in here. i put him on my massage table in front of the fire. he always liked fires and poking at them with a stick.
i've made up my mind we'll bury him in the garden. any city laws against that?
i don't care anyway. i want the coffin to be white. and i want it specially lined with satin. white, or deep pink.
maybe red. bright flaming red. gay. let's make it gay.
how much will it be? i warn you - don't give me a fancy price just because i'm rich.
it is not. get out.
get out.
or shall i call my servant?
i am big. it's the pictures that got small.
they're dead. they're finished. there was a time when this busi- ness had the eyes of the whole wide world. but that wasn't good enough. oh, nol they wanted the ears of the world, too. so they opened their big mouths, and out came talk, talk, talk.
look at them in the front offices -- the master minds! they took the idols and smashed them. the fairbankses and the chaplins and the gilberts and the valentinos. and who have they got now? some nobodies -- a lot of pale little frogs croaking pish-poshl
you are! writing words, words! you've made a rope of words and strangled this businessl but there is a microphone right there to catch the last gurgles, and technicolor to photograph the red, swollen tongue!
get out!
just a minute, you!
you're a writer, you said.
are you or aren't you?
and you have written pictures, haven't you?
i want to ask you something. come in here.
the wind gets in that blasted pipe organ. i ought to have it taken out.
how long is a movie script these days? i mean, how many pages?
this is to be a very important picture. i have written it myself. took me years.
it's the story or salome. i think i'll have demille direct it.
we've made a lot of pictures together.
who else ?
i hate that word. it is a return. a return to the millions of people who have never forgiven me for deserting the screen.
salome -- what a woman! what a part! the princess in love with a holy man. she dances the dance of the seven veils. he rejects her, so she demands his head on a golden tray, kissing his cold, dead lips.
they will love it every place. read it. read the scene just before she has him killed!
i am not afraid. read it!
bring something to drink.
i said sit down.
well?
of course it is.
i wrote that with my heart.
what for? i can say anything i want with my eyes.
i will not have it butchered.
who? i'd have to have somebody i can trust. when were you born -- i mean, what sign of the zodiac?
what month?
sagittarius. i like sagittarians. you can trust them.
i want you to do this work.
i don't care.
i wouldn't worry about money. i'll make it worth your while.
oh no. i couldn't let it out of my house. you'll have to finish it here.
are you married, mr. -- ?
where do you live?
there's something wrong with your car, you said.
you can stay here.
nonsense. there's room over the garage. max will take you there. max!
i don't know why you should be so upset. stop that playing, max. it seemed like a good idea -- if we are to work together.
you'll like it here.
you can't work in an apartment where you owe three months' rent.
it's all taken care of. it's all paid for.
you proud boy, why didn't you tell me you were having difficulties.
now, now, don't let's be small about such matters. we won't keep books. go on, unpack mr. gillis' things.
suppose you make up your mind. do you want this job or don't you?
what's that?
what scene?
cut away from me?
they don't? then why do they still write me fan letters every day. why do they beg me for my photo- graphs? because they want to see me, me, me! norma desmond.
still wonderful, isn't it? and no dialogue. we didn't need dialogue. we had faces. there just aren't any faces like that any more. well, maybe one -- garbo.
those idiot producers! those imbeciles! haven't they got any eyes? have they forgotten what a star looks like? i'll show them. i'll be up there again. so help me!
not now, my dear. i'm playing three no trump.
please. now i've forgotten how many spades are out.
can't you wait till i'm dummy?
please!
now what is it? where's the fire?
oh. and i thought it was a matter of life and death.
now you're being silly. we don't need two cars. we have a car. and not one of thuse cheap new things made of chromium and spit. an isotta-fraschini. have you ever heard of isotta-fraschinis? all hand-made. cost me twenty-eight thousand dollars.
that's a dreadful shirt you're wearing.
