- 1. Yes, this is Sunset Boulevard,
Los Angeles, California.
- 2. It's about 5:00 in the morning.
- 3. That's the homicide squad,
- 4. complete with detectives
- 5. A murder has been reported from
one of those great big houses
- 6. in the 10,000 block.
- 7. You'll read about it
in the late editions, I'm sure.
- 8. You'll get it over your radio
and see it on television.
- 9. Because an old-time star is involved.
One of the biggest.
- 10. But before you hear it all distorted
and blown out of proportion,
- 11. before those Hollywood columnists
get their hands on it,
- 12. maybe you'd like to hear the facts.
The whole truth.
- 13. If so, you've come to the right party.
- 14. You see, the body of a young man was
found floating in the pool of her mansion
- 15. with two shots in his back
and one in his stomach.
- 16. Nobody important, really.
- 17. Just a movie writer
with a couple of B pictures to his credit.
- 18. The poor dope.
He always wanted a pool.
- 19. Well, in the end, he got himself a pool,
- 20. only the price
turned out to be a little high.
- 21. Let's go back about six months
and find the day when it all started.
- 22. I was living in an apartment house
above Franklin and Ivar.
- 23. Things were tough at the moment.
- 24. I hadn't worked in a studio
for a long time.
- 25. So I sat there, grinding out
original stories, two a week.
- 26. Only I seemed to have lost my touch.
- 27. Maybe they weren't original enough.
- 28. Maybe they were too original.
- 29. All I know is, they didn't sell.
- 30. Yeah?
- 31. - Joseph C. Gillis?
- That's right.
- 32. We've come for the car.
- 33. What car?
- 34. 1946 Plymouth convertible,
California license 40R-116.
- 35. Where are the keys?
- 36. Why should I give you the keys?
- 37. Because the company's
played ball with you long enough,
- 38. because you're three payments behind
and because we got a court order.
- 39. Now, come on. The keys.
- 40. Or do you want us to jack it up
and haul it away?
- 41. - Relax, fans. The car isn't here.
- Oh, is that so?
- 42. I loaned it to a friend of mine.
He took it down to Palm Springs.
- 43. Had to get away for his health,
- 44. If you don't believe me,
look in the garage.
- 45. Sure, sure, we believe you.
Only now we want you to believe us.
- 46. That car better be back here by noon
tomorrow or there's gonna be fireworks.
- 47. You say the cutest things.
- 48. Well, I needed about $290,
- 49. and I needed it real quick,
or I'd lose my car.
- 50. It wasn't in Palm Springs,
and it wasn't in the garage.
- 51. I was way ahead
of the finance company.
- 52. I knew they'd be coming around,
and I wasn't taking any chances.
- 53. So I kept it across the street
- 54. in a parking lot
behind Rudy's Shoeshine Parlor.
- 55. Rudy never asked any questions
about your finances.
- 56. He'd just look at your heels
and know the score.
- 57. I had an original story
kicking around Paramount.
- 58. My agent told me
it was dead as a doornail.
- 59. But I knew a big shot over there
who'd always liked me.
- 60. And the time had come to take
a little advantage of it.
- 61. His name was Sheldrake.
- 62. He was a smart producer,
with a set of ulcers to prove it.
- 63. All right, Gillis, you've got five minutes.
What's your story about?
- 64. It's about a baseball player,
a rookie shortstop that's batting.347.
- 65. Poor kid was
once mixed up in a holdup.
- 66. But he's trying to go straight.
- 67. Except there are a bunch of gamblers
that won't let him.
- 68. So they tell the poor kid he's got to
throw the World Series or else, huh?
- 69. More or less, except for the end.
- 70. I've got a gimmick that's real good.
- 71. Uh-huh. You got a title?
- 72. Bases Loaded.
There's a 40-page outline.
- 73. Call Readers' Department. Find out
what they have on Bases Loaded.
- 74. They're pretty hot about it
over at Twentieth,
- 75. except I think Zanuck's all wet.
- 76. Can you see Ty Power as a shortstop?
- 77. You've got the best man for it
right here on this lot. Alan Ladd.
- 78. Be a good change of pace for Ladd.
- 79. And there's another thing.
It's pretty simple to shoot.
- 80. Lots of outdoor stuff.
- 81. I bet you could make the whole thing
for under a million.
- 82. Excuse me.
- 83. And there's a great little part
for Bill Demarest,
- 84. one of the trainers, an old-time player
- 85. who got beaned,
goes out of his head sometimes.
- 86. - Hello, Mr. Sheldrake.
- 87. On that Bases Loaded,
I covered it with a two-page synopsis.
- 88. - Thank you.
- But I wouldn't bother.
- 89. - What's wrong with it?
- It's from hunger.
- 90. Nothing for Ladd?
- 91. It's just a rehash of something
that wasn't very good to begin with.
- 92. I'm sure you'll be glad to meet Mr. Gillis.
He wrote it.
- 93. This is Miss Kramer.
- 94. The name is Schaefer. Betty Schaefer.
- 95. Right now I wish I could crawl
in a hole and pull it in after me.
- 96. And if I could be of any help...
- 97. Oh, I'm sorry, Mr. Gillis, but I
just didn't think it was any good.
- 98. I found it flat and trite.
- 99. Exactly what kind of material
do you recommend?
- 100. James Joyce? Dostoyevsky?
- 101. I just think that pictures
should say a little something.
- 102. Oh, one of the message kids.
Just a story won't do.
- 103. You'd have turned down
Gone with the Wind.
- 104. No, that was me. I said,
"Who wants to see a Civil War picture?"
- 105. Perhaps the reason I hated
Bases Loaded is that I knew your name.
- 106. I'd always heard
that you had some talent.
- 107. That was last year.
This year I'm trying to earn a living.
- 108. So you take plot 27-A,
make it glossy, make it slick...
- 109. Those are dirty words.
- 110. You sound like
a bunch of New York critics.
- 111. - That'll be all, Miss Kramer... Schaefer.
- Goodbye, Mr. Gillis.
- 112. Next time I'll write you
The Naked and the Dead.
- 113. Well, it seems like Zanuck
has got himself a baseball picture.
- 114. Mr. Sheldrake, I don't want you to think
- 115. I thought this was going to win
any Academy Award.
- 116. Of course, we're always
looking for a Betty Hutton.
- 117. - Do you see it as a Betty Hutton?
- Frankly, no.
- 118. Now wait a minute. If we made it a girls'
softball team, put in a few numbers.
- 119. Might make a cute musical. It Happened
in the Bullpen: Story of a Woman.
- 120. Are you trying to be funny?
Because I'm all out of laughs.
- 121. - I'm over a barrel. I need a job.
- I haven't got a thing.
- 122. Any kind of an assignment.
- 123. There's nothing. Honest.
- 124. Look, Mr. Sheldrake.
- 125. Could you let me have 300 bucks
yourself, as a personal loan?
- 126. Could I? Gillis.
- 127. Last year somebody talked me
into buying a ranch in the Valley.
- 128. So I borrowed the money from
the bank to pay for the ranch.
- 129. This year I had to mortgage the ranch
so I could keep up my life insurance,
- 130. so I could borrow on my insurance...
- 131. After that I drove down to headquarters.
- 132. That's the way a lot of us
think about Schwab's drugstore.
- 133. Kind of a combination office,
kaffeeklatsch and waiting room.
- 134. Waiting. Waiting for the gravy train.
- 135. I got myself 10 nickels and started
sending out a general SOS.
- 136. Couldn't get hold of my agent, naturally.
- 137. So then I called a pal of mine,
- 138. an awful nice guy, an assistant director.
- 139. He could let me have 20.
But 20 wouldn't do.
- 140. Then I talked to
a couple of yes-men at Metro.
- 141. To me they said no.
- 142. Finally I located that agent of mine.
The big faker.
- 143. Was he out digging up a job
for poor Joe Gillis?
- 144. No. He was hard at work in Bel-Air,
making with the golf sticks.
- 145. So you need $300.
Of course I could give you $300.
- 146. - Only I'm not going to.
- 147. Gillis, get this through your head.
I'm not just your agent. It's not the 10%.
- 148. - I'm your friend.
- You are?
- 149. Don't you know
the finest things in the world
- 150. have been written
on an empty stomach?
- 151. Once a talent like yours gets into that
Mocambo-Romanoff rut, you're through.
- 152. Forget Romanoffs.
It's the car I'm talking about!
- 153. If I lose my car,
it's like having my legs cut off.
- 154. Greatest thing that could happen to you.
- 155. Now you'll have to sit behind
the typewriter. Now you'll have to write.
- 156. What do you think I've been doing?
I need $300.
- 157. Sweetheart, maybe what you need
is another agent.
- 158. As I drove back towards town,
I took inventory of my prospects.
- 159. They now added up to exactly zero.
- 160. Apparently I just didn't have
what it takes.
- 161. And the time had come to wrap up the
whole Hollywood deal and go home.
- 162. Maybe if I hocked all my junk
- 163. there'd be enough
for a bus ticket back to Ohio.
- 164. Back to that $35-a-week job
behind the copy desk
- 165. at the Dayton Evening Post,
if it was still open.
- 166. Back to the smirking delight
of the whole office.
- 167. "All right, you wise guys. Why don't you
go out and take a crack at Hollywood?
- 168. "Maybe you think
that you could make..."
- 169. I had landed myself
in the driveway of some big mansion
- 170. that looked run-down and deserted.
- 171. At the end of the drive
was a lovely sight indeed,
- 172. a great big empty garage,
just standing there, going to waste.
- 173. If ever there was a place to stash away
a limping car with a hot license number.
