All language subtitles for FEUD S01E04 More or Less 1080p AMZN WEB-DL DD+5 1 H 264-CasStudio_track3_[eng]

Miss Davis?

Buzz Gimple.

May I say what an honor
it is to meet you?

I see Sid's got himself
a Boy Friday.

I approve.

Oh, I'm not Sid's secretary.
I'm your agent.

I will be personally looking
after your day-to-day concerns.

How old are you?

Almost 23.

Almost?
Mm-hmm.

MARTY:
Joanie!

You look ravishing.
Oh. (laughs)

You know the team.

Yes.
Would you care
for something to drink?

Oh, no thank you. I'd like
to get right down to business.

Please sit down.

Marty, I would like

to take the twins to Greece
and Italy this year.

Every young person should
experience ancient antiquities.

So when do you think would be
a good time to schedule that?

Well, probably not August.

Gets pretty hot in Greece
in August.

Right, boys?

Well, no. I-I...

I don't know what kind of offers
have been coming in,

so I thought
we might review them

and, uh, then I could plan
accordingly.

BETTE:
Nothing?

At the moment,
but we're gonna change that.

I wouldn't think
I need to mention

that I am opening a
picture very soon.

Yeah.

What I'd like to do is
maybe secure a few things

before the movie opens.

A guest spot on Perry Mason,
or, you know,

dinner theater has become
very chic again.

MARTY: There hasn't been
any offers, Joan.

Well, how is that possible?

I'm headlining

a major motion picture
which opens in

400 theaters nationwide
in just a few weeks' time.

And we're very excited
about that. Aren't we, fellas?

I did my part, Marty.

I got myself

back in the game.

I found the project,

I put up with
that awful woman for months.

And while I was
suffering all that,

what was William Morris
doing for me?

The landscape
hasn't changed, Joan.

There's just not a lot out there
for a mature actress.

BETTE: You've heard
the picture's stinko.

You can't pay attention
to the tongue wagging

that goes on in this town.

They're always rooting
for failure.

What have they
been saying?

Well...

word around town is
you and Crawford won't be able

to get arrested
after the movie opens.

They're saying you've thrown
what's left of your careers

down the toilet
by doing a "B" movie.

I see.

That explains why I've been
shunted to the junior leagues.

No offense.

None taken.

Don't give up
the ghost, Miss Davis.

Worst case, the movie bombs
and people forget all about it.

You'll be back.

JOAN:
Well, I'm sure

once the picture opens,
there'll be no end of offers.

And we'll be here to field them.

Fuck you, Marty.

If I have to

find my own projects
and wait for you

to field offers
instead of drumming them up,

I don't see the point
in having an agent,

or a room full
of fucking agents.

You're all fired!

(thunder rumbling softly)

Hey, Buzz.

Looks like you
lost a client.

Somebody die?
Not a person.

Just your credibility.
Page seven.

BETTE:
"Mother of three,

"30 years experience
in motion pictures,

"wants steady employment
in Hollywood.

References upon request."

*

*

(seagulls chirping,
waves crashing)

JOAN:
You must listen.

I made you waste...

your whole life...

thinking you'd crippled me.

(projector clicks off)

(clears throat)

It's seamless, Mike.

I can't see where the beach ends
and the soundstage begins.

Thanks, honey.

What do we
think, Skipper?

Yeah. Lock the picture, Mike.

Make sure the optical print
is ready

for the sneak preview
on Saturday.

Do we know where
that's happening yet?

It's either Pedro or Long Beach.

Sure that's
far enough away?

Well, I figure
they're both ports.

I can always hop on a freighter
and make my escape.

Is the picture
still running?

Because you two both sound
like a couple of old biddies.

PAULINE: Why is everyone acting
like it's a failure

when it hasn't
even opened yet?

ROBERT:
You hear that whistling sound?

It's a bomb falling.

It's gonna land in 400 theaters,
all at the same time.

I don't agree.

You know who goes
to the movies nowadays?

Kids and teenagers.

I mean, nobody
under the age of 35

even knows
who these women are.

You're wrong
there, Bob.

This is where television
actually helps us.

Kids today-- they grew up

watching old Crawford and Davis
movies on Sunday afternoons.

They know who they are.

And don't you forget,
they said the same thing

about Gloria Swanson
ten years ago.