nothing, if you work in a fill- ing station. and i'm getting rather bored with that sport jacket, and those same baggy pants. max, what's a good men's shop in town? the very best.  well, go there !
why begrudge me a little fun? i just want you to look nice, my stray little boy.
there's nothing like gray flannel with a chalk stripe. this one single-breasted, of course. now we need a topcoat. let's see what you have in camel's hair.
how about some evening clothes?
of course you do. a tuxedo and tails.
you'll need them for parties. you'll need them for new year's eve. where are your evening clothes?
joe, you look absolutely divine. turn around!
come on!
perfect. wonderful shoulders. and i love that line.
come here!
i don't like those studs they've sent. i want you to have pearls. nice big pearls.
cute. let's have some drinks.
careful, it's slippery. i had it waxed.
here's to us.
you know, this floor used to be wood but i had it changed. valentino said there is nothing like tiles for a tango.
just follow me.
don't bend back like that.
who?
there are no other guests. we don't want to share this night with other people. this is for you and me.
hold me tighter.
you think this is all very funny.
is it funny that i'm in love with you?
i'm in love with you. don't you know that? i've been in love with you all along.
don't be silly. here. i was going to give it to you at midniglht.
read what's inside.
"mad about the boy."
shut up. i'm rich. i'm richer than all this new hollywood trash. i've got a million dollars.
i own three blocks downtown. i have oil in bakersfield -- pumping, pumping, pumping. what's it for but to buy us anything we want.
what's the matter with you?
what right? do you want me to tell you?
who? some car hop, or a dress extra?
what you're trying to say is that you don't want me to love you. is that it?
go away.
to fall in love with you -- that was the idiotic thing.
great stars have great pride.
go away. go to that girl of yours.
why don't you just say thank you and go, go, go --
i'll do it again, i'll do it again, i'll do it again!
happy new year. darling.
wait a minute. i want you to get out the car. you're going to take the script over to paramount and deliver it to mr. de mille in person.
this is the right day.
demille is leo. i'm scorpio. mars has been transmitting jupiter for weeks. today is the day of greatest conjuction. now turn around. let me dry you.
i'm not just selling the script. i'm selling me. demille always said i was his greatest star.
so he said it quite a few years ago. so what? i never looked better in my life. do you know why? because i've never been as happy in my life.
that idiot. he forgot to fill my cigarette case.
they're awful. they make me cough.
you're a darling.
what on earth, darling? it took you hours.
where are my cigarettes?
this is a rock.
i can still see myself in the line: bebe daniels, marie prevost, mabel normand .  mabel was always stepping on my feet . what's the matter with you, darling? why are you so glum?
all right. give me this. i need it for a moustache. now close your eyes.
you know better than to interrupt me.
who?
now, now do you belive me? i told you demille would jump at it.
certainly it's important. it's important enough for mr. demille to call me personally. the idea of having an assistant call me!
say that i'm busy, and hang up.
how do you like that? we've made twelve pictures together. his greatest successes.
i know that trick! he wants to belittle me. he's trying to get my price down. i've waited twenty years for this call. now mr. demille can wait till i'm good and ready.
thank you, max.
jonesy! come here, jonesy!
fine, jonesy. now open that gate.
thank you, jonesy. and teach your friend some manners. tell him without me he wouldn't have any job, because without me there wouldn't be any paramount studio. go on.
don't you want to come along, darling?
thank you, darling.
hello, mr. demille.
last time i saw you was someplace very gay. i remember waving to you. i was dancing on a table.
you'd better. i'm very angry.
that's no excuse. you read the script, didn't you?
then you could have picked up the phone yourself instead of leaving it to one of your assistants.
don't play innocent. somebody named gordon cole.
and if you hadn't been pretty darned interested in that script, he wouldn't have tried to get me on the phone ten times.
hello.
did you see them? did you see how they came?
nothing. i just didn't realize what it would be like to come back to the old studio. i had no idea how i'd missed it.
we'll be working again, won't we, chief? we'll make our greatest picture.
