Payment on Demand 1951

Joyce Ramsey, Bette Davis, is a San Francisco socialite who has spent years keeping up appearances to protect the position, family, and success she and her husband, David Anderson Ramsey, have clawed their way into. Surrounded by wealth and social polish, Joyce governs every moving part of their world—except for the unhappiness that quietly gnaws at David. He is distant and discontent, and one evening, while getting ready for dinner, he abruptly asks for a divorce, leaving Joyce stunned and forced to confront the fragility of their carefully constructed life. Their daughter Martha [Betty Lynn], a college student, and a younger daughter Dee are left to absorb the tremors of a marriage now facing an abrupt fracture.

A series of memories unfolds in flashback, tracing the couple’s ascent from humble beginnings on a farming frontier to the glittering circles they inhabit as the nouveau riche. David, an attorney in Santa Rosa with few clients, partners with a man named Bob Townsend, while Joyce works as the firm’s secretary. When Joyce discovers she is pregnant, she schemes to land Swanson, a former factory worker who possesses a valuable steel-making patent, as a client. Her plan works, and Swanson’s interest in David’s work becomes a lifeline for the modest practice. After the birth of the child, Bob announces his intention to quit the partnership, and anger flares. Joyce calmly contends that her motive was to help the family seize better prospects; David, though furious, accepts that she acted with the family’s future in mind and promises to make it up to Bob.

In the present, the couple’s world is upended when a society columnist hints at the strain in their marriage. Joyce travels to a luncheon and learns from friends that David has been seen with another woman. Determined to uncover the truth, she engages Mr. Prescott, a lawyer, and quietly hires a private detective to shadow David’s moves, while the lawyer warns her not to discuss her suspicions publicly. The plot thickens with another flashback that shows David being transferred to San Francisco as an executive in Swanson’s company; he and Joyce contemplate a life that blends urban excitement with the security of a family farm near the city. Joyce, craving the energy of city life and the opportunities it may bring for their children, decides to push forward. It is during this period that she befriends Emily Hedges, a woman who, like Joyce, is drawn to the social climb and the feeling of belonging it promises. The two women become confidants, shaping each other’s ambitions and sense of self-worth.

Another memory reveals Robert Townsend arriving at the Ramsey home, desperate for a loan of $15,000. Townsend had long refused David’s offers of help, but now his need is urgent. Joyce denies Townsend, claiming that David is away and won’t be back for days. When David learns of her deception, he intervenes to aid Townsend instead, and Joyce’s bitterness surfaces in a harsh accusation that she has closed off their humanity. Her confrontation erupts in a stern reminder of the truth about herself, a moment that foreshadows the unraveling of their carefully managed facade.

Returning to the present, Joyce learns that David now maintains a relationship with a younger woman, Eileen Benson. A private moment between David and Eileen is captured through a window by the detective Joyce had hired, prompting a tense confrontation and a shift in the divorce proceedings. During negotiations, Joyce calls for a sophisticated trust arrangement to protect their two daughters, insisting that the funds be placed in trust rather than awarded outright in a court settlement. She rejects David’s offer to divide everything, including the home and other personal possessions, and publicly threatens to disclose the affair if her demands are not met. The lawyers exit, leaving Joyce and David alone to face the consequences of their choices. A pivotal question remains: who will gain custody of Martha?

In a cruel twist of fate, Martha, now old enough to decide, chooses the parent who needs her most—her mother—adding a poignant weight to Joyce’s world of control. While the couple navigates their separation, Joyce then travels on a Caribbean cruise and encounters Anthony Tunliffe, an Englishman who appears to be seeking companionship rather than commitment. In Port-au-Prince, they visit Emily Hedges, who is now divorced, disillusioned, and living with a gigolo, prompting Joyce to reassess where she stands as the life she built begins to crumble under the weight of truth and loneliness. Emily’s presence serves as a stark reminder of the limits of social climbing when faced with real emotional costs.

Back home, at Martha and Phil Polanski’s wedding, Joyce and David attend the ceremony but sit apart, their public personas intact while their private fissures remain. After the ceremony, friends and family gather at the airport to bid them farewell. Joyce leans against a railing, hidden from view, and weeps—not merely for Martha’s future but for her own longing and the sense of self she has sacrificed on the altar of status. David approaches her, suggesting he could take her home in a taxi, and she responds with a quiet vulnerability that hints at what could be lost if they reunite. She confesses that she has never wanted anything as much as having him with her tonight, but she insists that he not decide in the heat of the moment. If he wants her back tomorrow, or the next day, or at any time, she will be waiting. She steps back into the house, and David walks away, a smile on his lips, left to ponder whether their future might still hold a chance for reconciliation.

“before I tell you the truth about yourself.”