Sunset Boulevard
had Bill Holden.

It's not the same thing at all.

What you got there?

It's a script.
Oh, honey,

I can't even think
about the next thing right now.

No, no, no, of course not.

Hell, I'm not even convinced
there's gonna be a next thing.

So, you coming to the public
execution on Saturday?

Oh, I wouldn't miss it.

I don't say this
often enough, Pauline.

I couldn't have done it
without you.

Correct on both counts.

Go on, get drunk.

ROBERT: Harriet, we may
have to sell the house.

What, are you worried
about the picture?

I think I may have
misjudged the moment.

You know, I wanted
to get it done,

I wanted a measure of
control, but now we're...

We're in hoc up to our eyeballs.

If Baby Jan goes down,
so do we.

Is it not good?

Honestly, I can't tell anymore.

Well, we knew it was
a gamble from the start.

If we have to sell the house,
we'll sell the house.

Yeah, what about the kids?

We'll sell them, too.

But I think we'll get
more for the house.

(laughs)

You don't have to go down
with the ship, you know.

If you divorce me
before Saturday,

you might still get something.

Oh, I'm no fool.

I'll wait until your next
hit before I divorce you.

(laughs) I see.

So you'll stick around
for worse,

but if better comes along,

you're on the phone
to the lawyer?

Try not to worry so much.

You know that you always get
like this before a preview.

(rain falling)

*

* When you're young
and so in love as we *

* And bewildered *
(doorbell rings)

* By the world we see *

(vacuum stops)

* Why do people hurt us so? *

* Only those in love
would know... *

Mamacita.

Miss Crawford is out.

That's good.
May I come in?

* What a town without pity
can do... *

PAULINE:
It's called The Black Slipper.

It's written just for Joan.

She'd play a choreographer
falsely accused

of shoving a principal dancer
off a catwalk.

She gets locked up
for murder,

pushed around by some
hard-bitten convict broads.

Then she's proven innocent
and whisked from her cell

to dance the dead girl's
role on stage.

It's a story about
the irrepressible human sprit.

You want to leave the
script for Miss Crawford?

You're Joan's right-hand lady.

I know what that means because
I'm a right-hand lady, too.

You know better than anybody
how to get Joan on board.

I want

your advice
on how to do that for this.

I see.

Mr. Aldrich will direct?

No.

Who is involved?

Me. I wrote it.

And I want to direct.

Look, I realize

there is not exactly
a robust tradition

of women directors
for me to build on.

Only a handful of gals
have gotten studios

to trust that they could
handle a picture.

You think I'm crazy?

I think this is
a marvelous idea.

You do?

This is America.

No one can tell you
you're crazy.

In Werdohl, you know how you
must live when you are born.

Born to a shoemaker,
you must make shoes.

Born a girl,
you must be a mother.

Here, you decide.

There is opportunity to
become anything you want.

I will make your
case with Miss Joan.

(gentle piano music playing)

Miss Crawford!

You're in early this evening.
Yes.

And looking
particularly stunning.

Oh, why, thank you, Philip.
(chuckles)

Yes, we're motoring on
to Long Beach this evening

to catch a new motion picture.
Oh.

Oh, does Baby Doll
premiere tonight?

Baby Jane.

No, and it's not
a premiere.

It's merely a preview.

But the stars will be in
attendance. How thrilling.

Well, I'm afraid
my costar

felt it more urgent
to travel to Maine

to visit her daughter.

I actually think
Miss Davis smelled failure

in the air and ran away,
but not me.

Win, lose or draw,

I'll always show up on time,
hit my mark

and promote the product,
whether it's Pepsi-Cola

or a new motion picture.

Michael will be your waiter
this evening.

JOAN:
Are they still watching?

MAMACITA:
Is who still watching?

(whispers):
Everybody.

Yes.

They smell blood
in the water.

They are smiling.

Well, of course
they're smiling.

"Why, I can smile and murder
whiles I smile."

(laughs)

Jackals.

It's just like 1937
all over again.

When Hitler took Austria.

No, when they labeled me
box office poison.

(whispers): I couldn't get
arrested in this goddamn town.

But I was a young woman then.

I still had time to claw my way
back to the top.

But not now.

Baby Jane was
my last chance.

Maybe not.

I read
a beautiful script today

with a wonderful role for you.

Pauline dropped it off
at the house.