- 174. There was another occupant
in that garage,
- 175. an enormous, foreign-built automobile.
- 176. It must have burned up
ten gallons to a mile.
- 177. It had a 1932 license.
- 178. I figured that's when the owners
had moved out.
- 179. And I also figured I couldn't
go back to my apartment
- 180. now that those bloodhounds
were onto me.
- 181. The idea was to get to Artie Green's
and stay there
- 182. until I could make that bus for Ohio.
- 183. Once back in Dayton, I'd drop the
credit boys a picture postcard,
- 184. telling them where to pick up the jalopy.
- 185. It was a great big white elephant
of a place.
- 186. The kind crazy movie people
built in the crazy '20s.
- 187. A neglected house
gets an unhappy look.
- 188. This one had it in spades.
- 189. It was like that old woman
in Great Expectations,
- 190. that Miss Havisham in her rotting
wedding dress and her torn veil,
- 191. taking it out on the world
because she'd been given the go-by.
- 192. You there! Why are you so late?
- 193. Why have you kept me waiting so long?
- 194. In here.
- 195. I just put my car in the garage.
I had a blowout. I thought maybe...
- 196. Go on in.
- 197. Look, maybe I'd better take my car
and get it off...
- 198. Wipe your feet.
- 199. Go on.
- 200. You're not properly dressed
for the occasion.
- 201. - What's the occasion?
- Have him come up, Max.
- 202. Up the stairs.
- 203. Suppose you listen to me
for just a minute.
- 204. - Madame is waiting.
- For me?
- 205. Okay.
- 206. If you need any help
with the coffin, call me.
- 207. This way.
- 208. In here.
- 209. I put him on my massage table
in front of the fire.
- 210. He always liked fires
and poking at them with a stick.
- 211. I've made up my mind
we'll bury him in the garden.
- 212. Any city laws against that?
- 213. - I wouldn't know.
- I don't care anyway.
- 214. I want the coffin to be white,
and I want it specially lined with satin.
- 215. White or deep pink.
- 216. Maybe red. Bright, flaming red.
Let's make it gay.
- 217. How much will it be?
- 218. I warn you, don't give me a fancy price
just because I'm rich!
- 219. Lady, you got the wrong man. I had
some trouble with my car. A flat tire.
- 220. I pulled into your garage
until I could get a spare.
- 221. - I thought this was an empty house.
- It is not. Get out.
- 222. I'm sorry.
And I'm sorry you lost your friend.
- 223. And I don't think red is the right color.
- 224. Wait a minute. Haven't I seen you
before? I know your face.
- 225. - Get out. Or shall I call my servant?
- You're Norma Desmond!
- 226. You used to be in silent pictures.
You used to be big!
- 227. I am big. It's the pictures that got small.
- 228. I knew there was something
wrong with them.
- 229. They're dead. They're finished.
- 230. There was a time in this business
- 231. when they had the eyes
of the whole wide world.
- 232. But that wasn't good enough for them.
- 233. They had to have the ears
of the world, too.
- 234. So they opened their big mouths
and out came talk, talk, talk.
- 235. That's where
the popcorn business comes in.
- 236. You buy yourself a bag
and plug up your ears.
- 237. Look at them in the front offices,
- 238. They took the idols and smashed them.
- 239. The Fairbankses, the Gilberts,
- 240. And who have we got now?
- 241. Don't blame me.
I'm not an executive, just a writer.
- 242. You are.
Writing words, words, more words!
- 243. Well, you've made a rope of words
and strangled this business!
- 244. But there's a microphone right there
to catch the last gurgles,
- 245. and Technicolor to photograph
the red, swollen tongue!
- 246. - You'll wake up the monkey.
- Get out! Max!
- 247. Next time I'll bring
my autograph album along.
- 248. Or maybe a hunk of cement,
and ask for your footprint.
- 249. - It's okay. Okay, I'm going.
- Just a minute, you.
- 250. - You're a writer, you said.
- 251. Are you or aren't you?
- 252. That's what it says on my Guild card.
- 253. And you have written pictures,
- 254. Sure have. Want a list of my credits?
- 255. I want to ask you something.
Come in here.
- 256. Last one I wrote was about Okies
in the Dust Bowl.
- 257. You'd never know it, because
when it reached the screen,
- 258. the whole thing played
on a torpedo boat.
- 259. Intimate, isn't it?
- 260. The wind gets in that blasted pipe
organ. I ought to have it taken out.
- 261. Or teach it a better tune.
- 262. Young man, tell me something.
- 263. How long is a movie script these days?
I mean, how many pages?
- 264. Depends on what it is,
a Donald Duck or a Joan of Arc.
- 265. This is to be a very important picture.
I've written it myself. Took me years.
- 266. Looks like enough
for six important pictures.
- 267. It's a story of Salome.
I think I'll have DeMille direct it.
- 268. DeMille?
- 269. - We made a lot of pictures together.
- And you'll play Salome.
- 270. Who else?
- 271. Only asking. I didn't know
you were planning a comeback.
- 272. I hate that word! It's a return!
- 273. A return to the millions of people
- 274. who have never forgiven me
for deserting the screen.
- 275. - Fair enough.
- Salome. What a woman. What a part!
- 276. The princess in love with a holy man.
- 277. She dances
the dance of the seven veils.
- 278. He rejects her, so she demands
his head on a golden tray.
- 279. Kissing his cold, dead lips.
- 280. - They'll love it in Pomona.
- They'll love it every place.
- 281. Read it. Read the scene
just before she has him killed.
- 282. Never let another writer read
your material. He may steal it.
- 283. I'm not afraid. Read it.
Max, bring something to drink.
- 284. - Sit down. Is there enough light?
- I've got 20-20 vision.
- 285. I said sit down.
- 286. Well, I had no pressing engagement,
- 287. except with those boys
from the finance office.
- 288. And she'd mentioned
something to drink. Why not?
- 289. Sometimes it's interesting to see
just how bad, bad writing can be.
- 290. This promised to go the limit.
- 291. I wondered what a handwriting expert
- 292. would make of that
childish scrawl of hers.
- 293. Max wheeled in some champagne
and some caviar.
- 294. Later I found out that Max was the only
other person in that grim Sunset castle.
- 295. And I found out
a few other things about him.
- 296. As for her, she sat
coiled up like a watch spring,
- 297. her cigarette clamped
in a curious holder.
- 298. I could sense her eyes on me
from behind those dark glasses,
- 299. defying me not to like what I read.
- 300. Or maybe begging me
in her own proud way to like it.
- 301. It meant so much to her.
- 302. It sure was a cozy setup,
that bundle of raw nerves and Max
- 303. and a dead monkey upstairs.
- 304. And the wind wheezing through
that organ once in a while.
- 305. Later on, just for comedy relief,
the real guy arrived with the baby coffin.
- 306. It was all done with great dignity.
- 307. He must have been
a very important chimp.
- 308. The great-grandson
of King Kong, maybe.
- 309. It got to be 11:00.
- 310. I was feeling a little sick at my stomach,
- 311. what with that sweet champagne
and that tripe I'd been reading,
- 312. that silly hodgepodge
of melodramatic plots.
- 313. However, by then, I'd started
concocting a little plot of my own.
- 314. Well?
- 315. - This is fascinating.
- Of course it is.
- 316. Maybe it's a little long and maybe
there's some repetitions,
- 317. but you're not a professional writer.
- 318. - I wrote that with my heart.
- Sure you did.
- 319. That's what makes it great.
- 320. What it needs is
maybe a little more dialog.
- 321. What for?
I can say anything I want with my eyes.
- 322. Well, it certainly could use
a pair of shears and a blue pencil.
- 323. I will not have it butchered.
- 324. Of course not,
but it ought to be organized.
- 325. Just an editing job.
You can find somebody.
- 326. Who?
I'd have to have somebody I could trust.
- 327. When were you born?
I mean, what sign of the zodiac?
- 328. - I don't know.
- What month?
- 329. December 21.
- 330. Sagittarius. I like Sagittarians.
You can trust them.
- 331. - Thank you.
- I want you to do this work.
- 332. Me?
- 333. I'm busy. I just finished a script,
and I'm due on another assignment.
- 334. I don't care.
- 335. You know, I'm pretty expensive.
I get 500 a week.
- 336. I wouldn't worry about money.
I'll make it worth your while.
- 337. Maybe I'd better take the rest
of the script home and read it.
- 338. Oh, no! I couldn't let it out of my house.
You'll have to finish it here.
- 339. Well, it's getting kind of late.
- 340. - Are you married, Mr...
- Name is Gillis. Single.
- 341. - Where do you live?
- Hollywood. Alto Nido Apartments.
- 342. There's something wrong
with your car, you said.
- 343. There sure is.
- 344. - Why shouldn't you stay here?
- Look, I'll come back early tomorrow.
- 345. Nonsense.
There's a room over the garage.
- 346. Max will take you there. Max!
- 347. I felt kind of pleased
with the way I'd handled the situation.
- 348. I dropped the hook
and she snapped at it.
- 349. Now my car would be safe down below
while I did a patch-up job on the script.
- 350. And there should be
plenty of money in it.
- 351. This room hasn't
been used for a long time.
- 352. It'll never make House Beautiful,
but I guess it's okay for one night.
- 353. I made your bed this afternoon.
- 354. Thanks. How did you know I was
gonna stay this afternoon?
- 355. The bathroom's over there. I put in
some towels, soap and a toothbrush.
- 356. Say, she's quite a character,
that Norma Desmond.
- 357. She was the greatest of them all.
You wouldn't know. You're too young.
