|
Sunset Boulevard Sunset Blvd
|
| 00:01:30 |
Yes, this is Sunset Boulevard, |
| 00:01:34 |
It's about 5:00 in the morning. |
| 00:01:38 |
That's the homicide squad... |
| 00:01:40 |
complete with detectives |
| 00:01:43 |
A murder has been reported from |
| 00:01:47 |
in the ten thousand block. |
| 00:01:49 |
You'll read about it |
| 00:01:52 |
You'll get it over your radio |
| 00:01:56 |
because an old-time star is |
| 00:02:02 |
But before you hear it all distorted |
| 00:02:06 |
before those Hollywood columnists |
| 00:02:09 |
maybe you'd like to hear the facts... |
| 00:02:14 |
If so, you've come |
| 00:02:18 |
You see, the body of a young man |
| 00:02:20 |
floating in the pool |
| 00:02:22 |
with two shots in his back |
| 00:02:26 |
Nobody important, really. |
| 00:02:28 |
Just a movie writer with a couple |
| 00:02:33 |
The poor dope. |
| 00:02:37 |
Well, in the end |
| 00:02:40 |
only the price turned out to be |
| 00:02:46 |
Let's go back about six months and |
| 00:02:51 |
I was living in an apartment house |
| 00:02:55 |
Things were tough at the moment. |
| 00:02:58 |
I hadn't worked in a studio |
| 00:03:02 |
So I sat there, grinding out |
| 00:03:07 |
Only I seemed to have lost my touch. |
| 00:03:10 |
Maybe they weren't original enough. |
| 00:03:13 |
Maybe they were too original. |
| 00:03:16 |
All I know is, |
| 00:03:21 |
Yeah? |
| 00:03:32 |
- Joseph C. Gillis? |
| 00:03:35 |
We've come for the car. |
| 00:03:38 |
What car? |
| 00:03:39 |
1946 Plymouth convertible, |
| 00:03:44 |
Where are the keys? |
| 00:03:46 |
Why should I give you the keys? |
| 00:03:48 |
Because the company's |
| 00:03:50 |
because you're three payments behind, |
| 00:03:54 |
Now, come on. The keys. |
| 00:03:55 |
Or do you want us to jack it up |
| 00:03:58 |
Relax, fans. |
| 00:04:00 |
Oh, is that so? |
| 00:04:02 |
I loaned it to a friend. |
| 00:04:05 |
Had to get away for his health, |
| 00:04:07 |
If you don't believe me, |
| 00:04:10 |
Sure, sure, we believe you. |
| 00:04:13 |
That car better be here tomorrow |
| 00:04:18 |
- You say the cutest things. |
| 00:04:32 |
Well, I needed about $ 290... |
| 00:04:35 |
and I needed it real quick, |
| 00:04:38 |
It wasn't in Palm Springs, |
| 00:04:43 |
I was way ahead |
| 00:04:45 |
I knew they'd be coming around, |
| 00:04:49 |
So I kept it across the street in a |
| 00:04:55 |
Rudy never asked any questions |
| 00:04:58 |
He'd just look at your heels |
| 00:05:06 |
I had an original story |
| 00:05:09 |
My agent told me it was |
| 00:05:12 |
But I knew a big shot over there |
| 00:05:15 |
The time had come to take |
| 00:05:18 |
His name was Sheldrake. |
| 00:05:20 |
He was a smart producer |
| 00:05:27 |
All right, Gillis, you've got five |
| 00:05:30 |
It's about a baseball player, |
| 00:05:33 |
- Uh-huh. |
| 00:05:36 |
But he's trying to go straight. |
| 00:05:39 |
So they tell the kid he's got to |
| 00:05:43 |
More or less, except for the end. |
| 00:05:45 |
Uh-huh. You got a title? |
| 00:05:47 |
Bases Loaded. |
| 00:05:49 |
Call Readers Department. Find out |
| 00:05:54 |
They're pretty hot about it over at |
| 00:05:58 |
Can you see Ty Power as a shortstop? |
| 00:06:00 |
You've got the best man for it |
| 00:06:03 |
Be a good change of pace for Ladd. |
| 00:06:07 |
Lots of outdoor stuff. You could |
| 00:06:12 |
- Excuse me. |
| 00:06:14 |
a trainer, an old-time player who |
| 00:06:18 |
Hello, Mr. Sheldrake. |
| 00:06:20 |
On that Bases Loaded, I covered it |
| 00:06:23 |
- Thank you. |
| 00:06:25 |
- What's wrong with it? |
| 00:06:27 |
Nothing for Ladd? |
| 00:06:29 |
It's just a rehash of something |
| 00:06:32 |
I'm sure you'll be glad to meet |
| 00:06:35 |
This is Miss Kramer. |
| 00:06:38 |
The name is Schaefer. |
| 00:06:42 |
Right now I wish I could crawl |
| 00:06:45 |
If I could be of any help... |
| 00:06:47 |
Oh, I'm sorry, Mr. Gillis, but I |
| 00:06:51 |
I found it flat and trite. |
| 00:06:53 |
Exactly what kind of material do you |
| 00:06:57 |
I just think that pictures |
| 00:07:00 |
Oh, one of the message kids. |
| 00:07:03 |
You'd have turned down |
| 00:07:05 |
No, that was me. I said, "Who wants |
| 00:07:10 |
Perhaps I hated it because |
| 00:07:15 |
That was last year. This year |
| 00:07:18 |
So you take plot 27-A, |
| 00:07:21 |
Those are dirty words. |
| 00:07:25 |
- That's all, Miss Kramer... Schaefer. |
| 00:07:29 |
Next time I'll write you |
| 00:07:32 |
Well, it seems like Zanuck |
| 00:07:38 |
I don't want you to think I thought |
| 00:07:41 |
Of course, we're always |
| 00:07:44 |
- Do you see it as a Betty Hutton? |
| 00:07:48 |
Wait. If we made it a girls' |
| 00:07:53 |
Might make a cute musical. It Happened |
| 00:07:59 |
Are you trying to be funny? |
| 00:08:01 |
I'm over a barrel. |
| 00:08:03 |
- I haven't got a thing. |
| 00:08:07 |
There's nothing. Honest. |
| 00:08:12 |
Look, Mr. Sheldrake. |
| 00:08:14 |
Could you let me have 300 bucks |
| 00:08:17 |
Could I? Gillis. |
| 00:08:22 |
Last year somebody talked me |
| 00:08:25 |
So I borrowed the money from the |
| 00:08:28 |
This year I mortgaged the ranch so |
| 00:08:31 |
so I could borrow on my insurance... |
| 00:08:36 |
After that |
| 00:08:39 |
That's the way a lot of us |
| 00:08:43 |
Kind of a combination office, |
| 00:08:47 |
Waiting. |
| 00:08:49 |
Waiting for the gravy train. |
| 00:08:53 |
I got myself ten nickels and started |
| 00:08:58 |
Couldn't get hold of my agent, |
| 00:09:01 |
So then I called a pal of mine, |
| 00:09:04 |
an awful nice guy, |
| 00:09:07 |
He could let me have 20. |
| 00:09:09 |
But 20 wouldn't do. |
| 00:09:12 |
Then I talked to |
| 00:09:15 |
To me they said no. |
| 00:09:17 |
Finally I located that agent |
| 00:09:22 |
Was he out digging up a job |
| 00:09:25 |
No. He was hard at work in Bel-Air, |
| 00:09:34 |
So you need $300. |
| 00:09:37 |
- Only I'm not going to. |
| 00:09:40 |
Get this. I'm not just your agent. |
| 00:09:44 |
- I'm your friend. |
| 00:09:46 |
Don't you know the finest things |
| 00:09:50 |
Once a talent gets in that Mocambo- |
| 00:09:54 |
Forget Romanoff's. |
| 00:09:56 |
If I lose my car, it's like |
| 00:09:58 |
Greatest thing |
| 00:10:00 |
Now you'll have to sit behind the |
| 00:10:03 |
What do you think I've been doin'? |
| 00:10:07 |
Sweetheart, maybe what you need |
| 00:10:23 |
As I drove back towards town, |
| 00:10:27 |
They now added up to exactly zero. |
| 00:10:30 |
Apparently I just didn't have |
| 00:10:33 |
and the time had come to wrap up the |
| 00:10:37 |
Maybe if I hocked all my junk I'd |
| 00:10:42 |
Back to that $35-a-week job writing |
| 00:10:47 |
if it was still open. |
| 00:10:49 |
Back to the smirking delight |
| 00:10:52 |
All right, wise guys. Why don't you |
| 00:10:56 |
Maybe you think |
| 00:11:00 |
Uh-oh. |
| 00:11:57 |
I had landed myself in the driveway |
| 00:12:01 |
that looked run-down and deserted. |
| 00:12:04 |
At the end of the drive |
| 00:12:07 |
a great big empty garage |
| 00:12:12 |
A perfect place to stash a limping |
| 00:12:26 |
There was another occupant |
| 00:12:29 |
an enormous, |
| 00:12:32 |
It must have burned up |
| 00:12:36 |
It had a 1932 license. |
| 00:12:39 |
I figured that's when the owners |
| 00:12:43 |
And I also figured that I couldn't |
| 00:12:45 |
now that those bloodhounds |
| 00:12:48 |
The idea was to get to Artie Green's |
| 00:12:51 |
until I could make that bus |
| 00:12:53 |
Once back in Dayton, I'd drop the |
| 00:12:57 |
telling them where to pick up |
| 00:13:03 |
It was a great big white elephant |
| 00:13:06 |
the kind crazy movie people built |
| 00:13:10 |
A neglected house |
| 00:13:14 |
This one had it in spades. |
| 00:13:17 |