Who is Pauline?

You've met her over 50 times.
She works for Mr. Aldrich.

Bob has a new script.

Well, why didn't you tell me?

Not Mr. Aldrich.

Miss Pauline--
she wrote this script.

But Bob will direct it.
No.

She would also direct
the picture.

And you would star.

Oh, Christ.

A woman director.

(chuckles)
Well, it really is over.

(taps glass)

ROBERT:
Please tell me these canisters

are marked correctly.

At the preview for
Kiss Me Deadly,

the canisters got switched.

The atomic bomb went off
in the second act.

I hear this one
bombs in the first.

Just eat your
goddamned sandwich.

Well, it's time to face
the music, Mamacita.

(lively orchestral music
playing)

All right, Blanche Hudson!

Miss big, fat movie star!

Miss rotten, stinking actress!

Blanche.

You aren't ever
gonna sell this house.

And you aren't ever gonna
leave it either.

(dramatic orchestral music
playing)

(crowd gasps)

(screams)

(orchestral music swells)

(laughing)

(laughing)

(Blanche crying)

(dramatic orchestral music
playing)

(crowd cheering)

JOAN:
Mamacita, they loved it.

They loved you,
Miss Joan.

ROBERT: You know, Warner
is gonna have trouble

hiding the profits
on this one.

Mm... Bob.

WOMAN: It's Joan
Crawford! (gasps)

(crowd murmuring excitedly)

Oh. Oh.

(laughs)
Thank you.

JOAN:
Did you enjoy the film?

(laughs):
Did you?

Oh, thank you for coming.

(mouthing)

(band playing upbeat pop music)

* What ever happened
to Baby Jane? *

* She could dance *

* She could sing *

* Make the biggest theater
ring *

* Jane could do most anything *

* What ever happened
to Baby Jane? *

* What ever happened
to Baby Jane? *

* When she'd walk
down the street *

* All the world was lying
at her feet *

* There was no one
half as sweet *

* What ever happened
to Baby Jane? *

* I see her old movies on TV *

* And they are always
a thrill to me *

* My daddy says I can be
just like her *

* How I wish, I wish, I wish,
I wish I were *

* What ever happened
to Baby Jane? *

(applause)

* To her smile,
her golden hair *

* Why must everything
be so unfair? *

* Is there no one
left to care? *

* What happened to Baby Jane? *

* What really happened
to Baby Jane? *

Enjoy the show.
It's a lot of fun.

Yeah, nothing more fun
than a hit.

* To Baby Jane? *

(song ends)

(applause)

JOAN:
Oh, Christ.

Miss Crawford

is such a sweetly smiling fraud

that one feels
virtually nothing for her.

No wonder her crazy sister
finds her a deadly bore.

That's what you get for reading
The New York Times.

It's one review, Joan.

The notices have been
uniformly good.

Oh, good.
Oh, there've been raves.

But they're all about her.

Listen.

"A brilliant tour-de-force."

"A brave and
naked portrayal."

"You won't be able to take
your eyes off Miss Davis."

She has the critics,
so what?

You have the audience.

You're the one they're
rooting for, not her.

You know, I-I really

thought this film was
going to be a flop.

I really did, Hedda.

And I thought, "Well,
this is going to kill me."

But now I wish it had
because this is even worse.

It's like I wasn't even
in the goddamned picture.

And now there's talk
of Oscar nominations.

She'll get a nomination,
but so will you.

Oh, you can't really
believe that.

They wouldn't dare
nominate her and not you.

Yes, all right,
she plays a lunatic,

but you play a cripple.

JACK: Bobby, my boy,
we're breaking records!

Yeah, the picture's
doing pretty good.
Pretty good?

Baby Jane is the number one
picture in America.

Well, actually, it's more like
number eight so far this year.

No. For what we spent on it,
it's number one.

(both laugh)
Come on, sit down.

All right, so what's this
I hear from your agent, huh?

I sent you half
a dozen scripts.

You don't like
any of them?

They're all Baby Jane
all over again.

Well, that's 'cause you
hit on a winning formula.

It's not a formula, Jack;
it was one movie.

Which nearly killed me being
locked up with those two dames.

I want to do something a lot
less dangerous, you know?

Like a, uh,
like a war picture or a Western.

No. Let's leave
the war pictures

and the Westerns
to John Ford, okay?