- 358. In one week she received
17,000 fan letters.
- 359. Men bribed her hairdresser
to get a lock of her hair.
- 360. There was a maharajah
who came all the way from India
- 361. to beg one of her silk stockings.
Later he strangled himself with it.
- 362. Well, I sure turned in
to an interesting driveway.
- 363. You did, sir. Good night, sir.
- 364. I pegged him as slightly cuckoo, too.
- 365. A stroke, maybe.
- 366. Come to think of it, the whole
place seemed to have been stricken
- 367. with a kind of creeping paralysis,
out of beat with the rest of the world,
- 368. crumbling apart in slow motion.
- 369. There was a tennis court,
or rather the ghost of a tennis court,
- 370. with faded markings and a sagging net.
- 371. And, of course, she had a pool.
Who didn't then?
- 372. Mabel Normand and John Gilbert must
have swum in it 10,000 midnights ago.
- 373. And Vilma Banky and Rod La Rocque.
- 374. It was empty now. Or was it?
- 375. There was something else
going on below.
- 376. The last rites for that hairy old chimp,
performed with the utmost seriousness.
- 377. As if she were
laying to rest an only child.
- 378. Was her life really as empty as that?
- 379. It was all very queer.
But queerer things were yet to come.
- 380. That night I had a mixed-up dream.
- 381. In it, there was an organ grinder.
- 382. I couldn't see his face,
but the organ was all draped in black,
- 383. and a chimp was dancing for pennies.
- 384. When I opened my eyes,
the music was still there.
- 385. Where was I?
- 386. Oh, yes.
In that empty room over her garage.
- 387. Only it wasn't empty anymore.
I'd had a visitor.
- 388. Somebody had brought in
all my belongings.
- 389. My books, my typewriter, my clothes.
- 390. What was going on?
- 391. Hey, you! Max, whatever your name is,
what are my things doing here?
- 392. I'm talking to you! My clothes
and things are up in the room!
- 393. - Naturally. I brought them myself.
- Is that so?
- 394. Why, what's the matter?
Is there anything missing?
- 395. Who said you could?
Who asked you to?
- 396. I did. I don't know why
you should be so upset.
- 397. Stop that playing, Max.
- 398. It seemed like a good idea
if we are to work together.
- 399. Look, I'm supposed to fix up your script.
- 400. There's nothing in the deal
about my staying here!
- 401. You'll like it here.
- 402. Thanks for the invitation.
I've got my own apartment.
- 403. You can't work in an apartment
where you owe three months' rent.
- 404. - I'll take care of that.
- It's all taken care of, it's all paid for.
- 405. Okay, we'll deduct it from my salary.
- 406. Now, now, don't let's be small about
such matters. We won't keep books.
- 407. - Max, unpack Mr. Gillis' things.
- It is done, Madame.
- 408. Well, pack them up again!
I didn't say I was staying!
- 409. Suppose you make up your mind.
Do you want this job or don't you?
- 410. Yes, I wanted the job.
- 411. I wanted the dough, and I wanted
to get out of there as quickly as I could.
- 412. I thought if I really got going,
I could finish it up in a couple of weeks.
- 413. But it wasn't so simple
getting some coherence
- 414. into those wild hallucinations of hers.
- 415. And what made it even tougher was
that she was around all the time,
- 416. hovering over me, afraid I'd do injury
to that precious brainchild of hers.
- 417. - What's that?
- Just a scene I threw out.
- 418. Which scene?
- 419. The one where you go
to the slave market.
- 420. It's better to cut directly
to John the Baptist...
- 421. Cut away from me?
- 422. Honestly, it's a little too much of you.
They don't want you in every scene.
- 423. They don't? Then why do they still
write me fan letters every day?
- 424. Why do they beg me
for my photographs?
- 425. Why? Because they want to see me.
Me! Norma Desmond.
- 426. - Put it back.
- 427. I didn't argue with her.
- 428. You don't yell at a sleepwalker.
He may fall and break his neck.
- 429. That's it.
- 430. She was still sleepwalking along
the giddy heights of a lost career.
- 431. Plain crazy when it came to that
one subject, her celluloid self,
- 432. the great Norma Desmond.
- 433. How could she breathe in that house
so crowded with Norma Desmonds,
- 434. more Norma Desmonds
- 435. and still more Norma Desmonds?
- 436. It wasn't all work, of course.
- 437. Two or three times a week, Max would
haul up that enormous oil painting
- 438. that had been presented to her by
some Nevada Chamber of Commerce
- 439. and we'd see a movie,
right in her living room.
- 440. So much nicer than going out,
- 441. The plain fact was she was afraid
of that world outside.
- 442. Afraid it would remind her
that time had passed.
- 443. They were silent movies, and Max
would run the projection machine,
- 444. which was just as well.
- 445. It kept him from
giving us an accompaniment
- 446. on that wheezing organ.
- 447. She'd sit very close to me
- 448. and she smelled of tuberoses,
which is not my favorite perfume,
- 449. not by a long shot.
- 450. Sometimes as we watched,
she'd clutch my arm or my hand,
- 451. forgetting she was my employer.
- 452. Just becoming a fan, excited about
that actress up there on the screen.
- 453. I guess I don't have to tell you
who the star was.
- 454. They were always her pictures.
That's all she wanted to see.
- 455. Still wonderful, isn't it? And no dialog.
- 456. We didn't need dialog. We had faces.
- 457. There just aren't any faces
like that anymore.
- 458. Maybe one, Garbo.
- 459. Oh, those idiot producers.
- 460. Haven't they got any eyes? Have they
forgotten what a star looks like?
- 461. I'll show them.
I'll be up there again, so help me!
- 462. Sometimes there'd be
a little bridge game in the house,
- 463. at a twentieth of a cent a point.
- 464. I'd get half of her winnings
- 465. once they ran up to 70 cents,
- 466. which was about
the only cash money I ever got.
- 467. The others around the table
would be actor friends.
- 468. Dim figures you may still remember
from the silent days.
- 469. I used to think of them
as her waxworks.
- 470. - One diamond.
- One heart.
- 471. - Spade.
- 472. - Three no-trump.
- 473. Pass.
- 474. Empty the ashtray, will you, Joe, dear?
- 475. There are some men outside,
- 476. - they asked for you.
- I'm not here.
- 477. - That's what I told them.
- 478. But they found your car in the garage,
and they're going to tow it away.
- 479. Where's the ashtray?
Joe, can't we have the ashtray?
- 480. I want to talk to you for a minute.
- 481. Not now, my dear.
I'm playing three no-trump.
- 482. They've come for my car.
- 483. Please. Now I've forgotten
how many spades are out.
- 484. - Look, I need some money right now.
- Can't you wait until I'm dummy?
- 485. - No.
- 486. - Now what is it? Where's the fire?
- I've lost my car.
- 487. And I thought it was
a matter of life and death.
- 488. It is, to me.
That's why I came to this house.
- 489. That's why I took this job ghostwriting.
- 490. Now you're being silly.
We don't need two cars. We have a car.
- 491. Not one of those cheap new things
made of chromium and spit.
- 492. An Isotta-Fraschini. Have you
ever heard of Isotta-Fraschini?
- 493. All handmade. Cost me $28,000.
- 494. So Max got that old bus
down off its blocks and polished it up.
- 495. She'd take me for rides
in the hills above Sunset.
- 496. The whole thing was upholstered
in leopard skin
- 497. and had one of those car phones,
- 498. - That's a dreadful shirt you're wearing.
- What's wrong with it?
- 499. Nothing, if you work in the filling station.
- 500. And I'm getting rather bored with that
sport jacket and the same baggy pants.
- 501. Max, what's a good men's shop in town?
The very best? Well, go there.
- 502. I don't need any clothes, and I certainly
don't want you buying them for me.
- 503. Why begrudge me a little fun?
I just want you to look nice.
- 504. And must you chew gum?
- 505. Now there's nothing like
blue flannel for a man.
- 506. Now this one,
single-breasted, of course.
- 507. Now we need a topcoat. Let me see
what you have in camel's hair.
- 508. - How about some evening clothes?
- I don't need a tuxedo.
- 509. Of course you do. A tuxedo and tails,
and if you aren't careful,
- 510. you'll get a cutaway.
- 511. Tails! That's ridiculous.
- 512. You need them for parties.
You need them for New Year's Eve.
- 513. - Where are your evening clothes?
- This way, Madame.
- 514. Here are some camel's hair,
but I'd like you just to feel this.
- 515. It's vicuna.
Of course, it's a little more expensive.
- 516. The camel's hair will do.
- 517. Well, as long as the lady's paying for it,
why not take the vicuna?
- 518. The last week in December,
the rains came.
- 519. A great big package of rain,
- 520. oversized, like everything else
- 521. It came right through the old roof
of my room above the garage.
- 522. She had Max move me
to the main house.
- 523. I didn't much like the idea.
- 524. The only time I could have to myself
was in that room.
- 525. But it was better than sleeping
in a raincoat and galoshes.
- 526. - Whose room was this?
- It was the room of the husband.
- 527. Of the husbands, I should say.
Madame has been married three times.
- 528. I guess that's the one
you can see Catalina from.
- 529. Only this isn't the day.
- 530. Say, what's this with the door?
There isn't any lock.
- 531. There are no locks anywhere
in this house, sir.
- 532. How come? There must be a reason.
- 533. - The doctor suggested it.
- What doctor?
- 534. Madame's doctor.
Madame has moments of melancholy.
- 535. There have been
some attempts at suicide.
- 536. We have to be very careful.
No sleeping pills, no razor blades.