it's a good script, isn't it?
i don't care about the money. i just want to work again. you don't know what it means to know that you want me.
but remember, darling -- i don't work before ten in the morning, and never after 4:30 in the afternoon.
i'm not worried. everything will be fine. the old team together. nothing can stop us.
it couldn't have gone better. it's practically set. of course, he has to finish this picture first, but mine will be his next.
he'a a shrewd old fox. he can smell box office. only i'm going to outfox him a litt1e. this isn't going to be c. b. demille's salome. it's going to be norma desmond's salome, a norma desmond production, starring norma desmond. home, max.
joe darling, are you there?
don't turn around. keep your eyes on the book.
i just came to say good night. i don't want you to see me -- i'm not very attractive.
i've lost half a pound since tuesday.
i was a little worried about the line of my throat. this woman has done wonders with it.
you'd better get to bed yourself.
you went out last night, didn't you, joe?
i just happen to know it. i had a nightmare and i screamed for you. you weren't here. where were you?
no you didn't. you took the car.
of course not, joe. it's just that i don't want to be left alone. not now, while i'm under this terrible strain. my nerves are being torn apart. all i ask is for you to be a little patient and a little kind.
of course you haven't. i wouldn't let you.
good night, my darling.
you're here, joe .  when did you come home? where were you? is it a woman? i know it's a woman .  who is she? oh joe, why can't i ask you? i must know, i must!
can i speak to miss betty schaefer? she must be home by now.
miss schaefer, you must forgive me for calling you so late, but i really feel it's my duty. it's about mr. gillis. you do know mr. gillis? . exactly how much do you know about him? do you know where he lives? do you know how he lives? do you know what he lives on?
miss schaefer, i'm trying to do you a favor. i'm trying to spare you a great deal of misery. of course you may be too young to even suspect there are men of his sort.
don't hate me, joe. i did it because i need you. i need you as i never needed you. look at me. look at my hands, look at my face, look under my eyes. how can i go back to work if i'm wasting away under this torment? you don't know what i've been through these last weeks. i got myself a revolver. you don't believe me, but i did, i did! i stood in front of that mirror, only i couldn't make myself. it wouldn't be
i love you, joe. i love you, joe. i love you, joe. i love you, joe.
what are you going to do, joe?
thank you, joe -- thank you, joe.
may i come in? i've stopped cry- ing. i'm all right again. joe, tell me you're not cross -- tell me everything is just as it was, joe.
what are you doing, joe? what are you doing? you're not leaving me?
no, you're not. max! max!
it's yours, joe. i gave it to you.
these are nothing. you can have anything you want if you'll only stay. what is it you want -- money?
you can't do this! max! max! .  i can't face life without you, and i'm not afraid to die, you know.
you think i made that up about the gun.
see, you didn't believe me!.  now i suppose you don't think i have the courage!
you don't care. do you? but hundreds of thousands of people will carel
that's a lie! they still want me!
what about the studio? what about de mille?
wanted what?
that's a lie! they want me, they want me! i get letters every day!
that isn't true! max?
you heard him. i'm a star!
i'm the greatest star of them all.
no one leaves a star. that makes one a star.
you're not leaving me!
you're not leaving me!
you're not leaving me!
stars are ageless, aren't they?
cameras? . what is it, max?
they have? thank you, max. tell mr. demille i will be on the set at once.
what is the scene? where am i?
oh, yes, yes. they're below, waiting for the princess .  i'm ready.
i can't go on with the scene. i'm too happy. do you mind, mr. demille, if i say a few words? thank you. i just want to tell you how happy i am to be back in the studio making a picture again. you don't know how much i've missed all of you. and i promise you i'll never desert you again, because after "salome" we'll make another picture, and another and another. you see, this is my life. it always will be. there's nothing else - just us and the cameras and those wonderful people out there in the dark.  all right, mr. demille, i'm ready for my closeup.