When it comes
to two broads

beating the hell
out of each other,

that's where
you really shine.

No, Jack.

No more "B" horror movies.

I'm capable
of so much more.

I'm back now. I want to show
people what I can really do.

Wh-What, like your
Oscar-winning masterpiece?

Why not?

Well...

How about because that's
never gonna happen?

I mean, what
do you think,

you're like a big star
director all of a sudden, Bob?

I mean, no offense,

but you're a journeyman.

Strictly "B" list.

Don't start getting
ideas in your head

that you're like
Michelangelo.

You know, you're the wop

working in the
fucking tile factory.

We need tiles.

Yeah, well, even the schmuck
in the tile factory

has dreams, Jack.

Dreams are delusions.

And right now,
you're delusional.

The next script I give you,
you're gonna do.

Well, thank you for
the opportunity of Baby Jane.

I really appreciate it,
Jack.

But I'm done with horror
and aging actresses.

I'm not gonna say yes
to anything

that doesn't challenge me.

Okay.

Fine.

Go get challenged.

But when your next
movie is a bomb,

or the one after that,

you'll be back.

And you know what?

I'll probably
take your call.

Do you know why?

'Cause I got a soft spot
for losers, Bobby.

A soft spot.

You'll be back.

(knocking on door)

Come in.

Miss Pauline.

Oh. Pauline, hello.

No, Mamacita,
please stay.

This pile is for charity.

But all of that,

I want you to hang back up
in the closet, please.

A little early
spring cleaning?

Thank you for
coming to see me.

Thank you for asking.

And congratulations,
by the way, on Baby Jane.

You couldn't pay
for better reviews.

I let the fans tell me
when a picture is successful,

not the critics.

Pauline, I want to thank you
for passing this along to me.

I did you the courtesy
of not reading it.

I see no reason
to venture an opinion

on something I have
no intention of doing.

Well, I wish you
would reconsider.

I know that
it's unorthodox,

the idea of a woman director,
but it's not unprecedented.

Think of the women

who ruled the silent era.

Where are they now?

What do you guess prevented

the next great wave
of women directors?

I don't know.

Well, I do. I was there.

Money.

Money came along.

Silents were
low-cost, low-risk.

A producer might shrug
at the idea

of an ingénue
or girl editor

taking a turn behind the camera,

but when the studios
came to power,

they moved women
to the feminine work.

Costumes, continuity.

Directors needed stamina,

leadership,
fiscal responsibility,

so men were given the bullhorn.

And I can't say that we are
any worse off for it.

M-Miss Crawford.

I just need
my first bite.

Men, they will hire
based on potential,

but women, we need experience.

I'm not turning you down
because you're a woman.

I'm turning you down
because you're a nobody.

And at this late stage
of my career,

I don't have the luxury

of putting myself
in the hands of a nobody.

I have very few chances left.

And my last chance is not
going to be your first.

I hope you understand that.

I'm sorry I took up your time.

Pauline.

You should consider
yourself lucky.

You get to work with the best
Hollywood has to offer.

I mean, if you're seen
grabbing for too much,

you may appear ungrateful.

I appreciate that advice.

OLIVIA:
It was a sensation.

You have to understand
that women's movies

had been out of vogue
for quite some time.

I think the biggest moneymaker

that year was
Lawrence of Arabia.

I don't think there was even
a girl camel in that one.

(chuckles)

So with two women stars
of our era

to suddenly have
the most successful picture

in the theaters
among young people, well,

we thought it signaled
a sea change.

We had thought we'd
all start working again.
Mm-hmm.

That there'd be a flood
of women's pictures.

It didn't turn
out that way.

Sure as hell didn't.

The studios thought
it was a fluke.

They always think it's a fluke
when a picture carried

by the girls succeeds
at the box office.

And they so often do.

Baby Jane was hot.

But Joan felt left out
in the cold.

She did what actors have done
since Euripides--

she started hitting the bottle.

ADAM: So you're saying,
on the record,

that Joan Crawford
was an alcoholic?

Oh, I'm not saying it, honey.

Joan herself said it.

Quote, "The twin curses
of being a star

are alcoholism and loneliness."

End quote.

Can you explain
that sentiment to me?

Well, the highs
you experience being a star,

they're incredible.

When you're in a role,
you get to fall in love.