It was like that old woman |
| 00:13:20 |
that Miss Havisham in her rotting |
| 00:13:25 |
taking it out on the world |
| 00:13:35 |
You there! |
| 00:13:39 |
Why have you kept me waiting |
| 00:13:52 |
In here. |
| 00:14:01 |
I just put my car in the garage. |
| 00:14:04 |
- Go on in. |
| 00:14:08 |
Wipe your feet. |
| 00:14:13 |
Go on. |
| 00:14:19 |
You're not properly dressed |
| 00:14:22 |
- What's the occasion? |
| 00:14:26 |
- Up the stairs. |
| 00:14:30 |
Madame is waiting. |
| 00:14:32 |
For me? |
| 00:14:35 |
Okay. |
| 00:14:43 |
If you need any help |
| 00:15:06 |
This way. |
| 00:15:14 |
In here. |
| 00:15:16 |
I put him on my massage table |
| 00:15:19 |
He always liked fires |
| 00:15:29 |
I've decided we'll bury him in the |
| 00:15:34 |
- I wouldn't know. |
| 00:15:36 |
I want a white coffin, and I want it |
| 00:15:41 |
White or deep pink. |
| 00:15:46 |
Maybe red. Bright, flaming red. |
| 00:16:00 |
How much will it be? |
| 00:16:02 |
I warn you, don't give me a fancy |
| 00:16:06 |
Lady, you got the wrong man. I had |
| 00:16:11 |
I pulled into your garage |
| 00:16:14 |
I thought this was an empty house. |
| 00:16:16 |
It is not. Get out. |
| 00:16:20 |
I'm sorry. And I'm sorry |
| 00:16:23 |
And I don't think red |
| 00:16:27 |
Wait a minute. Haven't I seen you |
| 00:16:30 |
Get out. |
| 00:16:32 |
You're Norma Desmond! |
| 00:16:34 |
You used to be in silent pictures. |
| 00:16:38 |
I am big. |
| 00:16:41 |
It's the pictures that got small. |
| 00:16:43 |
Uh-huh. |
| 00:16:45 |
I knew there was |
| 00:16:47 |
They're dead. They're finished. |
| 00:16:50 |
There was a time when this business |
| 00:16:54 |
But that wasn't good enough |
| 00:16:57 |
They had to have the ears |
| 00:16:59 |
So they opened their big mouths |
| 00:17:04 |
That's where the popcorn business |
| 00:17:06 |
You buy yourself a bag |
| 00:17:08 |
Look at them in the front offices, |
| 00:17:12 |
They took the idols |
| 00:17:14 |
The Fairbankses, the Gilberts, |
| 00:17:17 |
And who have we got now? |
| 00:17:20 |
Don't blame me. |
| 00:17:24 |
You are. Writing words, |
| 00:17:27 |
Well, you've made a rope of words |
| 00:17:30 |
But there's a microphone right there |
| 00:17:33 |
and Technicolor to photograph |
| 00:17:36 |
Shh. You'll wake up the monkey. |
| 00:17:38 |
Get out! Max! |
| 00:17:41 |
Next time I'll bring |
| 00:17:44 |
Or maybe a hunk of cement, |
| 00:17:52 |
- It's okay. Okay, I'm going. |
| 00:17:56 |
- You're a writer, you said. |
| 00:17:58 |
Are you or aren't you? |
| 00:18:01 |
That's what it says |
| 00:18:02 |
And you have written pictures, |
| 00:18:06 |
Sure have. |
| 00:18:09 |
I want to ask you something. |
| 00:18:12 |
Last one I wrote was about Okies |
| 00:18:15 |
You'd never know it, because |
| 00:18:17 |
the whole thing |
| 00:18:29 |
Intimate, isn't it? |
| 00:18:34 |
The wind gets in that blasted pipe |
| 00:18:37 |
Or teach it a better tune. |
| 00:18:40 |
Young man, tell me something. |
| 00:18:42 |
How long is a movie script |
| 00:18:46 |
Depends on what it is, |
| 00:18:48 |
This is to be |
| 00:18:50 |
I've written it myself. |
| 00:18:54 |
Looks like enough |
| 00:18:56 |
It's a story of Salome. |
| 00:18:59 |
DeMille? Uh-huh. |
| 00:19:02 |
- We made many pictures together. |
| 00:19:07 |
Who else? |
| 00:19:09 |
Only asking. I didn't know |
| 00:19:12 |
I hate that word! It's a return! |
| 00:19:15 |
A return to the millions who never |
| 00:19:20 |
- Fair enough. |
| 00:19:22 |
What a woman. What a part! |
| 00:19:25 |
The princess |
| 00:19:28 |
She dances |
| 00:19:30 |
He rejects her, so she demands |
| 00:19:33 |
kissing his cold, dead lips. |
| 00:19:38 |
They'll love it in Pomona. |
| 00:19:40 |
They'll love it every place. |
| 00:19:42 |
Read it. Read the scene just before |
| 00:19:44 |
Never let another writer read |
| 00:19:47 |
I'm not afraid. Read it. |
| 00:19:52 |
Sit down. |
| 00:19:54 |
I've got 20-20 vision. |
| 00:19:57 |
I said sit down. |
| 00:20:03 |
Well, I had |
| 00:20:06 |
except with those boys |
| 00:20:09 |
and she'd mentioned |
| 00:20:11 |
Why not? |
| 00:20:14 |
Sometimes it's interesting to see |
| 00:20:19 |
This promised to go the limit. |
| 00:20:22 |
I wondered what a handwriting expert |
| 00:20:29 |
Max wheeled in some champagne |
| 00:20:33 |
Later I found out that Max was the only |
| 00:20:39 |
And I found out |
| 00:20:42 |
As for her, she sat |
| 00:20:46 |
her cigarette clamped |
| 00:20:49 |
I could sense her eyes on me |
| 00:20:53 |
defying me not to like |
| 00:20:56 |
Or maybe begging me |
| 00:21:00 |
It meant so much to her. |
| 00:21:09 |
It sure was a cozy setup... |
| 00:21:11 |
that bundle of raw nerves and Max... |
| 00:21:15 |
and a dead monkey upstairs... |
| 00:21:17 |
and the wind wheezing through |
| 00:21:28 |
Later on, just for comedy relief... |
| 00:21:32 |
the real guy arrived |
| 00:21:36 |
It was all done with great dignity. |
| 00:21:39 |
He must have been |
| 00:21:42 |
The great-grandson |
| 00:21:49 |
It got to be 11:00. |
| 00:21:51 |
I was feeling |
| 00:21:54 |
what with that sweet champagne |
| 00:21:58 |
that silly hodgepodge |
| 00:22:02 |
However, by then... |
| 00:22:05 |
I'd started concocting |
| 00:22:09 |
Well? |
| 00:22:12 |
This is fascinating. |
| 00:22:14 |
Of course it is. |
| 00:22:17 |
Maybe it's a little long and maybe |
| 00:22:20 |
but you're |
| 00:22:23 |
I wrote that with my heart. |
| 00:22:25 |
Sure you did. |
| 00:22:28 |
That's what makes it great. |
| 00:22:32 |
What it needs is maybe |
| 00:22:36 |
What for? I can say |
| 00:22:39 |
Well, it certainly could use |
| 00:22:41 |
I will not have it butchered. |
| 00:22:44 |
Of course not, |
| 00:22:47 |
Just an editing job. |
| 00:22:50 |
Who? I'd have to have |
| 00:22:54 |
When were you born? |
| 00:22:57 |
- I don't know. |
| 00:23:00 |
December 21. |
| 00:23:02 |
Sagittarius. I like Sagittarians. |
| 00:23:07 |
- Thank you. |
| 00:23:10 |
Me? |
| 00:23:12 |
I'm busy. I just finished a script, |
| 00:23:16 |
I don't care. |
| 00:23:19 |
You know, I'm pretty expensive. |
| 00:23:23 |
I wouldn't worry about money. |
| 00:23:28 |
Maybe I'd better take the rest |
| 00:23:30 |
I couldn't let it out of my house. |
| 00:23:34 |
Well, it's getting kind of late. |
| 00:23:37 |
- Are you married, Mr... |
| 00:23:41 |
Where do you live? |
| 00:23:42 |
Hollywood. |
| 00:23:44 |
There's something wrong |
| 00:23:46 |
There sure is. |
| 00:23:48 |
- Why shouldn't you stay here? |
| 00:23:52 |
Nonsense. |
| 00:23:56 |
Max will take you there. |
| 00:23:58 |
Max! |
| 00:24:03 |
I felt kind of pleased with the way |
| 00:24:07 |
I dropped the hook, |
| 00:24:11 |
My car would be safe below while |
| 00:24:16 |
And there should be |
| 00:24:24 |
This room hasn't been used |
| 00:24:27 |
It'll never make House Beautiful, |
| 00:24:31 |
I made your bed this afternoon. |
| 00:24:33 |
Thanks. How did you know I was |
| 00:24:37 |
The bathroom's over there. I put in |
| 00:24:46 |
Say, she's quite a character, |
| 00:24:50 |
She was the greatest of them all. |
| 00:24:54 |
In one week she received |
| 00:24:58 |
Men bribed her hairdresser |
| 00:25:02 |
There was a maharaja |
| 00:25:04 |
to beg one of her silk stockings. |
| 00:25:07 |
Later he strangled himself |
| 00:25:10 |
Well, I sure turned in |
| 00:25:14 |
You did, sir. |
| 00:25:16 |
Good night, sir. |
| 00:25:23 |
I pegged him |
| 00:25:27 |
A stroke, maybe. |
| 00:25:30 |
Come to think of it, the whole |
| 00:25:33 |
with a kind of creeping paralysis... |
| 00:25:36 |
out of beat with |
| 00:25:39 |
crumbling apart in slow motion. |
| 00:25:42 |
There was a tennis court... or rather |