- 537. We shut off the gas
in Madame's bedroom.
- 538. Why? Her career?
- 539. She got enough out of it.
She's not forgotten.
- 540. She still gets those fan letters.
- 541. I wouldn't look too closely
at the postmarks.
- 542. You send them. Is that it, Max?
- 543. I had better press
your evening clothes, sir.
- 544. Mr. Gillis has not forgotten
Madame's New Year's party?
- 545. No, no, I haven't.
I suppose all the waxworks are coming.
- 546. I wouldn't know, sir.
Madame made the arrangements.
- 547. There it was again.
- 548. That room of hers, all satin and ruffles.
- 549. And that bed like a gilded rowboat.
- 550. The perfect setting
for a silent movie queen.
- 551. Poor devil.
- 552. Still waving proudly to a parade
which had long since passed her by.
- 553. It was at her New Year's party that
I found out how she felt about me.
- 554. Maybe I'd been an idiot
not to have sensed it was coming.
- 555. That sad, embarrassing revelation.
- 556. Joe!
- 557. You look absolutely divine.
- 558. - Turn around.
- 559. Come on. Perfect. Wonderful shoulders.
I love that line.
- 560. It's all padding. Don't let it fool you.
- 561. You know, to me,
getting dressed up was always
- 562. just putting on my dark blue suit.
- 563. I don't like the stud they sent.
- 564. I want you to have a pearl.
A big, luscious pearl.
- 565. Well, I'm not going to wear
earrings, I can tell you that.
- 566. Cute. Come on, let's have a drink.
- 567. - Shouldn't we wait for the others?
- Max, champagne.
- 568. Careful, it's slippery. I had it waxed.
- 569. Here's to us.
- 570. You know, this floor used to be wood,
but I had it changed.
- 571. Valentino said
there's nothing like tile for a tango.
- 572. - Come on.
- Not on the same floor with Valentino.
- 573. Just follow me.
- 574. Don't bend back like that.
- 575. - It's that thing. It tickles.
- It does?
- 576. It's quarter past 10. What time
are they supposed to get here?
- 577. - Who?
- The other guests.
- 578. There are no other guests.
- 579. We don't want to share this night
with other people.
- 580. This is for you and me.
- 581. - Oh?
- Hold me tighter.
- 582. Okay.
- 583. Come midnight, how about
blindfolding the orchestra
- 584. and smashing champagne glasses
over Max's head?
- 585. - You think this is all very funny.
- A little.
- 586. An hour dragged by.
- 587. I felt caught, like the cigarette
in that contraption on her finger.
- 588. What a wonderful next year it's
going to be. What fun we'll have!
- 589. I'll fill the pool for you.
- 590. I'll open my house in Malibu,
and you can have the whole ocean.
- 591. And when our picture is finished,
I'll buy you a boat
- 592. and we'll sail to Hawaii...
- 593. Stop it. You're not going
to buy me anything more.
- 594. Don't be silly.
- 595. Here.
I was going to give it to you at midnight.
- 596. Norma, I can't take it.
You've bought me enough.
- 597. Shut up. I'm rich.
- 598. I'm richer than all this
new Hollywood trash.
- 599. - I've got $1,000,000.
- Keep it.
- 600. I own three blocks downtown.
I've got oil in Bakersfield.
- 601. Pumping, pumping, pumping.
- 602. What's it for
but to buy us anything we want?
- 603. Cut out that "us" business!
- 604. What's the matter with you?
- 605. What right do you have
to take me for granted?
- 606. What right? Do you want me to tell you?
- 607. Has it ever occurred to you
that I may have a life of my own?
- 608. That there may be some girl
that I'm crazy about?
- 609. Who? Some carhop or dress extra?
- 610. What I'm trying to say is
that I'm all wrong for you.
- 611. You want a Valentino, somebody
with polo ponies. A big shot.
- 612. What you're trying to say is
you don't want me to love you.
- 613. Say it. Say it!
- 614. I didn't know where I was going.
I just had to get out of there.
- 615. I had to be with people my own age.
I had to hear somebody laugh again.
- 616. I thought of Artie Green.
- 617. There was bound to be
a New Year's shindig going on
- 618. in his apartment down on Las Palmas.
- 619. Writers without a job,
composers without a publisher,
- 620. actresses so young they still believe
the guys in the casting offices.
- 621. A bunch of kids who didn't give a hoot
just so long as they had a yuk to share.
- 622. - Hello, Joe.
- 623. How are you, Joe?
- 624. - Welcome to the party.
- Hi, Joe.
- 625. - Well, what do you know! Joe Gillis!
- Hiya, Artie.
- 626. Where you been keeping
that gorgeous face of yours?
- 627. In a deep freeze.
- 628. I almost reported you
to the Bureau of Missing Persons.
- 629. Fans, you all know Joe Gillis,
the well-known screenwriter,
- 630. uranium smuggler
and Black Dahlia suspect.
- 631. - Come on, give me your coat.
- Let it ride for a while.
- 632. - You're gonna stay, aren't you?
- Well, that was the general idea.
- 633. Then, come on. What is this, mink?
- 634. Judas H. Priest!
- 635. Who did you borrow that from?
- 636. Close, but no cigar.
- 637. Say, you're not really in the smuggling
business these days, are you?
- 638. - Where's the bar?
- Come on.
- 639. - It's a good party.
- The greatest.
- 640. They call me the Elsa Maxwell
of the assistant directors.
- 641. Hey, wait a minute.
Go easy on that punch bowl.
- 642. Budget only calls for
three drinks per extra. Fake the rest.
- 643. Say, Artie,
can I stick around here for a while?
- 644. Sure. This will go on all night.
- 645. No, I mean, can you put me up
for a couple of weeks?
- 646. It just so happens
we have a vacancy on the couch.
- 647. I'll take it.
- 648. I'll have the bellhop
take care of your luggage.
- 649. Just register it here.
- 650. - Hello, Mr. Gillis.
- 651. - You know each other?
- Let me help you.
- 652. - Betty Schaefer, Sheldrake's office.
- Oh, sure. Bases Loaded.
- 653. Wait a minute. This is the woman I love.
What's going on? Who was loaded?
- 654. Don't worry.
She's just a fan for my literary output.
- 655. Hurt Feelings Department.
- 656. Hey, about that luggage.
Where's the phone?
- 657. Over by the Rainbow Room.
- 658. Say, when you're through with
that thing, can I have it?
- 659. Hey, you forgot this.
- 660. - Thanks.
- I've been hoping to run into you.
- 661. What for? To recover that knife
you stuck in my back?
- 662. No. I felt a little guilty,
so I got out some of your old stories.
- 663. Why, you sweet kid.
- 664. There's one called Window,
something with a window.
- 665. - Dark Windows. How'd you like it?
- I didn't.
- 666. - Thank you.
- Except for about six pages.
- 667. You've got a flashback there...
- 668. - Is there someplace we can talk?
- How about the Rainbow Room?
- 669. Hey, Joe.
I said you could have my couch.
- 670. - I didn't say you could have my girl.
- Oh, this is shop talk.
- 671. Now, if I got you correctly,
there was a short stretch of my fiction
- 672. which you found worthy of notice.
- 673. The flashback scene in the courtroom
- 674. when she tells about
being a schoolteacher.
- 675. I had a teacher like that once.
- 676. Maybe that's why it's good.
It's true. It's moving.
- 677. - Now why don't you use that character...
- Who wants true? Who wants moving?
- 678. Drop that attitude!
Here's something really worthwhile.
- 679. Want me to start right away?
Maybe there's some paper around.
- 680. - I'm serious. I've got a few ideas.
- And I've got a few ideas of my own.
- 681. One of them being
this is New Year's Eve.
- 682. How about living it up a little?
- 683. - As for instance?
- 684. We could make some paper boats
and have a regatta.
- 685. Or we could turn on the shower
- 686. How about capturing the kitchen
and barricading the door?
- 687. - Are you hungry?
- 688. After 12 years in the Burmese jungle,
I'm starving, Lady Agatha.
- 689. - Starving for a white shoulder...
- Phillip, you're mad!
- 690. Thirsting for the coolness of your lips.
- 691. You can have the phone now.
- 692. No, Phillip, no. We must be strong.
- 693. You're still wearing the uniform
of the Coldstream Guards.
- 694. Furthermore,
you can have the phone now.
- 695. Okay.
- 696. Suddenly I find myself
terribly afraid of losing you.
- 697. You won't.
I'll get us a refill of this horrible liquid.
- 698. - You'll be waiting for me?
- With a wildly beating heart.
- 699. Life can be beautiful.
- 700. Hello, Max. This is Mr. Gillis.
I want you to do me a favor.
- 701. I'm sorry, Mr. Gillis. I cannot talk now.
- 702. Yes you can.
I want you to get my old suitcase
- 703. and put in all my old clothes,
the ones I came with.
- 704. And my typewriter.
I'll have somebody pick them up.
- 705. I have no time to do anything now.
The doctor is here.
- 706. What doctor? What's going on?
- 707. Madame got the razor from your room
and she cut her wrists.
- 708. What? Max! Max!
- 709. I just got the recipe.
You take two packages of cough drops
- 710. and dissolve in one gallon
of lukewarm grape juice, and...
- 711. Hey, Joe!
- 712. Happy New Year!
- 713. - How is she?
- She's up in her room.
- 714. Be careful. Don't race upstairs.
- 715. The musicians mustn't know
- 716. Go away.
- 717. What kind of a silly thing
was that to do?
- 718. To fall in love with you,
that was the idiotic thing.
- 719. It sure would have made
- 720. "Great Star Kills Herself
for Unknown Writer."