You get to be

glamorous.

You can tell people
how you feel deep down inside.

Oh, it's a constant high.

And then, when you don't
have a job, a success,

or someone else
is riding high,

it gets very, very quiet.

You can hear
the voices of doubt.

Pick up a bottle, and suddenly
the party starts all over again.

Pain goes away.

(doorbell rings)

Get her.

(liquid pouring)

Well, look who's here.

If it isn't Jack Warn...
What is this shit

about you not wanting
to promote the picture?

Jesus Christ, Joan.

I already have
a cross-country tour announced

for the two of you.

I'm not traveling
with that woman.

(groans)

Besides, why should
I promote your picture

when you won't return the favor?

I know you have
been out there

actively campaigning for Davis
for Best Actress.

Yeah, I have. And I've been
doing the same for you.

(scoffs)
You got to get over this.

This is one of
the biggest successes

you've had in years.

And instead of
going out there

and promoting it
and making it bigger,

what are you doing?

You're sitting around here
getting pickled.

I'm not pickled.

Like a herring.

It's 11:00 in the morning.

Look, Jack...
(groans)

I need your support.
Jesus.

I mean, come on.

I mean, if she gets
nominated and I don't...
Honey...

...I don't know
what I'm gonna do about it.

I mean, I need you to push
just as hard for me...
Okay. All right.

...as you are for her.
Come on. Even harder.
Okay. Come on. Stop it.

Stop it. Stop it.
Stop it. Stop. Stop it.
Shut up, you asshole.

What?!
It wasn't cute
when you were 45,

and it sure as hell
isn't cute now.

So stop it.

You know what?
What?

You were never in my corner.

All these years,
you always thought

Davis had more talent
than I did.

She does.

She can act rings around you.

But your ass is nice and your
tits aren't sagging, so...

Get out of my house.
Okay.

You don't want to do
this tour, that's fine.

But when those nominations
come out, I want you

to be shaking hands
and sucking cocks,

even if you yourself
are not nominated.

Every statue
that this picture wins

brings another million dollars
into our pockets.

And you have a piece
of the picture.

It is your goddamn
fiduciary responsibility.

(sighs)

Asshole!
(door opens)

OLIVIA: Poor Joan.
(door closes)

I sometimes feel that
she had more trouble

dealing with success
than she did failure.

Bette, on the other hand, well,
she hadn't had a hit in years.

After all that time
in the desert,

she wasn't about to let this one
go without enjoying it.

(crowd cheering,
Bette speaks indistinctly)

MAN: Hey, Bette!
Where's your sister?

Where's Joan Crawford?

On the beach. Dead!

(laughter)

OLIVIA: For the first time ever,
Bette seemed to enjoy

her public;
she seemed to embrace

the idea of being a star.

And she was gonna hold on
to that feeling for dear life,

because she knew
it might never come again.

JACK PAAR:
So what's it like

to be the cat's pajamas?

(laughter)

Is that what the kids
are calling it now?

I hear that you and your costar
are more popular

with the Brylcreem
and acne set than Fabian.

If that's so,

I would suggest they
send all their fan mail

to Mr. Jack Warner,

care of Warner Brothers
Studios.

He didn't want to make
this picture, you know.

You know what
his initial reaction was?

No, what?

He said he wouldn't
put up a nickel

for us "two old broads."
No.

(laughter)
BETTE: Yes. Can you imagine?

I mean, really.

I guess we showed him there's

still a lot of life left
in these two old broads.

(laughs)
(laughter, applause)

(phone ringing)

Hello?

Hello?

Oh.

So you finally deigned
to pick up, huh?

I had just walked in the-- Joan?

Please stop

referring to me as an old broad,

or I'll have to consult
my lawyer.

It's slander.

And it impairs my ability to

secure future work.

The only thing impairing your
ability is a fifth of vodka.

This is sad, Joan.
I'm sad for you.

For me?
BETTE: Yes.

Jesus Christ,
we're a goddamned bona fide hit,

and you're incapable
of enjoying it.

Well, it looks like you've been
enjoying it enough for

the both of us.

Half the success belongs to you.

Well, then I'd appreciate it

if you would enjoy it
half as much.

(line clicks, dial tone hums)

(sighs)

Pathetic old drunk.

Sinatra's comedic contributions
to the Western.

He wants to rewrite
half of my goddamn lines.