| 00:25:47 |
with faded markings |
| 00:25:55 |
And of course she had a pool. |
| 00:25:58 |
Who didn't then? |
| 00:25:59 |
Mabel Normand and John Gilbert must |
| 00:26:05 |
And Vilma Banky and Rod LaRoque. |
| 00:26:09 |
It was empty now. |
| 00:26:12 |
Or was it? |
| 00:26:20 |
There was something else |
| 00:26:23 |
The last rites |
| 00:26:27 |
performed |
| 00:26:30 |
as if she were laying to rest |
| 00:26:35 |
Was her life really as empty |
| 00:26:48 |
It was all very queer. |
| 00:26:51 |
But queerer things |
| 00:27:01 |
That night I had a mixed-up dream. |
| 00:27:04 |
In it there was an organ grinder. |
| 00:27:07 |
I couldn't see his face, but the |
| 00:27:11 |
and a chimp |
| 00:27:15 |
When I opened my eyes, |
| 00:27:20 |
Where was I? |
| 00:27:23 |
Oh, yes. That empty room |
| 00:27:29 |
Only it wasn't empty anymore. |
| 00:27:32 |
I'd had a visitor. |
| 00:27:34 |
Somebody had brought my belongings... |
| 00:27:41 |
What was going on? |
| 00:28:01 |
Hey, you! Max, whatever-your-name-is, |
| 00:28:07 |
I'm talkin' to you! My clothes |
| 00:28:11 |
Naturally. |
| 00:28:15 |
Is that so? |
| 00:28:17 |
Why, what's the matter? |
| 00:28:20 |
Who said you could? |
| 00:28:22 |
I did. I don't know why |
| 00:28:26 |
Stop that playing, Max. |
| 00:28:28 |
It seemed like a good idea |
| 00:28:33 |
Look, I'm supposed to fix up |
| 00:28:35 |
- There's no deal about my staying! |
| 00:28:39 |
Thanks for the invitation. |
| 00:28:41 |
You can't work in an apartment |
| 00:28:44 |
- I'll take care of that. |
| 00:28:50 |
Okay, we'll deduct it |
| 00:28:52 |
Now, now, don't let's be small about |
| 00:28:57 |
Max, unpack Mr. Gillis's things. |
| 00:29:00 |
It is done, Madame. |
| 00:29:02 |
Well, pack them up again! |
| 00:29:05 |
Suppose you make up your mind. |
| 00:29:12 |
Yes, I wanted thejob. |
| 00:29:14 |
I wanted the dough, and I wanted |
| 00:29:18 |
I thought if I really got going I could |
| 00:29:22 |
But it wasn't so simple |
| 00:29:25 |
into those |
| 00:29:28 |
And what made it even tougher was |
| 00:29:32 |
hovering over me, afraid I'd do |
| 00:29:43 |
- What's that? |
| 00:29:47 |
Which scene? |
| 00:29:49 |
The one where you go to the slave |
| 00:29:52 |
Cut away from me? |
| 00:29:55 |
Honestly, it's too much of you. |
| 00:29:58 |
They don't? Then why do they still |
| 00:30:01 |
Why do they beg me |
| 00:30:02 |
Why? Because they want to see me. |
| 00:30:08 |
Put it back. |
| 00:30:10 |
Okay. |
| 00:30:25 |
I didn't argue with her. |
| 00:30:27 |
You don't yell at a sleepwalker. |
| 00:30:32 |
That's it. |
| 00:30:33 |
She was still sleepwalking along |
| 00:30:37 |
Plain crazy when it came to that |
| 00:30:42 |
the great Norma Desmond. |
| 00:30:45 |
How could she breathe in that house |
| 00:30:50 |
More Norma Desmonds. |
| 00:30:53 |
And still more Norma Desmonds. |
| 00:30:58 |
It wasn't all work, of course. |
| 00:31:00 |
Two or three times a week, Max would |
| 00:31:04 |
that had been presented to her by |
| 00:31:08 |
and we'd see a movie, |
| 00:31:12 |
So much nicer than going out, |
| 00:31:15 |
The plain fact was she was afraid |
| 00:31:20 |
Afraid it would remind her |
| 00:31:25 |
They were silent movies, and Max |
| 00:31:30 |
which was just as well. |
| 00:31:32 |
It kept him from giving us an |
| 00:31:38 |
She'd sit very close to me... |
| 00:31:40 |
and she smelled of tuberoses, |
| 00:31:44 |
not by a long shot. |
| 00:31:46 |
Sometimes as we watched, |
| 00:31:51 |
forgetting she was my employer. |
| 00:31:53 |
Just becoming a fan, excited about |
| 00:32:00 |
I guess I don't have to tell you |
| 00:32:03 |
They were always her pictures. |
| 00:32:06 |
That's all she wanted to see. |
| 00:32:34 |
Still wonderful, isn't it? |
| 00:32:37 |
And no dialogue. |
| 00:32:39 |
We didn't need dialogue. |
| 00:32:44 |
There just aren't any faces |
| 00:32:47 |
Maybe one, Garbo. |
| 00:32:51 |
Oh, those idiot producers. |
| 00:32:53 |
Those imbeciles. |
| 00:32:55 |
Haven't they got any eyes? Have they |
| 00:32:58 |
I'll show them. |
| 00:33:12 |
Sometimes there'd be |
| 00:33:15 |
at a twentieth of a cent a point. |
| 00:33:18 |
I'd get half of her winnings. |
| 00:33:20 |
Once they ran up to 70 cents... |
| 00:33:22 |
which was about the only cash money |
| 00:33:26 |
The others around the table |
| 00:33:29 |
dim figures you may still remember |
| 00:33:33 |
I used to think of them |
| 00:33:35 |
One diamond. |
| 00:33:37 |
One heart. |
| 00:33:41 |
Spade. |
| 00:33:42 |
Pass. |
| 00:33:45 |
- Three no-trump. |
| 00:33:48 |
Pass. |
| 00:33:49 |
Empty the ashtray, will you, |
| 00:34:20 |
- Some men outside asked for you. |
| 00:34:23 |
- That's what I told them. |
| 00:34:25 |
But they found your car |
| 00:34:29 |
Where's the ashtray? |
| 00:34:40 |
I want to talk to you for a minute. |
| 00:34:42 |
Not now, my dear. |
| 00:34:45 |
They've come for my car. |
| 00:34:46 |
Please. Now I've forgotten |
| 00:34:50 |
- Look, I need some money right now. |
| 00:34:53 |
No. |
| 00:34:55 |
Please. |
| 00:35:31 |
Now what is it? |
| 00:35:33 |
- I've lost my car. |
| 00:35:35 |
And I thought it was |
| 00:35:37 |
It is, to me. |
| 00:35:40 |
That's why I took this job |
| 00:35:43 |
Now you're being silly. We don't |
| 00:35:46 |
Not one of those cheap new things |
| 00:35:50 |
An Isotta-Fraschini. Have you |
| 00:35:54 |
All handmade. Cost me $28,000. |
| 00:36:01 |
So Max got that old bus down |
| 00:36:06 |
She'd take me for rides |
| 00:36:10 |
The whole thing was upholstered |
| 00:36:13 |
and had one of those car phones, |
| 00:36:19 |
- That's a dreadful shirt. |
| 00:36:23 |
Nothing, if you work |
| 00:36:25 |
And I'm getting rather bored with |
| 00:36:31 |
Max, what's a good men's shop? |
| 00:36:36 |
I don't need clothes, and I don't |
| 00:36:39 |
Why begrudge me a little fun? |
| 00:36:44 |
And must you chew gum? |
| 00:36:53 |
Ah, there's nothing like |
| 00:36:56 |
This one, single-breasted, |
| 00:36:58 |
Now we need a topcoat. Let me see |
| 00:37:02 |
- How about some evening clothes? |
| 00:37:05 |
You do. A tuxedo and tails, and |
| 00:37:10 |
Tails! That's ridiculous. |
| 00:37:11 |
You need them for parties. |
| 00:37:14 |
- Where are your evening clothes? |
| 00:37:21 |
Here are some camel's hair, |
| 00:37:23 |
It's vicuna. Of course, |
| 00:37:26 |
The camel's hair will do. |
| 00:37:30 |
Well, as long as the lady's paying |
| 00:37:45 |
The last week in December, |
| 00:37:48 |
A great big package of rain... |
| 00:37:51 |
oversized, like everything else |
| 00:37:55 |
It came right through the old roof |
| 00:38:01 |
She had Max move me |
| 00:38:04 |
I didn't much like the idea. |
| 00:38:07 |
The only time I could have |
| 00:38:11 |
But it was better than sleeping |
| 00:38:52 |
Whose room was this? |
| 00:38:53 |
It was the room of the husband. |
| 00:38:56 |
Of the husbands, I should say. |
| 00:38:58 |
Madame has been married |
| 00:39:06 |
I guess that's the one |
| 00:39:09 |
Only this isn't the day. |
| 00:39:24 |
Say, what's this with the door? |
| 00:39:29 |
There are no locks anywhere |
| 00:39:37 |
How come? |
| 00:39:39 |
There must be a reason. |
| 00:39:41 |
- The doctor suggested it. |
| 00:39:44 |
Madame's doctor. |
| 00:39:46 |
Madame has moments of melancholy. |
| 00:39:49 |
There have been |
| 00:39:53 |
We have to be very careful. |
| 00:39:57 |
We shut off the gas |
| 00:40:01 |
Why? Her career? |
| 00:40:03 |
She got enough out of it. |
| 00:40:05 |
She still gets those fan letters. |
| 00:40:07 |
I wouldn't look too closely |
| 00:40:13 |
You send them. |
| 00:40:16 |
I'd better press |
| 00:40:19 |
Mr. Gillis has not forgotten |
