Sunset Boulevard Page #20

NORMA:

This is a rock.

She climbs on it, pantomimes timidity, an attempted

dive, then jumps off.

Gillis lolls on a couch, watching the performance,

very bored.

NORMA:

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?

GILLIS:

(Lighting a cigarette

with a match)

Nothing is the matter. I'm having

a great time. Show me some more.

NORMA:

(Taking the match)

All right. Give me this. I need

it for a moustache. Now close

your eyes.

She runs out of the GILLIS' VOICE

picture. Gillis has Something was the matter,

closed his eyes. all right. I was thinking

THE CAMERA MOVES to about that girl of Artie's,

his face. that Miss Schaefer. She

was so like all us writers

when we first hit Holly-

wood -- itching with am-

bition, panting to get

your names up there:

Screenplay by. Original

Story by. Hmph! Audiences

don't know somebody sits

down and writes a picture.

They think the actors make

it up as they go along.

NORMA'S VOICE

Open your eyes.

Gillis opens his eyes.

Norma has equipped herselr with a derby hat, a cane,

and blacked in a small moustache. She goes into a

little Chaplin routine. While she is doing it, the

telephone rings. After a moment Max comes to the

living room door.

MAX:

Madame is wanted on the telephone.

NORMA:

You know better than to interrupt me.

MAX:

Paramount is calling.

NORMA:

Who?

MAX:

Paramount studios.

NORMA:

(To Gillis)

Now, now do you belive me? I told

you deMille would jump at it.

MAX:

It is not Mr. deMille in person.

It is someone by the name or Gordon

Cole. He says it's very important.

NORMA:

Certainly it's important. It's

important enough for Mr. deMille

to call me personally. The idea

of having an assistant call me!

MAX:

I myself was surprised at Mr. de

Mille's manners.

NORMA:

Say that I'm busy, and hang up.

MAX:

Very good, Madam.

He bows and exits.

NORMA:

How do you like that? We've

made twelve pictures together.

His greatest successes.

GILLIS:

Maybe deMille is shooting.

NORMA:

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.

DISSOLVE TO:

D-8 NORMA, IN THE TONNEAU

OF THE LIMOUSINE,

DRIVING DOWN MELROSE

She is in full makeup, GILLIS' VOICE

with a veil, a daring About three days later she

hat, a suit so stunning was good and ready. In-

only she would venture credible as it may seem,

to wear it. THE CAMERA there had been some more

PULLS BACK. Beside her of those calls from

sits Gillis in the glen Paramount. So she put on

plaid suit. Max is about half a pound of

driving. makeup, fixed it up with

a veil, and set forth to

see deMille in person.

Norma is examining her face in the mirror of her

vanity. Max, while driving, sees her in the rear

view mirror.

MAX:

If you will pardon me, Madame.

The shadow over the left eye

is not quite balanced.

NORMA:

Thank you, Max.

With a handkerchief, she corrects it.

D-9 MAIN GATE, EXT. PARAMOUNT STUDIO

The car drives down Bronson and stops smack in front

of the iron gate. A young policeman is talking to

an extra; an old policeman sits reading a newspaper.

Max sounds the horn impatiently.

YOUNG POLICEMAN:

Hold that noise!

MAX:

To see Mr. de Mille. Open the gate.

YOUNG POLICEMAN:

Mr. deMille is shooting. You

got an appointment?

MAX:

No appointment is necessary. I

am bringing Norma Desmond.

YOUNG POLICEMAN:

Norma Who?

Norma has rolled down the window on her side. She

calls to the old policeman.

NORMA:

Jonesy! Come here, Jonesy!

OLD POLICEMAN:

Yeah?

(He comes forward slowly)

Why, if it isn't Miss Desmond!

How have you been, Miss Desmond?

NORMA:

Fine, Jonesy. Now open that gate.

OLD POLICEMAN:

Sure, Miss Desmond.

(To the young policeman}

Come on, Mac.

YOUNG POLICEMAN:

They can't drive on the lot

without a pass.

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