Well, maybe you got

to snap your fingers
to get the jokes.

Oh, I hope his limo
gets lost in the Mojave.

Take a break.

"The Black Slipper."

I wrote it for Joan.

When the hell did you find
the time to do that?

Well, if it's something
you care about,

you get up early, right?

I didn't know you were a writer.

I'm also a director.

At least, I think I am.

No, I-I am.

Uh, Pauline, I'm lost.

I wrote it to give myself
a picture to direct, Bob.

You said you
couldn't have done

Baby Jane without me.

That is what you said.
Well, I know how to cast,

I know how to prep, I know
how to handle the studio.

And I am good.

I've been there
every day.

I've managed more disasters than
the Army Corps of Engineers.

Of course, I realize
there are things

that I do need to learn
about the camera...

Easy, partner.
You don't have to convince me.

You're good on story.
You have an impeccable eye.

And you handled
those two old broads

like a lion tamer.

Thank you.

Anything else you can
pick up in a textbook.

So then you will read it

and you would consider
producing?

(chuckles)
Why do you sound so surprised?

Because some men
find it off-putting,

imagining a woman in charge.

Really? What men?

Oh, your friends
at the old folks' home?

It's a new world, Pauline.

Thank you, Bob.

I will not forget this.

Well, since
you're in charge now,

why don't I let you

tell Sinatra
where he can put this?

(sighs)

Boss.

You don't trust women
very much, do you?

Why don't you
trust people?!

No, no! Go back to
your-your fancy party!

I don't need you!
Go on! Get out!

(keys jangling)

It's all right, Sergeant.

I think I just lost a client,
that's all.

Good night, toughy.

DIRECTOR: And cut!
(bell rings)

ASSISTANT DIRECTOR:
Okay, that's lunch!

One hour!
Cigarette?

Thank you.
What a gentleman.

I liked that. How did you
think it went? Are you happy?

MICHAEL PARKS: I am happy.
Mm.

What is this big fish
doing in my little pond?

Bette, how you doing?
I'm doing television.

I want you to take me out to
a fancy, expensive restaurant.

You got it.

I want you to have this.

Open it.

(box rattles)

(chuckles)

It's the one millionth
ticket sold for Baby Jane,

or that's what
they told me.

Oh, how nice. I hope
I don't have to pawn it.

Yeah. I saw
your Variety ad.

Oh, that was just a joke.

Yeah, I know that's how
people are taking it,

but I know better.

All right, I admit,
I was in a panic.

Everyone thought Baby Jane
was going to bomb.

And it didn't.
No, it didn't.

And I'm still not
getting any offers.

What are you talking about?
You're doing Perry Mason.

It's television.

There's no shame
in doing television.

Says the man who just signed
Sinatra and Dean Martin

to a multimillion-dollar
Western romp.

Yeah, you're right.

It's disgraceful
how you and Joan

aren't getting the credit
you deserve.

You should both be
up to your necks in offers.

Well, this town has always
been a boys' club,

and the boys are not polite.

They're not going to hold
the door open for me.

I'm gonna have to kick it open,
the way I always have.

(chuckles)

I found a script.

I want you to direct.

It's about two sisters...

Bette, no, I'm not going
another 12 rounds with you two.

(laughs) Crawford's not getting
anywhere near this one.

So who do you see
for your costar?

Me.

I play both parts.
They're twins.

Didn't you do that already?
'46. A Stolen Life.

But the technology
has so improved.

And so have I.

We shouldn't be repeating
ourselves, Bette.

I don't think that's a good move
for either of us.

I understand. Completely.

Don't give it
a second thought.

I'm really pleased for you, Bob,

that you've turned
everything around,

and I'm so happy

that someone is getting credit
for our success.

And now you can
go off and make

a big Western with the boys.

And I have my little ashtray.

Oh, come on, Bette. You're
gonna get more than an ashtray.

We both know you're gonna be
nominated for another Oscar.

What if I lose?

You won't lose.

A nomination
is not gonna be enough

to turn this around for me, Bob.

I've just proven that
I can still open a picture.

If the offers
aren't coming in now...

Yeah, but they
will come in.

And if they don't,
I promise you,

I will personally write you
another big fat fucking hit.

Yeah.

That's what Mankiewicz
said, too,

right after I lost
for All About Eve.