| 00:40:24 |
No, no, I haven't. |
| 00:40:26 |
I suppose all the waxworks |
| 00:40:29 |
I wouldn't know, sir. |
| 00:40:52 |
There it was again. |
| 00:40:54 |
That room of hers, |
| 00:40:58 |
And that bed, |
| 00:41:01 |
The perfect setting |
| 00:41:06 |
Poor devil. |
| 00:41:07 |
Still waving proudly to a parade |
| 00:41:16 |
It was at her New Year's party that |
| 00:41:21 |
Maybe I'd been an idiot |
| 00:41:25 |
that sad, embarrassing revelation. |
| 00:41:33 |
Joe! |
| 00:41:39 |
You look absolutely divine. |
| 00:41:43 |
- Turn around. |
| 00:41:44 |
Come on. Perfect. |
| 00:41:48 |
I love that line. |
| 00:41:50 |
It's all padding. |
| 00:41:52 |
To me, getting dressed up was always |
| 00:41:56 |
I don't like the stud they sent. |
| 00:41:58 |
A big luscious pearl. |
| 00:42:00 |
Well, I'm not going to wear |
| 00:42:04 |
Cute. |
| 00:42:06 |
- Shouldn't we wait for the others? |
| 00:42:10 |
Careful, it's slippery. |
| 00:42:15 |
Here's to us. |
| 00:42:18 |
This floor used to be wood, |
| 00:42:21 |
Valentino said there's |
| 00:42:26 |
Come on. |
| 00:42:27 |
Not on the same floor |
| 00:42:29 |
Just follow me. |
| 00:42:48 |
Don't bend back like that. |
| 00:42:51 |
It's that thing. |
| 00:42:53 |
It does? |
| 00:43:19 |
It's quarter past 10:00. What time |
| 00:43:22 |
- Who? |
| 00:43:24 |
There are no guests. We don't want |
| 00:43:29 |
This is for you and me. |
| 00:43:31 |
- Oh? |
| 00:43:34 |
Okay. |
| 00:43:37 |
Come midnight, how about |
| 00:43:40 |
and smashing champagne glasses |
| 00:43:43 |
You think this is |
| 00:43:45 |
A little. |
| 00:43:54 |
An hour dragged by. |
| 00:43:57 |
I felt caught, like the cigarette |
| 00:44:06 |
What a wonderful next year it's |
| 00:44:11 |
I'll fill the pool for you. |
| 00:44:13 |
I'll open my house in Malibu, |
| 00:44:16 |
When our picture is finished, |
| 00:44:19 |
and we'll sail to Hawaii... |
| 00:44:22 |
Stop it. You're not |
| 00:44:24 |
Don't be silly. |
| 00:44:26 |
Here. I was going to |
| 00:44:31 |
Norma, I can't take it. |
| 00:44:34 |
Shut up. I'm rich. |
| 00:44:35 |
I'm richer than all this |
| 00:44:39 |
- I've got a million dollars. |
| 00:44:41 |
I own three blocks downtown. |
| 00:44:45 |
Pumping, pumping, pumping. |
| 00:44:49 |
What's it for but to buy us |
| 00:44:51 |
Cut out that "us" business! |
| 00:44:54 |
What's the matter with you? |
| 00:44:56 |
What right do you have |
| 00:44:59 |
What right? |
| 00:45:04 |
Has it ever occurred to you |
| 00:45:07 |
That there may be some girl |
| 00:45:10 |
Who? Some carhop or dress extra? |
| 00:45:15 |
What I'm trying to say |
| 00:45:17 |
You want a Valentino, somebody |
| 00:45:21 |
What you're trying to say is |
| 00:45:25 |
Say it. |
| 00:45:26 |
Say it! |
| 00:46:44 |
I didn't know where I was going. |
| 00:46:46 |
I just had to get out of there. |
| 00:46:49 |
I had to be with people |
| 00:46:51 |
I had to hear somebody laugh again. |
| 00:46:56 |
I thought of Artie Green. |
| 00:46:58 |
There was bound to be |
| 00:47:00 |
in his apartment |
| 00:47:03 |
Writers without a job, |
| 00:47:07 |
actresses so young they still believe |
| 00:47:11 |
A bunch of kids |
| 00:47:14 |
just so long |
| 00:47:18 |
Hollywood for us |
| 00:47:21 |
Got no swimming pool |
| 00:47:24 |
All we earn are buttons and bows |
| 00:47:31 |
- Hello, Joe. |
| 00:47:34 |
- Welcome to the party. |
| 00:47:38 |
- What do you know! Joe Gillis! |
| 00:47:41 |
Where you been keeping |
| 00:47:43 |
- In a deep freeze. |
| 00:47:46 |
Fans, you all know Joe Gillis, |
| 00:47:49 |
uranium smuggler |
| 00:47:54 |
- Come on, gimme your coat. |
| 00:47:56 |
- You're gonna stay, aren't you? |
| 00:47:59 |
Well, come on. |
| 00:48:01 |
What is this, mink? |
| 00:48:04 |
Judas H. Priest! |
| 00:48:07 |
Who did you borrow that from? |
| 00:48:09 |
Close, but no cigar. |
| 00:48:11 |
You're not really a smuggler, |
| 00:48:13 |
- Where's the bar? |
| 00:48:18 |
- It's a good party. |
| 00:48:20 |
They call me the Elsa Maxwell |
| 00:48:23 |
Hey, wait a minute. |
| 00:48:26 |
Budget only calls for three drinks |
| 00:48:29 |
Say, Artie, can I |
| 00:48:32 |
Sure. |
| 00:48:33 |
No, I mean can you put me up |
| 00:48:35 |
It just so happens |
| 00:48:38 |
- I'll take it. |
| 00:48:40 |
Just register it here. |
| 00:48:45 |
- Hello, Mr. Gillis. |
| 00:48:48 |
- You know each other? |
| 00:48:49 |
Betty Schaefer, Sheldrake's office. |
| 00:48:52 |
Oh, sure. Bases Loaded. |
| 00:48:54 |
Wait. This is the woman I love. |
| 00:48:57 |
Don't worry. She's just a fan |
| 00:49:00 |
- Hurt feelings department. |
| 00:49:03 |
Over by the rainbow room. |
| 00:49:15 |
Say, when you're through with |
| 00:49:22 |
Hey, you forgot this. |
| 00:49:24 |
- Thanks. |
| 00:49:27 |
What for? To recover that knife |
| 00:49:30 |
No, I felt a little guilty, so |
| 00:49:33 |
Why, you sweet kid. |
| 00:49:35 |
There's one called Window, |
| 00:49:38 |
- Dark Windows. How'd you like it? |
| 00:49:40 |
- Thank you. |
| 00:49:43 |
You've got a flashback there... |
| 00:49:46 |
Is there someplace we can talk? |
| 00:49:48 |
How about the rainbow room? |
| 00:49:52 |
Hey. I said you could have my couch. |
| 00:49:56 |
Oh, this is shop talk. |
| 00:49:59 |
Now, if I got you correctly, there |
| 00:50:02 |
which you found worthy of notice. |
| 00:50:04 |
The flashback scene in the courtroom |
| 00:50:07 |
I had a teacher like that once. |
| 00:50:09 |
Maybe that's why it's good. |
| 00:50:12 |
- Why don't you use that character... |
| 00:50:15 |
Drop that attitude! |
| 00:50:18 |
Want me to start right away? |
| 00:50:20 |
- I'm serious. I've got a few ideas. |
| 00:50:23 |
One being this is New Year's Eve. |
| 00:50:26 |
- As for instance? |
| 00:50:28 |
We could make some paper boats |
| 00:50:30 |
Or we could turn on the shower |
| 00:50:32 |
How about capturing the kitchen |
| 00:50:35 |
- Are you hungry? |
| 00:50:38 |
After 12 years in the Burmese |
| 00:50:42 |
Starving for a white shoulder... |
| 00:50:44 |
Phillip, you're mad! |
| 00:50:46 |
Thirsting for the coolness |
| 00:50:51 |
You can have the phone now. |
| 00:50:54 |
No, Phillip, no. |
| 00:50:57 |
You're still wearing the uniform |
| 00:50:59 |
Furthermore, |
| 00:51:02 |
Okay. |
| 00:51:05 |
Suddenly I find myself |
| 00:51:07 |
You won't. I'll get us a refill |
| 00:51:11 |
- You'll be waiting for me? |
| 00:51:15 |
Life can be beautiful. |
| 00:51:38 |
Hello, Max. This is Mr. Gillis. |
| 00:51:41 |
I'm sorry, Mr. Gillis. |
| 00:51:44 |
Yes, you can. Get my old suitcase |
| 00:51:49 |
And my typewriter. |
| 00:51:52 |
I have no time to do anything now. |
| 00:51:57 |
What doctor? |
| 00:51:59 |
Madame got the razor from your room, |
| 00:52:03 |
What? |
| 00:52:18 |
I just got the recipe. You take |
| 00:52:21 |
and dissolve in one gallon |
| 00:52:31 |
Hey, Joe! |
| 00:52:41 |
Happy New Year! |
| 00:52:48 |
- How is she? |
| 00:52:51 |
Be careful. Don't race upstairs. |
| 00:52:54 |
The musicians mustn't know |
| 00:53:40 |
Go away. |
| 00:53:52 |
What kind of a silly thing |
| 00:53:54 |
To fall in love with you, |
| 00:54:00 |
It sure would have made |
| 00:54:03 |
"Great Star Kills Herself |
| 00:54:06 |
Great stars have great pride. |
| 00:54:15 |
Go away. |
| 00:54:17 |
Go to that girl of yours. |
| 00:54:24 |
Look, I was making that up... |
| 00:54:27 |
because I thought the whole thing |
| 00:54:31 |
I didn't want to hurt you. |
| 00:54:35 |
You're the only person in this |
| 00:54:39 |
Why don't you just |
| 00:54:42 |
Not until you promise to act |
| 00:54:47 |
I'll do it again. |
| 00:54:53 |
I'll do it again. |
| 00:55:47 |
Happy New Year, Norma. |
| 00:56:00 |