- 721. Great stars have great pride.
- 722. Go away. Go to that girl of yours.
- 723. Look, I was making that up
- 724. because I thought the whole thing
was a mistake.
- 725. I didn't want to hurt you.
You've been good to me.
- 726. You're the only person in this
stinking town that has been good to me.
- 727. Why don't you just
say thank you and go? Go, go!
- 728. Not until you promise to act
like a sensible human being.
- 729. I'll do it again. I'll do it again.
- 730. I'll do it again.
- 731. Happy New Year, Norma.
- 732. Happy New Year, darling.
- 733. Hello?
- 734. Is this Crestview 5-1733?
- 735. I'm sorry to bother you again,
- 736. but I've confirmed the number.
I must speak to Mr. Gillis.
- 737. - He's not here.
- Well, where can I reach him?
- 738. Maybe somebody else in the house
could tell me...
- 739. Nobody here can
give you any information.
- 740. And you will please not call again!
- 741. Max!
- 742. Who was it, Max? What is it?
- 743. Nothing, Madame.
Somebody inquiring about a stray dog.
- 744. Our number must be very similar
to the number of the pound.
- 745. Wait a minute.
I want you to get out the car.
- 746. You're to take the script
over to Paramount
- 747. and deliver it to Mr. DeMille in person.
- 748. Very good, Madame.
- 749. You really going to send
that script to DeMille?
- 750. Yes, I am. This is the day.
Here's the chart from my astrologer.
- 751. She read DeMille's horoscope.
She read mine.
- 752. - Did she read the script?
- DeMille is Leo. I'm Scorpio.
- 753. Mars has been transiting
Jupiter for weeks.
- 754. Today is the day
of the greatest conjunction.
- 755. Turn around, darling. Let me dry you.
- 756. I hope you realize, Norma, that
scripts don't sell on astrologer's charts.
- 757. I'm not just selling the script.
I'm selling me.
- 758. DeMille always said
I was his greatest star.
- 759. When did he say it, Norma?
- 760. All right, it was quite a few years ago.
- 761. But the point is,
I never looked better in my life.
- 762. Do you know why? Because I've
never been as happy in my life.
- 763. A few evenings later,
we were going to the house
- 764. of one of the waxworks
for some bridge.
- 765. She'd taught me
how to play bridge by then,
- 766. just as she'd taught me
some fancy tango steps
- 767. and what wine to drink with what fish.
- 768. That idiot!
He forgot to fill my cigarette case.
- 769. Here, have one of mine.
- 770. They're dreadful. They make me cough.
- 771. Pull up at the drugstore, will you, Max?
I'll get you some.
- 772. You're a darling.
- 773. Give me a package of those
Turkish cigarettes. Abdullas.
- 774. Stick 'em up, Gillis!
Stick 'em up or I'll let you have it!
- 775. Hi, Artie. Good evening, Miss Schaefer.
- 776. You don't know
how glad I am to see you!
- 777. Walking out on the mob.
What's the big idea?
- 778. Oh, I'm sorry about New Year's.
- 779. Would you believe me if I told you
I stayed with a sick friend?
- 780. Someone in the formal set, no doubt,
with a 10-karat kidney stone.
- 781. Oh, stop it, Artie, will you?
Where've you been keeping yourself?
- 782. I've got
the most wonderful news for you.
- 783. I haven't been keeping myself at all.
- 784. I called your agent.
I called the Screen Writers' Guild.
- 785. Finally, your old apartment gave me
some Crestview number.
- 786. There was always somebody
with an accent growling at me.
- 787. You were not there.
You were not to be spoken to.
- 788. They never even heard of you.
- 789. Is that so? What's the wonderful news?
- 790. Sheldrake likes the angle
about the teacher.
- 791. - What teacher?
- Dark Windows.
- 792. I got him all hopped up about it.
- 793. He thinks it could be
made into something.
- 794. - Okay. Where's the cash?
- Where's the story?
- 795. I bluffed it out with a few notions
of my own.
- 796. It's really just a springboard.
It needs work.
- 797. I was afraid of that.
- 798. I've got twenty pages of notes and I've
got a pretty good character for the man.
- 799. Could you write in
plenty of background action
- 800. so they'll need an extra
assistant director, huh?
- 801. Oh, Artie, shut up!
- 802. Now, if we could sit down for two weeks
to get a story...
- 803. I'm sorry, Miss Schaefer,
I've given up writing on spec.
- 804. But I tell you this is half sold.
- 805. As a matter of fact,
I've given up writing altogether.
- 806. Mr. Gillis, if you please.
- 807. I'll be right there.
- 808. The accent! I get it!
- 809. This guy's in the pay
of a foreign government.
- 810. Check those studs. Get those cufflinks.
- 811. I've got to run along. Thanks anyway
for your interest in my career.
- 812. It's not your career, it's mine!
I'd kind of hoped to get in on this deal.
- 813. I don't want to be a reader all my life.
I want to write.
- 814. - I'm sorry if I crossed you up.
- You sure have!
- 815. So long.
- 816. What on earth, darling?
It took you hours.
- 817. Oh, I ran into some people I know.
- 818. - Where are my cigarettes?
- Where are your...
- 819. Norma, you're smoking too much.
- 820. Whenever she suspected
I was getting bored,
- 821. she would put on a live show for me.
- 822. The Norma Desmond Follies.
- 823. Her first number was always
the Mac Sennett Bathing Beauty.
- 824. I can still see myself in the line.
Marie Prevost, Mabel Normand.
- 825. Mabel was always stepping on my feet.
- 826. What's the matter with you, darling?
Why are you so glum?
- 827. Nothing's the matter. I'm having
a great time. Show me some more.
- 828. All right. Give me this.
I need it for a mustache.
- 829. Now, close your eyes. Close them.
- 830. Something was the matter all right.
- 831. I was thinking about that girl of Artie's,
that Miss Schaefer.
- 832. She was so like all us writers
when we first hit Hollywood,
- 833. itching with ambition,
- 834. planning to get your names up there.
"Screenplay by, Original Story by."
- 835. Audiences don't know somebody
sits down and writes a picture.
- 836. They think the actors make it up
as they go along.
- 837. Open your eyes.
- 838. - Madame is wanted on the telephone.
- You know better than to interrupt me.
- 839. - Paramount is calling.
- 840. Paramount Studios.
- 841. Now! Now, do you believe me?
I told you DeMille would jump at it.
- 842. It is not Mr. DeMille in person.
- 843. It is someone
by the name of Gordon Cole.
- 844. - He says it's very important.
- Certainly it's important.
- 845. It's important enough
for DeMille to call me personally.
- 846. The very idea of having
some assistant call me!
- 847. - Say I'm busy and hang up!
- Very good, Madame.
- 848. How do you like that?
- 849. We've made 12 pictures together,
his greatest successes!
- 850. - Maybe he's busy, maybe he's shooting.
- I know that trick!
- 851. He's trying to belittle me.
He's trying to get my price down.
- 852. I've waited 20 years for this call.
- 853. Now DeMille can wait
until I'm good and ready.
- 854. About three days later
she was good and ready.
- 855. Incredible as it may seem,
- 856. there'd been some more of those
urgent calls from Paramount.
- 857. So, she put on about a half a pound
of makeup, fixed it up with a veil
- 858. and set forth to see DeMille in person.
- 859. Madame will pardon me, the shadow
over the left eye is not quite balanced.
- 860. Thank you, Max.
- 861. Hold that noise!
- 862. Hey!
- 863. To see Mr. DeMille. Open the gate!
- 864. Mr. DeMille is shooting.
You got an appointment?
- 865. No appointment necessary!
I'm bringing Norma Desmond.
- 866. Norma who?
- 867. Norma Desmond!
- 868. - Jonesy! Hey, Jonesy!
- 869. Why, if it isn't Miss Desmond.
- 870. - How have you been, Miss Desmond?
- Open the gate!
- 871. Sure, Miss Desmond. Come on, Mac.
- 872. They can't drive on the lot
without a pass.
- 873. Miss Desmond can. Come on.
- 874. - Where's Mr. DeMille shooting?
- Stage 18, Miss Desmond.
- 875. Thank you, Jonesy,
and teach your friend some manners.
- 876. Tell him without me,
he wouldn't have any job,
- 877. because without me, there
wouldn't be any Paramount Studio.
- 878. - You're right, Miss Desmond.
- Go on, Max.
- 879. Stage 18.
- 880. Oh, I guess, get...
Notify Henry Wilcoxon.
- 881. Just clear them out, will you?
Spread the thing out so I can see it.
- 882. Keep it quiet a little bit,
will you, back there?
- 883. Norma Desmond's coming in
to see Mr. DeMille.
- 884. Can you hit that with a light, somebody,
so I can get a look at that 'scape?
- 885. Back up a little bit here, girlie, back up.
- 886. Soldier, get out of the way.
You fell over the back there.
- 887. Norma Desmond's coming in
to see Mr. DeMille.
- 888. Norma Desmond?
- 889. Wait a minute.
- 890. - Harry Wilcoxon!
- 891. Draw your sword
and raise that drape with it.
- 892. Samson's lying unconscious over here.
- 893. Norma Desmond is coming in
to see you, Mr. DeMille.
- 894. - Norma Desmond?
- She must be a million years old.
- 895. I hate to think where that puts me.
I could be her father.
- 896. Very sorry, Mr. DeMille.
- 897. It must be about
that awful script of hers.
- 898. What can I tell her? What can I say?
- 899. I can tell her you're all tied up
in the projection room.
- 900. I can give her the brush.
