Payment on Demand is a 1951 American drama film directed by Curtis Bernhardt and starring Bette Davis and Barry Sullivan.

In the opening scenes we meet San Francisco socialite Joyce Ramsey, her daughter Dee; Dee’s fiancée, a banker; Joyce’s husband, David; their daughter, Martha, a college student; Martha’s outspoken boyfriend, Phil Polanski, who is working his way through college to become an agricultural chemist.

Joyce is concerned about Phil’s working-class background: His family is Czech and his father works as a taxi starter at the Union Terminal.

Joyce is clearly accustomed to managing everything around her in order to maintain the position, family and success that she and David set out to achieve.

Via a flashback, we learn about the couple's humble beginnings in farming country and discover how they worked their way into the world of the nouveau riche.

David is a Santa Rosa attorney with no clients, working on construction jobs with his law partner, Bob Townsend.

Back in the present, Joyce is forced to admit to her daughters their father has left her when a society columnist calls to question his move.

David, now an executive in Swanson's company, announces he has been transferred to San Francisco but wants to buy a little farm within driving distance.

An additional flashback which occurs in the more recent past reveals Robert Townsend, in desperate need of $15,000, arriving at the Ramsey home to request a loan.

She also rejects David’s offer of half of everything he owns, in addition to their home, all her personal possessions and jewelry, which are not included in the settlement.

During a stop in Port-au-Prince, the two visit the now-divorced, disillusioned and alcoholic Emily living with a gigolo, and she expresses concern for Joyce's future.

The final scene depicted a reunited Joyce and David at the breakfast table, with the woman engaging in her familiar social-climbing talk.

The scene was processed, spliced into the final reel, and shipped on a Hughes-owned TWA aircraft, arriving at the theater after the film already had begun under its original title.

"[3] In his review in The New York Times, Bosley Crowther said, "Miss Davis performs most capably, achieving a surface appearance of feminine churlishness that might almost be real.

But, unfortunately, the script by Bruce Manning and Curtis Bernhardt includes everything but a simple and convincing demonstration of the reasons why a marriage hasn't clicked .

"[4] Variety said the film "makes a point of avoiding the pitfalls of soap opera fiction in which emotional and physical crises are developed in rapid succession.

"[5] TV Guide rates it three out of a possible four stars and adds, "Bypassing all the usual soapy stuff, this film offers an adult look at some of the reasons why people part company .

An honest story with good acting and direction, [it] moves over familiar ground, but laughs are in very short supply here and would have helped considerably.