I'm still waiting.

(whispers):
Wait.

That's it.
Oh, wow!

There it is.

Frank,

some of these costuming ideas,
I don't think

they're very practical
in this context.

You got cream suede boots,
uh, linen pants, gold ascot...

Gold silk ascot.

Yeah, well, yeah,
a top hat and tux

for the act three brawl--
I mean, come on,

this is the Wild West,
it's Galveston.

(chuckles) You know,
I mean, think of the dust.

There's chaw spit flying
all over the place.

I mean, there's horseshit
on the streets.

Zack Thomas doesn't
walk in horseshit.

Yeah, and what about,
look, page 33.

You got Fifi shining your shoes,
and you want Anita Ekberg

to give you a shave on page 108?

Bob... go to the club
and get a drink.

I hear a heart attack coming on.

Zack Thomas is intent

on recouping his $100,000
from Joe Jarrett.

That is the picture.

Now, if every time we see Zack,
he's getting a foot rub,

how's the audience gonna
understand his ambition?

People know what I want,

and they know
I don't sweat gettin' it.

Match me.

VICTOR:
Zack,

what are we gonna
do about Jarrett

and his gambling boat now?

Well, you don't leave me
much choice.

He now has the dock rights,
thanks to you.

But don't worry
about it, Harv,

opening night
will be closing night.

Certainly hope so.

Sometimes think I don't have
the intestinal fortitude

for this job.

The word is "guts," Harv.

ROBERT:
Cut, cut.

Frank, you're looking
straight down the camera.

I'm pretending it's a mirror.
Well, that's fine,

but just look to one side.
No.

You go see a Sinatra comedy,
you want to see his baby blues.

You're not Sinatra, you're
Zack Thomas, and this isn't

center stage
at the Sands.

It's a saloon
in Galveston.

Frank, listen, we have an
opportunity here to make

a picture
that's saying something

about the rivalry and greed that
civilized the American West.

It's saying nothing
but tits and fistfights

and me looking like
a real cool daddy.

Come on!
Okay, okay.

I'm not gonna argue with you.

Let's go back to, uh, um, "You
don't leave me much choice."

Got it.

Okay, let's roll.

Rolling.

And... action.

(burps quietly)

How can I concentrate

with this beluga whale
belching next to me?

Oh, that's... it's
a character choice,

Mr. Sinatra.
Who asked you?! Huh?

Okay, come on,
come on.

Let's concentrate.
Let's go again.

We're still rolling.
Come on.

(clears throat)

Okay, going again.
And... action.

ADELL: "You don't
leave me much choice."
I know the line,

you stupid bitch!
ROBERT: All right, all right,
that's out of bounds.

Out of bounds?!

Who the fuck do you think
you are, out of bounds?!

You're nobody.

I ought to have you
decapitated and buried

in the fucking desert,
you sweaty, four-eyed ape.

They won't even mark
your grave with an "X."

And no one'll notice
you're gone!

ASSISTANT DIRECTOR:
And that's lunch!

One hour!
(bell rings)

Warner wants to see you.

Yeah, why does that sound
like a relief?

(sighs)

Here. Sinatra's changes.

Just put them
in some kind of order.

I'm sorry, honey.
You okay?

Yeah.

(typewriter clacking)

(Robert clears throat)

(bell dings)

Couch.

Don't be nervous, Bob.

I asked you here

because...

I didn't like the way
we left things last time.

I wanted to apologize

for my harsh and
insulting language.

I'm sorry.

I was hurt,
I felt rejected,

and I lashed out.

It's all right.

No. It's not.

Just because I
made Bob Aldrich

doesn't mean that he has
to obey my every command.

You're not a poodle.

Are you, Bob?

You're your own man.

Well, thanks for that.
I appreciate it.

Well, I hope we can
still be friends.

Yeah, sure. Why not?

So...

I hear the Sinatra
dailies are unwatchable.

Uh, we'll get there.

Yeah?

I also hear
that he's treating you

like a halfwit toilet attendant.

Well, I wouldn't say we've, uh,

we've hit a groove
of mutual respect. (chuckles)

Come on, Bobby.

You can't hide from old Jack.

I can hear it in your voice.

Your sphincter's clenching up.

Which is exactly what
I told you would happen.

I know you're getting

some kind of grim
satisfaction out of this,

but I slaved over that script.