- 901. Thirty million fans have given her
the brush. Isn't that enough?
- 902. - I didn't mean to...
- No, of course you didn't.
- 903. You didn't know Norma Desmond
as a lovely little girl of 17
- 904. with more courage and wit and heart
- 905. than ever came together
in one youngster.
- 906. I understand she was a terror
to work with.
- 907. Only toward the end.
- 908. You know, a dozen press agents
- 909. can do terrible things
to the human spirit.
- 910. Hold everything.
- 911. - Don't you want to come along, darling?
- I don't think so.
- 912. It's your script. It's your show.
- 913. Thank you, dearest.
- 914. Well, hello, young fellow.
- 915. - Hello, Mr. DeMille.
- It's good to see you.
- 916. That last time I saw you
was some place very gay.
- 917. I remember waving to you.
I was dancing on a table.
- 918. A lot of people were. Lindbergh had just
landed in Paris. Come on in.
- 919. Norma, I...
- 920. - I must apologize for not calling you.
- You'd better. I'm very angry.
- 921. Well, as you can see, I'm terribly busy.
- 922. That's no excuse.
You read the script, of course?
- 923. Yes, I did.
- 924. Then you could have
picked up the telephone yourself,
- 925. instead of leaving it
to one of your assistants.
- 926. - What assistant?
- Now don't play innocent.
- 927. - Somebody named Gordon Cole.
- Gordon Cole?
- 928. And if you hadn't been pretty darned
interested in that script,
- 929. he wouldn't have tried to get me
on the telephone 10 times.
- 930. Gordon Cole!
- 931. Norma, I'm in the middle of a rehearsal.
- 932. Now, why don't you just sit
up here in my chair
- 933. and make yourself comfortable?
- 934. - Thank you.
- That's a girl. There.
- 935. I won't be a moment.
- 936. Bring me a telephone
and get me Gordon Cole.
- 937. Right.
- 938. Hey, Miss Desmond!
- 939. Miss Desmond! It's me! It's Hog-Eye.
- 940. Hello, Hog-Eye!
- 941. Let's get a good look at you!
- 942. - Look, there's Norma Desmond!
- Norma Desmond!
- 943. - Norma Desmond.
- Why, I thought she was dead!
- 944. How nice to see you.
- 945. Welcome home, Miss Desmond.
You remember me, don't you?
- 946. - Miss Desmond!
- 947. Mr. Wilcoxon,
have you met Miss Desmond?
- 948. It's a great pleasure.
- 949. Oh, Gordon. This is C.B. DeMille.
- 950. Have you been calling
- 951. Yes, Mr. DeMille.
- 952. It's that car of hers,
an old Isotta-Fraschini.
- 953. Her chauffeur drove it in
on the lot the other day.
- 954. It looks just right for the Crosby picture.
- 955. We want to rent it
for a couple of weeks.
- 956. Oh, I see.
- 957. Well, thank you very much. Thank you.
- 958. Hog-Eye, turn that light
back where it belongs.
- 959. Well, I...
- 960. I got hold of Gordon Cole.
- 961. Did you see them?
Did you see how they came?
- 962. You know,
- 963. some crazy things happen
in this business, Norma.
- 964. I hope you haven't lost
your sense of humor.
- 965. - What's the matter, dear?
- 966. I just didn't realize what it would be like
to come back to the old studio.
- 967. I had no idea how much I'd missed it.
- 968. We've missed you, too, dear.
- 969. We'll be working again, won't we,
Chief? We'll make our greatest picture!
- 970. - That's what I want to talk to you about.
- It's a good script, isn't it?
- 971. Well, it's...
It has some good things in it, yes, but,
- 972. it would be a very expensive picture.
- 973. Oh, I don't care about the money.
I just want to work again.
- 974. You don't know what it means
to know that you want me.
- 975. Nothing would please me more,
- 976. - If it were possible.
- And remember, darling,
- 977. I don't work before 10:00 in the morning,
and never after 4:30 in the afternoon.
- 978. We're ready for the shot, Mr. DeMille.
- 979. All right. Norma, why don't you just
sit here and watch?
- 980. You know,
pictures have changed quite a bit.
- 981. All right, let's go!
- 982. Hit 'em all!
- 983. Roll 'em!
- 984. Speed!
- 985. You see those offices there, Mr. Gillis?
- 986. They used to be Madame's
dressing room. The whole row.
- 987. That didn't leave much
for Wallace Reid.
- 988. Oh, he had a great big bungalow
- 989. I had the upstairs.
- 990. You see where it says
- 991. I remember my walls were covered
with black patent leather.
- 992. I'll be with you in a minute.
- 993. Hey, here's that funny car
Gordon Cole was talking about.
- 994. - Yeah.
- Do you mind if we look it over?
- 995. What's so funny about it?
- 996. Just so you don't think
I'm a complete swine,
- 997. if there's anything in Dark Windows
you can use, take it. It's all yours.
- 998. Well, for heaven's sakes!
Come on in, have a chair.
- 999. I mean it. It's no good to me, anyway.
- 1000. Now, why should you do that?
- 1001. If you get 100,000 for it,
you buy me a box of chocolate creams.
- 1002. If you get an Oscar, I get the left foot.
- 1003. You know,
I'd take you up on that in a minute.
- 1004. I'm just not good enough
to do it all by myself.
- 1005. What about all those ideas you had?
- 1006. Well, see if they make sense.
- 1007. To begin with, I think you should throw
out all that psychological mess,
- 1008. - exploring a killer's sick mind.
- Psychopaths sell like hotcakes.
- 1009. This is a story about teachers,
their threadbare lives, their struggle!
- 1010. Now, I see her teaching day classes
while he teaches night school.
- 1011. Now, the first time they meet...
- 1012. Look, if you don't mind,
I haven't time to listen to the whole plot.
- 1013. - I'll make it short.
- I'm sorry. It's your baby now.
- 1014. Couldn't we work in the evenings?
6:00 in the morning?
- 1015. This next month I'm completely
at your disposal. Artie's out of town.
- 1016. - What's Artie got to do with it?
- We're engaged.
- 1017. Oh. Oh, well, good for you.
You couldn't find a nicer guy.
- 1018. That's what I think. They're on location
in Arizona, making a Western.
- 1019. I'm free every evening
and every weekend.
- 1020. We could work at your place,
if you want.
- 1021. Look, Betty, it can't be done. It's out!
- 1022. Now, stop being chicken-hearted
and write that story!
- 1023. - Honest to goodness, I hate you!
- And don't make it too dreary.
- 1024. How about this for a situation?
- 1025. She teaches daytimes,
he teaches at night. Right?
- 1026. - Right.
- They don't even know each other,
- 1027. but they share the same room.
It's cheaper that way.
- 1028. As a matter of fact, they sleep
in the same bed. In shifts, of course.
- 1029. Are you kidding?
Because I think it's good.
- 1030. - So do I.
- Well, come on back.
- 1031. - Let me show you where it fits in.
- So long.
- 1032. Oh, you...
- 1033. - What's the matter, Max?
- I just found out the reason
- 1034. for all those telephone calls
- 1035. It's not Madame they want.
It's her car they want to rent.
- 1036. What?
- 1037. Well, goodbye, Norma.
We'll see what we can do.
- 1038. I'm not worried. Everything will be fine.
The old team together again.
- 1039. - Nothing can stop us.
- The old team. Yeah.
- 1040. - Goodbye, dear.
- Goodbye, Mr. DeMille.
- 1041. - How'd it go?
- It couldn't have gone better.
- 1042. It's practically set.
- 1043. Of course, he has to finish this picture
first, but mine will be his next.
- 1044. Get Gordon Cole.
Tell him to forget about her car.
- 1045. Tell him he can get
another old car someplace.
- 1046. I'll buy him five old cars, if necessary.
- 1047. After that,
- 1048. an army of beauty experts invaded
her house on Sunset Boulevard.
- 1049. She went through
a merciless series of treatments.
- 1050. Like an athlete training for the Olympic
Games, she counted every calorie.
- 1051. Went to bed every night at 9:00.
- 1052. She was absolutely determined
to be ready,
- 1053. ready for those cameras
that would never turn.
- 1054. - Joe, darling, are you there?
- Yes, Norma.
- 1055. Don't turn around!
Keep your eyes on the book.
- 1056. I just came to say good night.
- 1057. I don't want you to see me.
- 1058. - I'm not very attractive.
- Good night.
- 1059. You know, I've lost half a pound
- 1060. - Good!
- I was a little worried
- 1061. about the line of my throat.
- 1062. - This woman has done wonders with it.
- 1063. - You'd better get to bed yourself.
- I think I'll read a little longer.
- 1064. You went out last night, didn't you, Joe?
- 1065. - Why do you say that?
- I just happen to know it.
- 1066. I had a nightmare
and I screamed for you.
- 1067. You weren't here. Where were you?
- 1068. - I went for a walk.
- No, you didn't. You took the car.
- 1069. All right, I drove to the beach.
- 1070. Norma, you don't want me to feel
that I'm locked up in this house?
- 1071. Of course not, Joe.
It's just that I don't want to be left alone.
- 1072. Not while I'm under this terrible strain.
My nerves are being torn to shreds.
- 1073. All I ask is for you to be a little patient
and a little kind.
- 1074. - Norma, I haven't done anything.
- Of course you haven't.
- 1075. I wouldn't let you. Good night, darling.
- 1076. Yes, I was playing hooky
every evening alone in there.
- 1077. It made me think of when I was 12
- 1078. and used to sneak out on the folks
to see a gangster picture.
- 1079. This time, it wasn't to see a picture.