Happy New Year, darling. |
| 00:56:20 |
Hello? |
| 00:56:21 |
Is this Crestview 5-1733? |
| 00:56:25 |
I'm sorry to bother you again, |
| 00:56:27 |
I must speak to Mr. Gillis. |
| 00:56:29 |
He's not here. |
| 00:56:31 |
Where can I reach him? |
| 00:56:35 |
Nobody here can give you |
| 00:56:38 |
And you will please not call again. |
| 00:56:46 |
Who was it, Max? |
| 00:56:51 |
Nothing, Madame. |
| 00:56:53 |
Somebody inquiring |
| 00:56:57 |
Our number must be very similar |
| 00:57:01 |
Wait a minute. |
| 00:57:04 |
Take the script to Paramount and |
| 00:57:08 |
Very good, Madame. |
| 00:57:15 |
- You really sending it to DeMille? |
| 00:57:18 |
This is the day. |
| 00:57:20 |
Here's the chart from my astrologer. |
| 00:57:22 |
She read the script? |
| 00:57:24 |
DeMille is Leo. I'm Scorpio. |
| 00:57:28 |
Today is the day |
| 00:57:32 |
Turn around, darling. |
| 00:57:37 |
I hope you realize that scripts |
| 00:57:41 |
I'm not just selling the script, |
| 00:57:43 |
DeMille always said |
| 00:57:46 |
When did he say it, Norma? |
| 00:57:49 |
All right, it was |
| 00:57:51 |
The point is, |
| 00:57:54 |
You know why? Because I've |
| 00:58:03 |
A few evenings later we were going to |
| 00:58:06 |
for some bridge. |
| 00:58:08 |
She'd taught me |
| 00:58:11 |
just as she'd taught me |
| 00:58:14 |
and what wine to drink |
| 00:58:19 |
That idiot. He forgot |
| 00:58:23 |
Here, have one of mine. |
| 00:58:25 |
They're dreadful. |
| 00:58:30 |
Pull up to the drugstore, Max. |
| 00:58:34 |
You're a darling. |
| 00:58:57 |
Give me a package |
| 00:59:00 |
Abdullas. |
| 00:59:03 |
Stick 'em up, Gillis. |
| 00:59:05 |
Stick 'em up, |
| 00:59:09 |
Hi, Artie. |
| 00:59:11 |
- I'm so glad to see you. |
| 00:59:14 |
- What's the big idea? |
| 00:59:16 |
Would you believe me if I told you |
| 00:59:19 |
Someone in the formal set, no doubt, |
| 00:59:22 |
Oh, stop it, Artie, will you? |
| 00:59:25 |
Where have you been keeping yourself? |
| 00:59:28 |
I haven't been keeping myself |
| 00:59:31 |
I called your agent, |
| 00:59:34 |
Finally your old apartment |
| 00:59:36 |
Somebody with an accent |
| 00:59:39 |
You weren't there. You weren't to be |
| 00:59:43 |
Is that so? |
| 00:59:44 |
- What's the wonderful news? |
| 00:59:48 |
- What teacher? |
| 00:59:49 |
I got him all hopped up about it. |
| 00:59:52 |
Okay, where's the cash? |
| 00:59:54 |
Where's the story? |
| 00:59:56 |
I bluffed it out |
| 00:59:58 |
- It needs work. |
| 01:00:01 |
I've got 20 pages of notes and |
| 01:00:04 |
Write in plenty |
| 01:00:06 |
so they'll need |
| 01:00:07 |
Oh, Artie, shut up. |
| 01:00:09 |
- If we could sit down for 2 weeks... |
| 01:00:12 |
- I've given up writing on spec. |
| 01:00:16 |
As a matter of fact, |
| 01:00:18 |
Mr. Gillis. |
| 01:00:20 |
- If you please. |
| 01:00:24 |
The accent. I get it. This guy's |
| 01:00:28 |
Check those studs. |
| 01:00:30 |
I've got to run along. Thanks anyway |
| 01:00:33 |
It's not your career, it's mine. |
| 01:00:37 |
I don't want to be a reader |
| 01:00:40 |
- I'm sorry if I crossed you up. |
| 01:00:44 |
So long. |
| 01:00:56 |
What on earth, darling? |
| 01:00:59 |
I ran into some people I know. |
| 01:01:01 |
- Where are my cigarettes? |
| 01:01:06 |
Norma, you're smoking too much. |
| 01:01:11 |
Whenever she suspected |
| 01:01:14 |
she would put on |
| 01:01:17 |
the Norma Desmond Follies. |
| 01:01:20 |
Her first number was always |
| 01:01:32 |
I can still see myself |
| 01:01:35 |
Marie Prevost, Mabel Normand. |
| 01:01:37 |
Mabel was always |
| 01:01:40 |
What's the matter with you, |
| 01:01:42 |
Why are you so glum? |
| 01:01:44 |
Nothing's the matter. |
| 01:01:46 |
- Show me some more. |
| 01:01:49 |
Give me this. |
| 01:01:52 |
Now close your eyes. |
| 01:02:01 |
Something was the matter, |
| 01:02:04 |
I was thinking about |
| 01:02:07 |
that Miss Schaefer. |
| 01:02:09 |
She was so like all us writers |
| 01:02:12 |
itching with ambition... |
| 01:02:14 |
panting to get |
| 01:02:17 |
Screenplay by. |
| 01:02:23 |
Audiences don't know somebody |
| 01:02:27 |
They think the actors |
| 01:02:31 |
Open your eyes. |
| 01:03:07 |
Madame is wanted |
| 01:03:09 |
You know better |
| 01:03:11 |
- Paramount is calling. |
| 01:03:13 |
Paramount studios. |
| 01:03:16 |
Now! |
| 01:03:18 |
I told you DeMille |
| 01:03:20 |
It is not Mr. DeMille |
| 01:03:22 |
It is someone called Gordon Cole. |
| 01:03:26 |
Certainly it's important. |
| 01:03:27 |
It's important enough for |
| 01:03:30 |
The very idea of having |
| 01:03:33 |
Say I'm busy and hang up! |
| 01:03:35 |
Very good, Madame. |
| 01:03:42 |
How do you like that? |
| 01:03:44 |
We've made 12 pictures together. |
| 01:03:48 |
Maybe he's busy shooting. |
| 01:03:50 |
I know that trick! |
| 01:03:52 |
He's trying to belittle me. |
| 01:03:55 |
I've waited 20 years |
| 01:03:59 |
Now DeMille can wait |
| 01:04:05 |
About three days later |
| 01:04:08 |
Incredible as it may seem... |
| 01:04:10 |
there had been some more of those |
| 01:04:14 |
So she put on about a half pound of |
| 01:04:19 |
and set forth |
| 01:04:24 |
Madame will pardon me. |
| 01:04:26 |
The shadow over the left eye |
| 01:04:31 |
Thank you, Max. |
| 01:04:47 |
Hold that noise! |
| 01:04:52 |
To see Mr. DeMille. |
| 01:04:54 |
Mr. DeMille is shooting. |
| 01:04:57 |
No appointment necessary. |
| 01:04:59 |
I'm bringing Norma Desmond. |
| 01:05:01 |
Norma who? |
| 01:05:03 |
Norma Desmond! |
| 01:05:05 |
Jonesy! Hey, Jonesy! |
| 01:05:07 |
Yeah? |
| 01:05:09 |
Why, if it isn't Miss Desmond! |
| 01:05:13 |
How have you been, |
| 01:05:15 |
Open the gate. |
| 01:05:16 |
Sure, Miss Desmond. |
| 01:05:18 |
They can't drive on the lot |
| 01:05:21 |
Miss Desmond can. |
| 01:05:33 |
- Where's Mr. DeMille shooting? |
| 01:05:36 |
Thank you, Jonesy. |
| 01:05:37 |
And teach your friend |
| 01:05:39 |
Without me |
| 01:05:41 |
because without me there |
| 01:05:43 |
You're right, Miss Desmond. |
| 01:05:45 |
Go on, Max. |
| 01:05:55 |
Stage 18. |
| 01:05:57 |
All right, |
| 01:06:00 |
Just clear a minute. Spread |
| 01:06:07 |
Keep quiet back there. |
| 01:06:08 |
Norma Desmond's coming in |
| 01:06:10 |
Hit that with a light, somebody, |
| 01:06:16 |
Back up a little bit. |
| 01:06:18 |
Soldier, get out of the way. |
| 01:06:21 |
Norma Desmond's coming in |
| 01:06:23 |
Norma Desmond? |
| 01:06:26 |
Wait a minute. |
| 01:06:28 |
Henry Wilcoxon, draw your sword |
| 01:06:32 |
Samson's lying unconscious |
| 01:06:34 |
Norma Desmond is coming in |
| 01:06:38 |
- Norma Desmond? |
| 01:06:42 |
I hate to think |
| 01:06:44 |
- I could be her father. |
| 01:06:47 |
It must be about |
| 01:06:51 |
What can I tell her? |
| 01:06:53 |
I'll say you're tied up in the projection room. |
| 01:06:58 |
Thirty million fans have given her |
| 01:07:01 |
- I didn't mean to... |
| 01:07:04 |
You didn't know Norma Desmond |
| 01:07:08 |
with more courage |
| 01:07:11 |
than ever came together |
| 01:07:13 |
I understand she was |
| 01:07:15 |
Only toward the end. |
| 01:07:18 |
You know, a dozen press agents |
| 01:07:21 |
can do terrible things |
| 01:07:26 |
Hold everything. |
| 01:07:34 |
- Don't you want to come along? |
| 01:07:37 |
It's your script, it's your show. |
| 01:07:39 |
Thank you, dearest. |
| 01:07:44 |
Well, hello, young fella. |
| 01:07:46 |
- Hello, Mr. DeMille. |
| 01:07:49 |
The last time I saw you |
| 01:07:52 |
I remember waving to you. |
| 01:07:55 |
A lot of people were. |
| 01:07:59 |
Come on in. |
| 01:08:03 |
Norma, I must apologize |
| 01:08:06 |
You'd better. |
| 01:08:08 |
Well, you can see |
| 01:08:10 |
That's no excuse. |
| 01:08:14 |
Yes, I did. |
| 01:08:15 |