I slaved over it.

And this...

suntanned man-child
is mutilating it.

Yeah. Yeah.

No, I've-I've heard.
I've heard.

What's this?

That's a gift
for my good friend Bob.

Fresh, un-mutilated properties.

Further tales
of old hags.

No, no, no.
Now, listen.

Pick one, bring it to Bette.

As a bonus,
I will release

your dog-shit Sinatra Western.

Who else would do that for you?

All right, come on.

Run along, now.
I got writing to do.

I'm working on my
autobiography.

What do you think
I should call it?

I'm thinking of
Life of a Showman.

Yeah, that's great. Mm-hmm.
That's good,
right? Yeah.

Oh, also, good
luck on Monday.

I mean, in general,
for Baby Jane.

It's sure to pick up a few nods,
but I want you to be prepared

for the possibility
that you'll be left out.

But don't take it
personally.

You're just not the type that
your peer group acknowledges.

I'll see you later.

Can I ask you
something, Jack?

Yes, of course.

Be straight with me.

Never any other
way, Bob.

Do you think I have
the potential for greatness?

(knocks on desk)

No.

(sighs)

(sighs)

Honey, get Frank.

He took a jet
to New York, Pop.

What?

H-He said to
shoot around him.

What is this, Bob?

Sinatra's notes,
which I invite you

to stuff into
a Molotov cocktail.

No, this was my script.

I worked on this
for months,

and you used it for scrap paper.

You even read it?

Well, I-I needed something
to write on, Pauline.

It's not like I tossed it out.

No, you just told me to "stuff
it into a Molotov cocktail."

Pauline!

I'm drowning here.
I'm underwater.

And you're asking me
to move a mountain for you.

Even if you didn't pick
the shittiest time possible,

I'm not a miracle worker.

No one is gonna let
a woman direct a picture.

You're in fantasyland.

Now, if you want to come back
to the real world

and keep working for me
as my assistant, good.

If not, take a walk.

Because I don't have
time or energy

to coddle a middle-aged
boy singer and you, too!

*

MAMACITA:
One slice each--

apple, pecan
and whipped cream.

With two Pepsi-Colas.

Well, no time like the present
to develop diabetes.

Miss Joan forbids sweets.

She says sugar is
a dangerous food.

I take my thrills where I can.

Bring the
bill to me.

You don't have
to treat, Mamacita.

I don't need consolation.

My mother wasted her entire life
bringing us pot roasts on trays

and ironing
my father's boxer shorts.

Not that there's anything wrong
with domestic work.

I only mean that...
Joan is right.

I've got a good thing
going with Bob.

I can't throw it away
on a pipe dream.

I've got to live
in the real world.

But the real world is changing.

Mornings when Miss Joan
has a hangover,

I take the twins to the library.

I'm a new citizen.

I learn about my country
in the Reference Room.

I read the Almanac,
the Atlas,

the Census Report.

You didn't tear these
out of a library book, did you?

This is
the United States sex ratio.

Look here. In 1910, there are
how many more men than women?

2.7 million.

In 1940?

Zero-point-five.

And now we outnumber them
by more than one million.

Mm-hmm. Should someone tell
the men they're going extinct?

Not extinct.

Minority.
Men were first to immigrate.

On frontier, only men,
like bathhouse.

That explains
big 1910 number.

However,

men have shorter lives,
because they are less strong.

And many die in war.

That explains the decline.

Census projections.

By 1970, there will be
six million more women than men.

52% of total population.

Do you know what this means?

A lot of lonely gals.

Studios will have obligations

to make half of stories
about women,

by women, for women.

It only makes economic sense.

Keep your head up.

Your day is coming.

Mamacita.

You're a real
big-picture thinker.

(phone line beeping)

(beeping continues)

(dial tone humming)

(phone line beeping in distance)

Mamacita?

(beeping phone line
grows louder)

(beeping continues)

(phone line beeping in distance)

(beeping phone line
grows louder)

(beeping continues)

Hmm.

MAMACITA: Miss Joan.
(gasps) Oh.

(phone clatters)

Oh, you startled me, Mamacita.

What's going on?
I asked you to wake me at 5:30.

They're announcing
the Oscar nominations today.

Miss Joan.

I want you to sit down.

*

(Joan screaming)

Captioned by
Media Access Group at WGBH