It was to try and write one.
- 1080. That story of mine
Betty Schaefer had dug up
- 1081. kept going through my head
like a dozen locomotives.
- 1082. So, we started working on it,
the two of us,
- 1083. nights when the studio was deserted,
up in her little cubbyhole of an office.
- 1084. I got the funniest letter from Artie.
- 1085. It's rained every day since
they got to Arizona.
- 1086. They rewrote the whole picture for rain
and shot half of it.
- 1087. Now, the sun is out.
Nobody knows when they'll get back.
- 1088. - Good.
- What's good about it?
- 1089. I miss him something fierce.
- 1090. I mean this is good dialog
along in here.
- 1091. - It'll play.
- It will?
- 1092. Sure. Especially with lots of music
underneath, drowning it out.
- 1093. - Don't you sometimes hate yourself?
- 1094. No, in all seriousness, this is really
good. It's fun writing with you.
- 1095. Oh, thanks.
- 1096. Who's Norma?
- 1097. Who's who?
- 1098. Oh, I'm sorry. I don't usually read
private cigarette cases.
- 1099. Oh, that. It's from a friend of mine,
- 1100. a middle-aged lady,
very foolish and very generous.
- 1101. I'll say. This is solid gold.
- 1102. I gave her some advice
on an idiotic script.
- 1103. Oh, the old, familiar story.
- 1104. You help a timid little soul
cross a crowded street.
- 1105. She turns out to be a multi-millionaire
and leaves you all her money.
- 1106. That's the trouble with you readers.
You know all the plots.
- 1107. Now, suppose you proofread
page 10 while the water boils.
- 1108. - Okay?
- 1109. Sometimes, when we got stuck,
- 1110. we'd make a little tour
of the drowsing lot,
- 1111. not talking much,
- 1112. just wandering down alleys
between the sound stages
- 1113. or through the sets they were getting
ready for the next day's shooting.
- 1114. As a matter of fact,
- 1115. it was on one of those walks
when she first told me about her nose.
- 1116. Look at this street.
- 1117. All cardboard, all hollow, all phony,
all clone with mirrors.
- 1118. You know, I like it better
than any street in the world.
- 1119. Maybe because I used to play here
when I was a kid.
- 1120. What were you, a child actress?
- 1121. No, I was born just two blocks from this
studio. Right on Lemon Grove Avenue.
- 1122. My father was head electrician here
till he died.
- 1123. - Mother still works in Wardrobe.
- Second generation, huh?
- 1124. Third. Grandma did stunt work
for Pearl White.
- 1125. I come from a picture family.
- 1126. Naturally, they expected me
to become a great star.
- 1127. So I had 10 years of dramatic lessons,
- 1128. Then the studio made a test.
Well, they didn't like my nose.
- 1129. It slanted this way a little.
So, I went to a doctor and had it fixed.
- 1130. They made more tests
and they were crazy about my nose,
- 1131. only they didn't like my acting.
- 1132. - Nice job.
- It should be.
- 1133. It cost me $300.
- 1134. - That's the saddest thing I ever heard.
- Oh, not at all.
- 1135. It taught me a little sense.
I got a job in the mailroom,
- 1136. worked up to the Stenographic.
Now I'm a reader.
- 1137. Come clean, Betty.
- 1138. At night you weep for those lost
close-ups, those gala openings.
- 1139. Not once.
- 1140. What's wrong with being on the
other side of the cameras?
- 1141. - It's really more fun.
- Three cheers for Betty Schaefer!
- 1142. - I will now kiss that nose of yours.
- If you please.
- 1143. - May I say that you smell real special?
- It must be my new shampoo.
- 1144. That's no shampoo. It's more like
freshly laundered linen handkerchiefs.
- 1145. Like a brand-new automobile.
- 1146. - How old are you, anyway?
- 1147. Smart girl.
Nothing like being twenty-two.
- 1148. And may I suggest that
if we're ever to finish this story,
- 1149. you stay at least two feet away from me.
- 1150. The first time you see me
coming any closer,
- 1151. I want you to take off a shoe
and clunk me on the head with it.
- 1152. Now back to the typewriters,
by way of Washington Square.
- 1153. What is it, Max?
- 1154. Want to wash the car,
- 1155. or are you doing a little spying
in your off hours?
- 1156. You must be very careful
as you cross the patio.
- 1157. Madame may be watching.
- 1158. How about going up the kitchen stairs
and undressing in the dark?
- 1159. Will that do it?
- 1160. I am not inquiring where Mr. Gillis goes
- 1161. Why don't you? I'm writing a script.
- 1162. And I'm going to finish it,
no matter what.
- 1163. It is just that I am greatly worried
- 1164. Sure you are.
- 1165. And we're not helping her any,
feeding her lies and more lies.
- 1166. Getting herself ready for a picture.
What happens when she finds out?
- 1167. She never will. That is my job,
- 1168. and it has been for a long time.
- 1169. You must understand,
I discovered her when she was 16.
- 1170. I made her a star,
and I cannot let her be destroyed.
- 1171. - You made her a star.
- Yes, I directed all her early films.
- 1172. There were three young directors
who showed promise in those days.
- 1173. D.W. Griffith, Cecil B. DeMille
and Max von Mayerling.
- 1174. And she's turned you into a servant.
- 1175. It was I who asked to come back,
humiliating as it may seem.
- 1176. I could have continued my career,
- 1177. only I found everything unendurable
after she had left me.
- 1178. You see,
- 1179. I was her first husband.
- 1180. You're here, Joe!
- 1181. When did you come home?
- 1182. Oh, Joe, where were you?
- 1183. Is it a woman? I know it's a woman.
Who is she?
- 1184. Why can't I ask you? I must know!
- 1185. What's the matter?
- 1186. Betty, wake up!
Why are you staring at me like that?
- 1187. Oh, was I? I'm sorry.
- 1188. What's wrong with you tonight?
What is it?
- 1189. Oh, something came up.
I don't want to talk about it.
- 1190. Why not?
- 1191. I just don't.
- 1192. What've you heard?
- 1193. Come on, let's have it. Is it about me?
- 1194. Betty, there's no use running out on it.
Let's face it, whatever it is.
- 1195. - I got a telegram from Artie.
- From Artie? What's wrong?
- 1196. He wants me to come on to Arizona.
- 1197. He says it only costs $2
to get married there.
- 1198. It would kind of save us a honeymoon.
- 1199. Well, why don't you?
We can finish the script by Thursday.
- 1200. Stop crying, will you? You're getting
married. That's what you wanted.
- 1201. I don't want it now.
- 1202. - Why not? Don't you love Artie?
- Of course I love him. I always will.
- 1203. I'm not in love with him anymore,
- 1204. - What happened?
- You did.
- 1205. It wasn't until I got back to that
peculiar prison of mine
- 1206. that I started facing the facts.
- 1207. There it was, Betty Schaefer's future
right in the palm of my hand.
- 1208. Betty Schaefer engaged to Artie Green,
as nice a guy as ever lived.
- 1209. And she was in love with me. Me!
- 1210. She was a fool not to sense that there
was something phony in my setup.
- 1211. And I was a heel not to have told her.
- 1212. But you just can't say those things
to somebody you're crazy about.
- 1213. Maybe I'd never have to.
Maybe I could get away with it,
- 1214. get away from Norma.
- 1215. Maybe I could wipe the whole
nasty mess right out of my life.
- 1216. Hello. Is this Gladstone 9281?
- 1217. May I speak to Miss Betty Schaefer?
She must be home by now.
- 1218. Hey, Betty! Here's that weird-sounding
- 1219. Well, what is this, anyway?
- 1220. This is Betty Schaefer.
- 1221. You must forgive me for calling you
so late, but I really feel it's my duty.
- 1222. It's about Mr. Gillis.
You do know Mr. Gillis?
- 1223. Exactly how much
do you know about him?
- 1224. Do you know where he lives?
- 1225. Do you know how he lives?
Do you know what he lives on?
- 1226. Who are you? What do you want?
What business is it of yours, anyway?
- 1227. Miss Schaefer,
I'm trying to do you a favor.
- 1228. I'm trying to spare you
a great deal of misery.
- 1229. Of course you may be too young to even
suspect there are men of his sort.
- 1230. I don't know what he's told you,
but he does not live with relatives,
- 1231. nor with friends
in the usual sense of the word.
- 1232. Well, ask him. Ask him again.
- 1233. That's right, Betty, ask me again.
This is Joe.
- 1234. Joe? Where are you?
What is this all about?
- 1235. Or better yet, why don't you come out
and see for yourself?
- 1236. The address is
10,086 Sunset Boulevard.
- 1237. Don't hate me, Joe!
I did it because I need you.
- 1238. I need you
as I've never needed you before.
- 1239. Look at me! Look at my hands!
- 1240. Look at my face! Look under my eyes!
- 1241. How can I go back to work
if I'm wasting away under this torment?
- 1242. You don't know what I've been through
these last weeks!
- 1243. I bought myself a revolver, I did. I did!
- 1244. I stood in front of that mirror,
but I couldn't make myself do it.
- 1245. Don't just stand there hating me!
Shout at me!
- 1246. Strike me! But don't hate me.
Say you don't hate me, Joe!
- 1247. Here's 10,079, Connie.
It must be over there.
- 1248. Betty, let me come along with you.
- 1249. No, I'll be all right.
- 1250. I love you, Joe. I love you, Joe.
- 1251. I love you, Joe.
- 1252. What are you going to do, Joe?
What are you going to do?
- 1253. It's all right, Max. I'll take it.
- 1254. - Hello, Betty.