Then you could've picked up |
| 01:08:17 |
instead of leaving it |
| 01:08:20 |
- What assistant? |
| 01:08:22 |
Somebody named Gordon Cole. |
| 01:08:25 |
Gordon Cole? |
| 01:08:27 |
And if you hadn't been pretty |
| 01:08:29 |
he wouldn't have tried to |
| 01:08:32 |
Gordon Cole. |
| 01:08:35 |
Norma, I'm in the middle |
| 01:08:38 |
Why don't you sit here in my chair |
| 01:08:42 |
- Thank you. |
| 01:08:45 |
I won't be a moment. |
| 01:08:47 |
Bring me a telephone... |
| 01:08:49 |
and get me Gordon Cole. |
| 01:09:06 |
Hey! Miss Desmond! |
| 01:09:12 |
It's me! It's Hog-Eye! |
| 01:09:15 |
Hello, Hog-Eye. |
| 01:09:20 |
Let's get a good look at you. |
| 01:09:26 |
Look. There's Norma Desmond. |
| 01:09:28 |
Norma Desmond! |
| 01:09:31 |
- Norma Desmond! |
| 01:09:33 |
How nice to see you. |
| 01:09:35 |
Welcome home, Miss Desmond. |
| 01:09:39 |
- Doesn't she look wonderful? |
| 01:09:41 |
Mr. Wilcoxon, |
| 01:09:43 |
It's a great pleasure. |
| 01:09:45 |
Gordon, this is C.B. DeMille. |
| 01:09:47 |
Have you been calling |
| 01:09:49 |
Yes, Mr. DeMille. |
| 01:09:51 |
It's that car of hers, |
| 01:09:54 |
Her chauffeur drove it on the lot |
| 01:09:56 |
It looks just right |
| 01:09:58 |
We want to rent it. |
| 01:10:00 |
Oh, I see. |
| 01:10:03 |
Well... |
| 01:10:05 |
thank you very much. |
| 01:10:22 |
Hog-Eye... |
| 01:10:24 |
turn that light |
| 01:10:42 |
I got hold of Gordon Cole. |
| 01:10:44 |
Did you see them? |
| 01:10:47 |
You know, some crazy things |
| 01:10:52 |
I hope you haven't lost |
| 01:10:56 |
What's the matter, dear? |
| 01:10:57 |
Nothing. |
| 01:10:59 |
I just didn't realize what it would |
| 01:11:03 |
I had no idea |
| 01:11:05 |
We've missed you too, dear. |
| 01:11:07 |
We'll work again, won't we, Chief? |
| 01:11:10 |
- That's why I want to talk to you. |
| 01:11:14 |
Well, it has |
| 01:11:17 |
But it'd be |
| 01:11:20 |
I don't care about the money. |
| 01:11:24 |
You don't know what it means |
| 01:11:27 |
Nothing would please me more, |
| 01:11:29 |
if it were possible. |
| 01:11:31 |
And remember, I don't work |
| 01:11:33 |
and never after 4:30 |
| 01:11:36 |
We're ready for the shot, |
| 01:11:38 |
All right. |
| 01:11:39 |
Norma, why don't you |
| 01:11:43 |
You know, pictures |
| 01:11:46 |
All right, let's go. |
| 01:11:49 |
Hit 'em all! |
| 01:11:53 |
Roll 'em. |
| 01:11:55 |
Speed! |
| 01:12:05 |
You see those offices there, |
| 01:12:09 |
They used to be |
| 01:12:11 |
The whole row. |
| 01:12:14 |
That didn't leave much |
| 01:12:16 |
Oh, he had a great big |
| 01:12:19 |
I had the upstairs. |
| 01:12:21 |
You see where it says |
| 01:12:25 |
I remember my walls were covered |
| 01:12:38 |
I'll be with you in a minute. |
| 01:12:52 |
Here's that funny car |
| 01:12:55 |
- Yeah. |
| 01:12:57 |
What's so funny about it? |
| 01:13:06 |
Just so you don't think |
| 01:13:08 |
if there's anything in Dark Windows |
| 01:13:11 |
For heaven's sakes! |
| 01:13:14 |
I mean it. |
| 01:13:16 |
- Help yourself. |
| 01:13:18 |
If you get 100,000 for it, |
| 01:13:21 |
If you get an Oscar, |
| 01:13:23 |
I'd take you up on that. |
| 01:13:25 |
I'm just not good enough |
| 01:13:27 |
What about all your ideas? |
| 01:13:29 |
Well, see if they make sense. |
| 01:13:31 |
To begin with, you should throw out |
| 01:13:34 |
exploring a killer's sick mind. |
| 01:13:36 |
Psychopaths sell like hotcakes. |
| 01:13:38 |
This is a story about teachers... |
| 01:13:42 |
I see her teaching day classes |
| 01:13:45 |
The first time they meet... |
| 01:13:47 |
I haven't time to listen |
| 01:13:50 |
- I'll make it short. |
| 01:13:52 |
Couldn't we work in the evenings? |
| 01:13:55 |
This next month |
| 01:13:57 |
- Artie's out of town. |
| 01:14:00 |
We're engaged. |
| 01:14:02 |
Oh. Well, good for you. |
| 01:14:05 |
- You couldn't find a nicer guy. |
| 01:14:07 |
They're on location in Arizona |
| 01:14:10 |
I'm free every evening |
| 01:14:13 |
We could work at your place |
| 01:14:16 |
Look, Betty, it can't be done. |
| 01:14:18 |
Now stop being chicken-hearted |
| 01:14:20 |
- Honest to goodness, I hate you. |
| 01:14:24 |
How about this? She teaches daytimes, |
| 01:14:28 |
They don't even know each other, |
| 01:14:30 |
It's cheaper that way. As a matter |
| 01:14:33 |
In shifts, of course. |
| 01:14:36 |
Are you kidding? |
| 01:14:39 |
- So do I. |
| 01:14:42 |
So long. |
| 01:14:43 |
Oh, you! |
| 01:14:51 |
What's the matter? |
| 01:14:52 |
I just found out the reason for all |
| 01:14:57 |
It's not Madame they want. |
| 01:14:59 |
It's her car they want to rent. |
| 01:15:01 |
What? |
| 01:15:05 |
Well, good-bye, Norma. |
| 01:15:08 |
I'm not worried. |
| 01:15:10 |
The old team together again. |
| 01:15:14 |
The old team. Yeah. |
| 01:15:18 |
- Good-bye, dear. |
| 01:15:29 |
- How'd it go? |
| 01:15:32 |
It's practically set. |
| 01:15:33 |
He has to finish this picture first, |
| 01:15:38 |
Get Gordon Cole. |
| 01:15:41 |
Tell him to forget |
| 01:15:43 |
Tell him he can get |
| 01:15:46 |
I'll buy him five old cars, |
| 01:15:56 |
After that... |
| 01:15:57 |
an army of beauty experts invaded |
| 01:16:02 |
She went through |
| 01:16:06 |
Like an athlete training |
| 01:16:08 |
she counted every calorie... |
| 01:16:10 |
went to bed every night |
| 01:16:12 |
She was absolutely determined |
| 01:16:16 |
ready for those cameras |
| 01:16:55 |
- Joe, darling, are you there? |
| 01:16:58 |
Don't turn around. |
| 01:17:04 |
I just came to say good night. |
| 01:17:07 |
I don't want you to see me. |
| 01:17:10 |
- Good night. |
| 01:17:13 |
Good. |
| 01:17:14 |
I was worried about |
| 01:17:16 |
- This woman's done wonders with it. |
| 01:17:21 |
Better get to bed yourself. |
| 01:17:23 |
I think I'll read |
| 01:17:26 |
You went out last night, |
| 01:17:29 |
- Why do you say that? |
| 01:17:32 |
I had a nightmare and screamed for you. |
| 01:17:36 |
- I went for a walk. |
| 01:17:41 |
All right, |
| 01:17:44 |
You don't want me to feel |
| 01:17:47 |
Of course not, Joe. |
| 01:17:49 |
I just don't want to be left alone |
| 01:17:53 |
My nerves |
| 01:17:55 |
All I ask is for you to be |
| 01:18:01 |
I haven't done anything. |
| 01:18:03 |
Of course you haven't. |
| 01:18:06 |
I wouldn't let you. |
| 01:18:08 |
Good night, darling. |
| 01:18:39 |
Yes... |
| 01:18:41 |
I was playing hooky |
| 01:18:44 |
It made me think of when I was 12 |
| 01:18:48 |
to see a gangster picture. |
| 01:18:50 |
This time it wasn't |
| 01:18:53 |
it was to try and write one. |
| 01:18:56 |
That story of mine Betty had dug up |
| 01:18:59 |
like a dozen locomotives. |
| 01:19:02 |
So we started working on it, |
| 01:19:05 |
nights when the studio |
| 01:19:08 |
up in her little cubbyhole |
| 01:19:27 |
I got the funniest letter |
| 01:19:29 |
It's rained every day |
| 01:19:32 |
They rewrote the whole picture |
| 01:19:36 |
Now the sun is out. |
| 01:19:40 |
- Good. |
| 01:19:42 |
I miss him something fierce. |
| 01:19:44 |
I mean, this is good dialogue here. |
| 01:19:47 |
- It will? |
| 01:19:49 |
Especially with lots of music |
| 01:19:52 |
Don't you sometimes |
| 01:19:54 |
Constantly. |
| 01:19:57 |
No, in all seriousness, |
| 01:20:00 |
It's fun writing with you. |
| 01:20:02 |
Well, thanks. |
| 01:20:18 |
Who's Norma? |
| 01:20:21 |
Who's who? |
| 01:20:22 |
I'm sorry. I don't usually |
| 01:20:26 |
Oh, that. |
| 01:20:28 |
It's from a friend of mine. |
| 01:20:30 |
A middle-aged lady. |
| 01:20:32 |
Very foolish and very generous. |
| 01:20:34 |
I'll say. |
| 01:20:37 |
I gave her some advice |
| 01:20:39 |
Oh, the old familiar story. |
| 01:20:41 |
You help a timid little soul |
| 01:20:44 |
She turns out to be |
