Sunset Boulevard Page #23

GILLIS:

Just so you don't think I'm a

complete swine -- if there's

anything in Dark Windows you

can use, take it. It's all

yours.

BETTY:

Well, for heaven's sake!

She moves the book and the apple aside and points at

the free space on the desk.

BETTY:

Have a chair.

Gillis sits on the desk.

GILLIS:

I mean it. It's no good to me

anyway. Help yourself.

BETTY:

Why should you do that?

GILLIS:

If you get a hundred thousand for

it, you buy me a box of chocolate

creams. If you get an Oscar, I

get the left foot.

BETTY:

You know, I'd take you up on that

in a minute. I'm just not good

enough to do it all by myself.

GILLIS:

What about all those ideas you had?

BETTY:

See if they make sense. To begin

with, I think you should throw out

all that psychological stuff --

exploring a killer's sick mind.

GILLIS:

Psychopaths sell like hotcakes.

BETTY:

This story is about teachers --

their threadbare lives, their

struggles. Here are people doing

the most important job in the

world, and they have to wprry

about getting enough money to

re-sole their shoes. To me it

can be as exciting as any chase,

any gunplay.

GILLIS:

Check.

BETTY:

Now I see her teaching day classes

while he teaches night school. The

first time they meet ...

From below comes the SOUND of the Isotta's horn.

GILLIS:

Look, if you don't mind, I haven't

got time to listen to the whole

plot ...

BETTY:

I'll make it short.

GILLIS:

Sorry. It's your baby now.

BETTY:

I'm not good enough to write it

alone. We'll have to do it together.

GILLIS:

I'm all tied up. I can't.

BETTY:

Couldn't we work in the evenings?

Six o'clock in the morning? This

next month I'm completely at your

disposal. Artie is out of town.

GILLIS:

What has Artie to do with it.

BETTY:

We're engaged.

GILLIS:

Good for you. You've got yourself

the best guy in town.

BETTY:

I think so. They're on location

in Arizona, shooting a Western.

I'm free every evening, every week-

end. If you want, we could work at

your place.

GILLIS:

It's just impossible.

BETTY:

Nobody can be that busy.

There is another honk: from down below.

GILLIS:

Look, Betty, It can't be done.

It's out.

BETTY:

You're tough, all right.

GILLIS:

You're on your own. Stop being

chicken-hearted and write that story.

BETTY:

Honest to goodness, I hate you.

GILLIS:

(Turning 1n the open door)

And don't make it too dreary. How

about this for a situation: she

teaches daytimes. He teaches at

night. Right? They don't even know

each other, but they share the same

room. It's cheaper that way. As a

matter of fact, they sleep in the

same bed -- in shifts, of oourse.

BETTY:

Are you kidding? Because I think

it's good.

GILLIS:

So do I.

BETTY:

Came on back. Let me show you

where it fits in.

She reaches in a drawer for her notes on Dark

Windows.

GILLIS:

(At the door)

So long.

Betty picks up the apple and is about to throw it

after him.

BETTY:

Oh, you --

GILLIS:

And here's a title: AN APPLE FOR

THE TEACHER.

He ducks out quiokly, slamming the door behind him.

Betty looks after him, then angrlly hurls the

apple into the wastebasket.

D-21 STAIRCASE OUTSIDE READERS' DEPARTMENT

Max is rush1ng up the stairs toward the descending

Gillis.

GILLIS:

What's the matter, Max?

MAX:

I just found out why all those tele-

phone calls. It is not Miss Desmond

they want. It is the car they want

to rent.

GILLIS:

What?

Max has seen something off.

MAX:

Ssh...

With his head he indicates

D-22 ENTRANCE TO STAGE 18

The first assistant has opened the door. DeMille

is showing Norma out.

DE MILLE:

Goodbye, young fellow. We'll see

what we can do.

NORMA:

(embracing him)

I'm not worried. Everything will

be fine. The old team together.

Nothing can stop us.

She turns and walks out of the shot. De Mille

stands for a second watching her, then turns to

his assistant.

DE MILLE:

Get Gordon Cole. Tell him to forget

about her car. He can find another

old car. I'll buy him five old cars,

if necessary.

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