- I don't know why I'm so scared, Joe.
- 1255. - Is it something awful?
- Come on in.
- 1256. Ever been in one of these
old Hollywood palazzos?
- 1257. That's from when they were making
18,000 a week and no taxes.
- 1258. Careful of these tiles, they're slippery.
Valentino used to dance here.
- 1259. - This is where you live?
- You bet.
- 1260. - Whose house is it?
- 1261. - Whose?
- Just look around.
- 1262. There's a lot of her spread about.
- 1263. If you don't remember the face,
you must have heard the name.
- 1264. Norma Desmond.
- 1265. That was Norma Desmond
on the phone?
- 1266. Would you like something to drink?
There's always champagne on ice,
- 1267. - plenty of caviar.
- Why did she call me?
- 1268. Jealous.
- 1269. Did you ever see so much junk?
- 1270. She had the ceiling
brought from Portugal.
- 1271. And look at this.
- 1272. Her own movie theater.
- 1273. I didn't come here to see a house!
What about Norma Desmond?
- 1274. That's what I'm trying to tell you.
This is an enormous place.
- 1275. Eight master bedrooms.
A sunken tub in every bathroom.
- 1276. There's a bowling alley in the cellar.
- 1277. It's lonely here,
so she got herself a companion.
- 1278. A very simple setup.
An older woman who is well-to-do.
- 1279. A younger man
who's not doing too well.
- 1280. - Can you figure it out yourself?
- 1281. - All right. I'll give you a few more clues.
- No! I haven't heard any of this.
- 1282. I never got those telephone calls
and I've never been in this house!
- 1283. Now, get your things together
and let's get out of here.
- 1284. All my things? All my 18 suits,
all my custom-made shoes
- 1285. and the six dozen shirts
and the cufflinks
- 1286. and the platinum key chains
and the cigarette cases?
- 1287. Come on, Joe.
- 1288. Come on where? Back to a one-room
apartment I can't pay for?
- 1289. Back to a story that may sell
and very possibly will not?
- 1290. If you love me, Joe.
- 1291. Look, sweetie, be practical.
I've got a good deal here.
- 1292. A long-term contract with no options.
I like it that way.
- 1293. Maybe it's not very admirable.
- 1294. Well, you and Artie can be admirable.
- 1295. I can't look at you anymore, Joe.
- 1296. How about looking for the exit?
This way, Betty.
- 1297. Good luck to you, Betty. You can finish
that script on the way to Arizona.
- 1298. When you and Artie get back,
- 1299. if the two of you
ever feel like taking a swim,
- 1300. here's the pool.
- 1301. Thank you, darling. Thank you, Joe.
- 1302. Joe!
- 1303. May I come in, Joe? I've stopped crying.
- 1304. I'm all right again.
Joe, tell me you're not cross.
- 1305. Tell me everything is just as it was, Joe.
- 1306. Joe!
- 1307. What are you doing, Joe?
- 1308. - What are you doing?
- I'm packing.
- 1309. - You're leaving me!
- Yes, I am, Norma.
- 1310. No, you're not! Max! Max!
- 1311. Thanks for letting me
wear the handsome wardrobe.
- 1312. And thanks for the use
of all the trinkets.
- 1313. The rest of the jewelry
is in the top drawer.
- 1314. - It's yours, Joe. I gave it to you.
- And I'd take it in a second,
- 1315. only it's a little too dressy for sitting
behind a copy desk in Dayton, Ohio.
- 1316. These are nothing!
You can have anything you want.
- 1317. What is it you want? Money?
- 1318. Norma, you'd be throwing it away.
I don't qualify for the job, not anymore.
- 1319. You can't go! Max! Max!
I can't face life without you.
- 1320. And you know I'm not afraid to die!
- 1321. That's between you and yourself.
- 1322. You think I made that up about the gun,
don't you? All right.
- 1323. See, you didn't believe me!
- 1324. Now, I suppose
you don't think I have the courage!
- 1325. Oh, sure,
if it would make a good scene.
- 1326. You don't care, do you?
- 1327. Well, hundreds of thousands
of people will care.
- 1328. Oh, wake up, Norma. You'd be killing
yourself to an empty house.
- 1329. The audience left 20 years ago.
Now, face it!
- 1330. - That's a lie! They still want me.
- No, they don't!
- 1331. What about the studio?
What about DeMille?
- 1332. He was trying to spare your feelings.
The studio only wanted to rent your car.
- 1333. - Wanted what?
- DeMille didn't have the heart to tell you.
- 1334. None of us has had the heart.
- 1335. That's a lie! They want me.
I get letters every day.
- 1336. You tell her, Max.
Come on, do her that favor!
- 1337. Tell her
there isn't going to be any picture!
- 1338. There aren't any fan letters
except the ones you write!
- 1339. That isn't true! Max!
- 1340. Madame is the greatest star of them all.
- 1341. I will take Mr. Gillis' bags to the car.
- 1342. You heard him. I'm a star!
- 1343. Norma, you're a woman of 50.
Now, grow up!
- 1344. There's nothing tragic about being 50,
not unless you try to be 25.
- 1345. I'm the greatest star of them all.
- 1346. Goodbye, Norma.
- 1347. No one ever leaves a star.
That's what makes one a star.
- 1348. Joe! Joe!
- 1349. Joe!
- 1350. Joe!
- 1351. Stars are ageless, aren't they?
- 1352. Well, this is where you came in.
Back at that pool again,
- 1353. the one I always wanted.
- 1354. It's dawn now, and they must have
photographed me a thousand times.
- 1355. Then they got a couple of pruning hooks
from the garden and fished me out,
- 1356. ever so gently.
- 1357. Funny how gentle people get with you
once you're dead.
- 1358. They beached me
like a harpooned baby whale
- 1359. and started to check the damage,
just for the record.
- 1360. By this time,
the whole joint was jumping.
- 1361. Cops, reporters, neighbors, passersby,
- 1362. as much whoop-de-doo
as we get in Los Angeles
- 1363. when they open a supermarket.
- 1364. Even the newsreel guys came
- 1365. Here was an item
everybody could have some fun with.
- 1366. The heartless so-and-sos!
- 1367. What would they do to Norma?
- 1368. Even if she got away with it in court,
crime of passion, temporary insanity,
- 1369. those headlines would kill her.
- 1370. "Forgotten Star a Slayer."
- 1371. "Aging Actress,
Yesterday's Glamour Queen."
- 1372. Coroner's office?
I want to speak to the Coroner.
- 1373. - Who's on this phone?
- I am!
- 1374. Now get off! This is more important.
- 1375. Times City Desk?
Hedda Hopper speaking.
- 1376. I'm talking from the bedroom
of Norma Desmond.
- 1377. Don't bother with a re-write, man.
Take it direct. Ready?
- 1378. "As day breaks over the murder house,
- 1379. "Norma Desmond,
famous star of yesteryear,
- 1380. "is in a state of complete mental shock.
- 1381. "A curtain of silence seems
to have fallen around her..."
- 1382. You don't deny having killed this man,
- 1383. "... she sits in the silken boudoir
of her house..."
- 1384. Just answer me that!
- 1385. Was it a sudden quarrel?
- 1386. Had you ever had any trouble
between you before?
- 1387. If it was a quarrel,
how come this gun was right there?
- 1388. This guy, where did you meet him
for the first time?
- 1389. Where did he come from? Who is he?
- 1390. Did you hate him? Had you ever thought
of doing something like this before?
- 1391. Was theft involved? Did you catch him
trying to steal something?
- 1392. Or find he had stolen something?
- 1393. The newsreel men are here
with the cameras.
- 1394. Tell them to go fly a kite!
This is no time for cameras.
- 1395. Now, Miss Desmond, is there anything
you want to tell us?
- 1396. Cameras?
- 1397. What is it, Max?
- 1398. - The cameras have arrived.
- They have?
- 1399. Tell Mr. DeMille
I'll be on the set at once.
- 1400. What is this?
- 1401. Well, it's one way to get her downstairs.
- 1402. Let's have the car right outside. Okay.
- 1403. - Everything will be ready, Madame.
- Thank you, Max.
- 1404. You'll pardon me, gentlemen,
but I must get ready for my scene.
- 1405. - What's happening up there?
- Any statement?
- 1406. - Why did she do it?
- Is there a confession?
- 1407. - Everything set up, gentlemen?
- Just about.
- 1408. - Lights ready?
- All set.
- 1409. Okay, fellas.
- 1410. Quiet, everybody!
- 1411. Lights!
- 1412. Are you ready, Norma?
- 1413. What is the scene? Where am I?
- 1414. This is the staircase of the palace!
- 1415. Oh, yes, yes...
- 1416. Down below, they're waiting
for the princess.
- 1417. I'm ready.
- 1418. All right. Cameras! Action!
- 1419. So they were turning after all,
- 1420. Life, which can be strangely merciful,
had taken pity on Norma Desmond.
- 1421. The dream she had clung to
so desperately had enfolded her.
- 1422. I can't go on with the scene.
I'm too happy!
- 1423. Mr. DeMille, would you mind
if I say a few words? Thank you.
- 1424. I just want to tell you all how happy
I am to be back in the studio,
- 1425. making a picture again!
- 1426. You don't know
how much I've missed all of you.
- 1427. And I promise you,
I'll never desert you again!
- 1428. Because after Salome, we'll make
another picture and another picture!
- 1429. You see, this is my life!
It always will be!
- 1430. There's nothing else.
Just us and the cameras
- 1431. and those wonderful people
out there in the dark.
- 1432. All right, Mr. DeMille,
I'm ready for my close-up.