| 01:20:46 |
and leaves you all her money. |
| 01:20:48 |
That's the trouble with you |
| 01:20:52 |
Suppose you proofread page ten |
| 01:20:55 |
- Okay? |
| 01:21:21 |
Sometimes, |
| 01:21:24 |
we'd make a little tour |
| 01:21:27 |
Not talking much... |
| 01:21:29 |
just wandering down alleys |
| 01:21:33 |
or through the sets they were getting |
| 01:21:37 |
As a matter of fact... |
| 01:21:39 |
it was on one of those walks when |
| 01:21:43 |
Look at this street. |
| 01:21:45 |
All cardboard, all hollow, |
| 01:21:50 |
You know, I like it better |
| 01:21:54 |
Maybe because I used to play here |
| 01:21:58 |
What were you, |
| 01:22:00 |
No, I was born just two blocks |
| 01:22:03 |
right on Lemon Grove Avenue. |
| 01:22:05 |
My father was head electrician here |
| 01:22:08 |
- Mother still works in wardrobe. |
| 01:22:11 |
Third. Grandma did stunt work |
| 01:22:14 |
I come from a picture family. |
| 01:22:16 |
Naturally they expected me |
| 01:22:18 |
so I had ten years of dramatic |
| 01:22:23 |
Then the studio made a test. |
| 01:22:27 |
Slanted this way a little. |
| 01:22:29 |
So I had it fixed. |
| 01:22:30 |
They made more tests, |
| 01:22:33 |
Only they didn't like my acting. |
| 01:22:39 |
- Nice job. |
| 01:22:40 |
It cost me $300. |
| 01:22:43 |
That's the saddest thing |
| 01:22:44 |
Not at all. |
| 01:22:47 |
I got a job in the mail room, |
| 01:22:50 |
Come clean, Betty. |
| 01:22:52 |
At night you weep for those lost |
| 01:22:55 |
Not once. What's wrong with being |
| 01:22:59 |
It's really more fun. |
| 01:23:00 |
Three cheers for Betty Schaefer. |
| 01:23:03 |
- I will now kiss that nose of yours. |
| 01:23:11 |
May I say |
| 01:23:14 |
Must be my new shampoo. |
| 01:23:17 |
That's no shampoo. |
| 01:23:19 |
It's more like freshly laundered |
| 01:23:23 |
like a brand-new automobile. |
| 01:23:26 |
- How old are you, anyway? |
| 01:23:30 |
Smart girl. |
| 01:23:32 |
Nothing like being 22. |
| 01:23:35 |
And may I suggest that if we're |
| 01:23:38 |
you stay at least |
| 01:23:42 |
The first time I come any closer, |
| 01:23:49 |
Now back to the typewriters... |
| 01:23:51 |
by way of Washington Square. |
| 01:24:39 |
What is it, Max? |
| 01:24:41 |
Want to wash the car? |
| 01:24:44 |
Or are you doing a little spying |
| 01:24:47 |
You must be very careful |
| 01:24:51 |
Madame may be watching. |
| 01:24:52 |
Will going up the kitchen stairs |
| 01:24:56 |
I'm not inquiring |
| 01:24:59 |
Why don't you? |
| 01:25:01 |
I'm writing a script... |
| 01:25:03 |
and I'm gonna finish it |
| 01:25:06 |
It is just that I am |
| 01:25:10 |
Sure, you are. |
| 01:25:12 |
And we're not helping her any... |
| 01:25:14 |
feeding her lies and more lies, |
| 01:25:18 |
What happens |
| 01:25:20 |
She never will. |
| 01:25:23 |
That is my job, |
| 01:25:28 |
You must understand... |
| 01:25:30 |
I discovered her |
| 01:25:33 |
I made her a star... |
| 01:25:34 |
and I cannot let her |
| 01:25:39 |
You made her a star? |
| 01:25:40 |
Yes. |
| 01:25:41 |
I directed |
| 01:25:45 |
There were three young directors |
| 01:25:49 |
D.W. Griffith... |
| 01:25:51 |
Cecil B. DeMille... |
| 01:25:53 |
and Max Von Mayerling. |
| 01:25:56 |
And she's turned you |
| 01:25:59 |
It was I who asked to come back, |
| 01:26:03 |
I could have continued my career. |
| 01:26:06 |
Only I found everything unendurable |
| 01:26:12 |
You see... |
| 01:26:14 |
I was her first husband. |
| 01:26:44 |
You're here, Joe. |
| 01:26:47 |
When did you come home? |
| 01:26:54 |
Oh, Joe, where were you? |
| 01:26:58 |
Is it a woman? |
| 01:26:59 |
I know it's a woman. |
| 01:27:01 |
Why can't I ask you? |
| 01:27:04 |
I must know. |
| 01:28:00 |
What's the matter? |
| 01:28:04 |
Betty, wake up. Why are you |
| 01:28:10 |
Oh, was I? |
| 01:28:13 |
What's wrong with you tonight? |
| 01:28:16 |
What is it? |
| 01:28:18 |
Something came up. |
| 01:28:20 |
Why not? |
| 01:28:29 |
I just don't. |
| 01:28:39 |
What have you heard? |
| 01:28:41 |
Come on, let's have it. |
| 01:28:44 |
Is it about me? |
| 01:28:59 |
There's no use |
| 01:29:02 |
Let's face it, |
| 01:29:04 |
I got a telegram from Artie. |
| 01:29:08 |
From Artie? |
| 01:29:09 |
What's wrong? |
| 01:29:11 |
He wants me |
| 01:29:14 |
He says it only costs two dollars |
| 01:29:19 |
It would kinda save us |
| 01:29:22 |
Well, why don't you? |
| 01:29:24 |
We can finish the script |
| 01:29:28 |
Stop crying. You're getting married. |
| 01:29:32 |
I don't want it now. |
| 01:29:35 |
- Why not? Don't you love Artie? |
| 01:29:38 |
I always will. |
| 01:29:43 |
I'm not in love with him |
| 01:29:47 |
What happened? |
| 01:29:50 |
You did. |
| 01:30:05 |
It wasn't until I got back |
| 01:30:08 |
that I started facing the facts. |
| 01:30:13 |
There it was. |
| 01:30:15 |
Betty Schaefer's future |
| 01:30:19 |
Betty Schaefer, |
| 01:30:21 |
as nice a guy as ever lived... |
| 01:30:24 |
and she was in love with me. |
| 01:30:27 |
Me. |
| 01:30:40 |
She was a fool not to sense there |
| 01:30:45 |
and I was a heel |
| 01:30:48 |
But you just can't say those things |
| 01:30:53 |
Maybe I'd never have to. |
| 01:30:55 |
Maybe I could get away with it, |
| 01:30:59 |
Maybe I could wipe the whole |
| 01:31:11 |
Hello? |
| 01:31:15 |
May I speak |
| 01:31:17 |
She must be home by now. |
| 01:31:22 |
Here's that |
| 01:31:25 |
Well, what is this, anyway? |
| 01:31:29 |
This is Betty Schaefer. |
| 01:31:31 |
You must forgive me |
| 01:31:33 |
but I really feel |
| 01:31:35 |
It's about Mr. Gillis. |
| 01:31:40 |
Exactly how much |
| 01:31:44 |
Do you know where he lives? |
| 01:31:47 |
Do you know how he lives? |
| 01:31:49 |
Do you know what he lives on? |
| 01:31:51 |
Who are you? |
| 01:31:53 |
What do you want? |
| 01:31:56 |
Miss Schaefer... |
| 01:31:58 |
I'm trying to do you a favor. |
| 01:32:00 |
I'm trying to spare you |
| 01:32:04 |
But you may be too young to even |
| 01:32:09 |
I don't know what he's told you, |
| 01:32:13 |
Nor with friends, |
| 01:32:18 |
Well, ask him. |
| 01:32:20 |
Ask him again. |
| 01:32:26 |
That's right, Betty. |
| 01:32:28 |
This is Joe. |
| 01:32:32 |
Where are you? |
| 01:32:36 |
Or better yet, why don't you |
| 01:32:40 |
The address is 10086... |
| 01:32:42 |
Sunset Boulevard. |
| 01:32:59 |
Don't hate me, Joe. |
| 01:33:01 |
I did it because I need you. |
| 01:33:03 |
I need you as I've |
| 01:33:06 |
Look at me. |
| 01:33:08 |
Look at my hands. |
| 01:33:10 |
Look under my eyes. |
| 01:33:13 |
How can I go back to work if |
| 01:33:16 |
You don't know what I've been |
| 01:33:26 |
I bought myself a revolver. |
| 01:33:29 |
I stood in front of that mirror, |
| 01:33:32 |
Don't just stand there |
| 01:33:34 |
Shout at me! |
| 01:33:36 |
Strike me, |
| 01:33:39 |
Say you don't hate me, Joe! |
| 01:33:56 |
Here's 10079, Connie. |
| 01:33:59 |
It must be over there. |
| 01:34:10 |
Betty, let me come along |
| 01:34:13 |
No, I'll be all right. |
| 01:34:32 |
What are you gonna do, Joe? |
| 01:34:44 |
It's all right, Max. |
| 01:34:47 |
Hello, Betty. |
| 01:34:48 |
I don't know why |
| 01:34:50 |
- Is it something awful? |
| 01:34:59 |
Ever been in one of these |
| 01:35:03 |
That's from when they were |
| 01:35:06 |
Careful of these tiles. |
| 01:35:08 |
Valentino used to dance here. |
| 01:35:11 |
- Is this where you live? |
| 01:35:15 |
- Whose house is it? |
| 01:35:18 |
- Whose? |
| 01:35:20 |
There's a lot of her |
| 01:35:22 |
If you don't remember the face, |
| 01:35:25 |
Norma Desmond? |
| 01:35:27 |
That was Norma Desmond |
| 01:35:29 |
Would you like a drink? |
| 01:35:32 |
Plenty of caviar. |
| 01:35:33 |
- Why did she call me? |
| 01:35:37 |
