million dollars.

Joan, I had no idea.

No, nobody does,
and-and they mustn't.

Look, I'm a single mother

working in Hollywood.

I've got three children whose
schooling is not yet complete.

MAMACITA:
Cocktail time.

Come on, I need a drink.

All right.

Look at this, Hedda.

All of this could be gone
in an instant,

everything I've worked
for my entire life.

I mean, where, at my age,
am I going to find

another rich man to save me?

You've never needed a man.

Neither one of us have.

And yet we've always
been at their mercy.

Hmm.
At least I have.

You don't know how
lucky you are, Hedda,

that being an actress
didn't work out for you,

that you were never a star.

I mean, you're the one who
has real power in this town.

Yeah, well, this town,
it's in decline.

It's becoming base and common.

You know, pretty soon,

I won't even be able
to shock it anymore.

The whole thing's
gonna blow away,

and all that'll be left
is the desert it's built on.

Oh, thank you, Mamacita.

Thank you, darling.

A few more years.

That is all I wanted,
just a few more years,
Hmm.

but I've been
undermined, sabotaged.

No, it's just not fair.

Davis, she's never
been one of us.
No.

She's never been a part
of this town, not like you have.

And she doesn't need the work.
Woman lives like a Yankee.

I just don't know
what I'm going to do.

Don't you dare. No tears.

Hedda is here.

You want a few more years?

What about five more?

Because that's what another
Oscar will give you.
Oh!

Yes.

A down payment on
five more years.

No, no, no, that
is impossible.

That'll never happen.

Bette has the showier role.

Well, that's
a matter of opinion.

And my opinion is
the only one that matters.

(chuckles)

Cheers.

Tchin-tchin,
my darling.
Mm.

Well, good morning, Miss
Davis, I am such a fan.

Doughnut?

No, coffee,

black, in my dressing room.

Oh, I'm not
craft service.

I'm your leading man
on this picture.

Beg your pardon?

I'm Victor Buono.

I'll be playing
your love interest.

I was expecting someone...

Thinner?

Less... homosexual?

Mm. Mm.

(laughter and indistinct
conversations)

BETTE: Thanks for the
great day, fellas.

Say good night, B.D.
Oh.

Good night, fellas.

Ah!

* Itsy bitsy teenie weenie
yellow polka-dot bikini *

* That she wore
for the first time today *

(louder):
* An itsy bitsy
teenie weenie... *

Christ, this song!

You don't like it

because you can't wear one
anymore.

* Two, three, four, stick
around we'll tell you more. *

(music stops)

Pack your bags, B.D.

Why? Are we going
somewhere?

Not me, you.

To Maine for the entire summer.

You can't do that.

Watch me.

Christ,
tonight I see you posing

and laughing in front of
the grips like a streetwalker.

You're jealous.

I'd smack you
across the face for that

if your braces
hadn't cost a fortune.

You're jealous because men
don't look at you anymore

and they look at me.

You can't take it

that your turn is over,
so you're punishing me.

What a joke.

For years when I was growing up,
all I ever heard from you

was "Christ,
when is that old buzzard

"Claudette Colbert gonna retire?

When is Norma Shearer gonna
realize the ship has sailed?"

I am not going to apologize
for having ambition!

I am not going to apologize for
being a working mother

who has to have opportunities

so she can put food on the table
for her family.

You know what those women
had that you don't, mother?

Dignity.

They moved aside
with class

after their spin on
the carousel was over,

and that's something
you refuse to do.

And now look at you.

You're single, lonely and
doing this ridiculous role

because you can't live without
being in the spotlight.

Well, guess what?

Nobody wants you anymore.

Nobody's watching you anymore.

You see me out there
having fun and being young

and taking my turn,
and you can't take it.

So fine.

I'll go, gladly.

Anything to get away
from you and your sadness.

(ringing)

Hello?

Is it one of the kids?

One of yours.

Bette Davis.

Oh.

(grunts)

Bette?

(knocking)

Well, here
I am, Bette.

What could you possibly need

that couldn't wait
till tomorrow?

A friend.

Oh...

(crying)

ROBERT:
She'll be back.

She's a teenager.

You can't take anything
they say to heart.

You should hear the way
my kids talked to me

when they were teenagers.

Hell, they still do.

But she's right, Bob.
That's the trouble.

My time has passed.

Oh, that's horseshit, Bette.

There's a scene in Eve
from the back of the car

when Margo's talking
about the long climb up

and all the things
you drop along the way

that you forget
you're going to need later.

I just turned 40
when we did that scene

and I remember thinking,

"Thank Christ
that will never be me."

But it is.

That's exactly what happened.

All my failed marriages,
my own daughter hates me.

And for what?

For the work.

Mm.

The goddamn work.

My one true love,

and now that's going
to leave me.

You're a star, Bette.

Just as much of a star now
as you were ten years ago.

20 years ago.

A star whose leading man
is a chubby homosexual.

Ah, now we get to it.

Is this what it's come to?

What do you mean,
"Is this what it's come to?"

Bette, he's a brilliant artist.

You say Crawford's no actor,
well Victor Buono is.

He comes
from Broadway,

for Christ's sakes.
I am not gonna fire him.

I don't want you to fire him.

I don't want you to fire him.
I don't know what I want.

Bette, listen.

I understand
everything you said.

You've had
a brilliant career.

Me, I'm still on the B-list.

I'm working like a dog to keep
a roof over my family's head.

I missed my kids growing up,

and my wife now wants
to give me the heave-ho.

At least you've got an Oscar.

Two.

Two. I beg your pardon.

I think maybe
we both mucked things up.

Oh, you haven't
mucked up anything.

You're a fine director, Bob.

A really fine director.

You should be very proud.

And you,
you started from nothing.

Look at all you've accomplished.

My grandfather
was a U.S. Senator.

My cousin is Nelson Rockefeller.

And you overcame all that.

(laughter)

*

*

(unzips)

(alarm ringing)

(clicks)

Captioned by
Media Access Group at WGBH