Did you ever see so much junk? |
| 01:35:39 |
She had the ceiling |
| 01:35:42 |
And look at this. |
| 01:35:46 |
Her own movie theater. |
| 01:35:48 |
I didn't come here |
| 01:35:51 |
What about Norma Desmond? |
| 01:35:54 |
That's what |
| 01:35:56 |
This is an enormous place. |
| 01:35:59 |
Eight master bedrooms. |
| 01:36:01 |
A sunken tub in every bathroom. |
| 01:36:04 |
There's a bowling alley |
| 01:36:09 |
It's lonely here... |
| 01:36:10 |
so she got herself |
| 01:36:13 |
Very simple setup. |
| 01:36:16 |
Older woman who's well-to-do. |
| 01:36:19 |
Younger man |
| 01:36:23 |
- Can you figure it out yourself? |
| 01:36:26 |
I'll give you |
| 01:36:29 |
No! |
| 01:36:30 |
I haven't heard any of this. |
| 01:36:32 |
I never got those phone calls, |
| 01:36:37 |
Now get your things together |
| 01:36:41 |
All my things? |
| 01:36:43 |
All my 18 suits |
| 01:36:46 |
and the six-dozen shirts |
| 01:36:48 |
and the platinum key chains |
| 01:36:52 |
Come on, Joe. |
| 01:36:54 |
Come on where? |
| 01:36:56 |
Back to a one-room apartment |
| 01:36:59 |
Back to a story that may sell |
| 01:37:02 |
If you love me, Joe... |
| 01:37:05 |
Look, sweetie, be practical. |
| 01:37:07 |
I've got a good deal here. |
| 01:37:09 |
A long-term contract |
| 01:37:11 |
I like it that way. |
| 01:37:14 |
Maybe it's not very admirable. |
| 01:37:18 |
Well... |
| 01:37:20 |
you and Artie can be admirable. |
| 01:37:25 |
I can't look at you |
| 01:37:32 |
How about looking for the exit? |
| 01:37:35 |
This way, Betty. |
| 01:37:51 |
Good luck to you, Betty. |
| 01:37:54 |
You can finish that script |
| 01:37:58 |
When you and Artie get back, if you |
| 01:38:04 |
here's the pool. |
| 01:38:50 |
Thank you, darling. |
| 01:38:52 |
Thank you, Joe. |
| 01:39:22 |
May I come in, Joe? |
| 01:39:24 |
I've stopped crying. |
| 01:39:26 |
I'm all right again. |
| 01:39:28 |
Tell me you're not cross. |
| 01:39:30 |
Tell me everything |
| 01:39:40 |
What are you doing, Joe? |
| 01:39:48 |
What are you doing? |
| 01:39:50 |
I'm packing. |
| 01:39:54 |
You're leaving me. |
| 01:39:56 |
Yes, I am, Norma. |
| 01:39:58 |
No, you're not. |
| 01:40:00 |
Max! Max! |
| 01:40:02 |
Thanks for letting me |
| 01:40:05 |
and thanks for the use |
| 01:40:10 |
The rest of the jewelry's |
| 01:40:12 |
- It's yours, Joe. I gave it to you. |
| 01:40:15 |
Only it's too dressy for sitting |
| 01:40:18 |
These are nothing! |
| 01:40:20 |
You can have anything you want. |
| 01:40:24 |
Money? |
| 01:40:26 |
Norma, you'd be throwing it away. |
| 01:40:28 |
I don't qualify for the job. |
| 01:40:30 |
You can't go! |
| 01:40:32 |
Max! Max! |
| 01:40:33 |
I can't face life without you. |
| 01:40:38 |
And you know |
| 01:40:40 |
That's between you and yourself. |
| 01:40:42 |
You think I made that up about |
| 01:40:55 |
See? |
| 01:40:57 |
You didn't believe me. Now I suppose |
| 01:41:00 |
Oh, sure, if it would |
| 01:41:02 |
You don't care, do you? But hundreds |
| 01:41:05 |
Oh, wake up, Norma. You'd be |
| 01:41:08 |
The audience left |
| 01:41:10 |
- That's a lie! They still want me! |
| 01:41:13 |
What about DeMille? |
| 01:41:15 |
He was trying |
| 01:41:17 |
The studio only wanted |
| 01:41:19 |
Wanted what? |
| 01:41:20 |
DeMille didn't have the heart to |
| 01:41:24 |
That's a lie. |
| 01:41:26 |
I get letters every day. |
| 01:41:30 |
You tell her, Max. |
| 01:41:31 |
Do her that favor. Tell her there |
| 01:41:35 |
There aren't any fan letters |
| 01:41:38 |
That isn't true! |
| 01:41:40 |
Max! |
| 01:41:41 |
Madame is the greatest star |
| 01:41:45 |
I will take Mr. Gillis's bags |
| 01:41:54 |
You heard him. |
| 01:41:56 |
I'm a star. |
| 01:41:59 |
Norma, you're a woman of 50. |
| 01:42:02 |
There's nothing tragic |
| 01:42:04 |
not unless you try to be 25. |
| 01:42:07 |
I'm the greatest star |
| 01:42:15 |
Good-bye, Norma. |
| 01:42:19 |
No one ever leaves a star. |
| 01:42:22 |
That's what makes one a star. |
| 01:43:19 |
Stars are ageless... |
| 01:43:21 |
aren't they? |
| 01:43:30 |
Well, this is where you came in. |
| 01:43:33 |
Back at that pool again... |
| 01:43:36 |
the one I always wanted. |
| 01:43:38 |
It's dawn now, and they must have |
| 01:43:43 |
Then they got some pruning hooks |
| 01:43:47 |
ever so gently. |
| 01:43:49 |
Funny how gentle people get with you |
| 01:43:54 |
They beached me |
| 01:43:58 |
and started |
| 01:44:00 |
just for the record. |
| 01:44:04 |
By this time |
| 01:44:07 |
cops, reporters, |
| 01:44:10 |
As much hoop-de-doo |
| 01:44:12 |
when they open a supermarket. |
| 01:44:14 |
Even the newsreel guys |
| 01:44:17 |
Here was an item everybody |
| 01:44:21 |
The heartless so-and-sos. |
| 01:44:25 |
What would they do to Norma? |
| 01:44:27 |
Even if she got away with it |
| 01:44:29 |
crime of passion, |
| 01:44:33 |
those headlines would kill her. |
| 01:44:35 |
"Forgotten Star a Slayer." |
| 01:44:39 |
"Aging Actress." |
| 01:44:41 |
"Yesterday's Glamour Queen." |
| 01:44:54 |
Coroner's office? |
| 01:44:56 |
I want to speak to the coroner. |
| 01:44:59 |
Who's on this phone? |
| 01:45:00 |
I am! Now get off. |
| 01:45:04 |
Times city desk? |
| 01:45:07 |
I'm talking from the bedroom |
| 01:45:09 |
Don't bother with a rewrite. |
| 01:45:12 |
Ready? |
| 01:45:13 |
As day breaks |
| 01:45:15 |
Norma Desmond, |
| 01:45:17 |
is in a state |
| 01:45:21 |
A curtain of silence |
| 01:45:23 |
She sits in the silken boudoir |
| 01:45:26 |
Was it a sudden quarrel? Did you ever |
| 01:45:31 |
If it was a quarrel, |
| 01:45:35 |
This guy... Where did you meet him |
| 01:45:38 |
Where did he come from? |
| 01:45:40 |
Did you hate him? |
| 01:45:41 |
Had you ever thought of |
| 01:45:44 |
Was theft involved? |
| 01:45:46 |
Did you catch him stealing, |
| 01:45:49 |
Newsreel men are here |
| 01:45:51 |
Tell them to go fly a kite. |
| 01:45:55 |
Now, Miss Desmond, is there |
| 01:46:00 |
Cameras? |
| 01:46:04 |
What is it, Max? |
| 01:46:10 |
The cameras have arrived. |
| 01:46:12 |
They have? |
| 01:46:14 |
Tell Mr. DeMille |
| 01:46:18 |
What is this? |
| 01:46:23 |
Well, it's one way |
| 01:46:28 |
Let's have the car right outside. |
| 01:46:31 |
Okay. |
| 01:46:34 |
Everything will be ready, Madame. |
| 01:46:36 |
Thank you, Max. |
| 01:46:39 |
You'll pardon me, gentlemen... |
| 01:46:40 |
but I must get ready |
| 01:46:44 |
- What's happening up there? |
| 01:46:47 |
Is there a confession? |
| 01:46:49 |
- Everything set up, gentlemen? |
| 01:46:52 |
- Lights ready? |
| 01:47:13 |
Quiet, everybody! |
| 01:47:18 |
Lights! |
| 01:47:24 |
Are you ready, Norma? |
| 01:47:28 |
What is the scene? |
| 01:47:31 |
Where am I? |
| 01:47:35 |
This is the staircase |
| 01:47:40 |
Oh, yes. |
| 01:47:42 |
Yes. |
| 01:47:43 |
Down below... |
| 01:47:45 |
they're waiting |
| 01:47:49 |
I'm ready. |
| 01:47:51 |
All right. |
| 01:47:53 |
Cameras. |
| 01:47:55 |
Action! |
| 01:47:59 |
So they were turning after all, |
| 01:48:04 |
Life, which can be |
| 01:48:08 |
had taken pity on Norma Desmond. |
| 01:48:11 |
The dream she had clung to |
| 01:48:15 |
had enfolded her. |
| 01:48:45 |
I can't go on with the scene. |
| 01:48:49 |
Mr. DeMille, do you mind |
| 01:48:52 |
Thank you. |
| 01:48:54 |
I want to tell you all how happy |
| 01:48:57 |
making a picture again! |
| 01:49:00 |
You don't know how much |
| 01:49:03 |
And I promise you |
| 01:49:06 |
Because after Salome |
| 01:49:08 |
and another picture! |
| 01:49:11 |
You see, this is my life. |
| 01:49:13 |
It always will be. |
| 01:49:15 |
There's nothing else. |
| 01:49:16 |
Just us... |
| 01:49:19 |
and the cameras... |
| 01:49:21 |
and those wonderful people |
| 01:49:27 |
All right, Mr. DeMille, |
