Musicals - Sunset Boulevard - Paramount Conversations Lyrics
(The Isotta-Fraschini turns off Brobnson and pulls up in front of the main gates.For the moment, nothing happens; but MAX , it emerges, is engaged in important business,Staring fixedly into the rear view mirror.)MAXIf you will pardon me, Madame, the shadow over the left eye is not quite balanced.NORMAThank you, Max.(She attends to it, using a handkerchief. Meanwhile, MAX sounds the horn impatiently.A young STUDIO GUARD breaks off a conversationHE's been having with an EXTRA dressed as an indian brave.)GUARDHey, that's enough of that.MAXTo see Mr. DeMille. Open the gate.GUARDMr. DeMille is shooting. You need an appointment.MAXThis is Norma Desmond. No appointment is necessary.GUARDNorma who?(Meanwhile, however, NORMA has recognized JONES,Who is sifting on a wooden chair, reading a newspaper. She rolls down the window.)NORMAJonesy!(JONES looks up, frowning; then his expression clears and he approaches the car.)JONESWhy, if it isn't Miss Desmond. How have you been, Miss Desmond?NORMAFine, Jonesy. Open the gate.(JONES turns tohis young COLLEAGUE.)]ONESYou heard Miss Desmond.GUARDThey don't have a pass.(JONES shakes his head, exasperated, and begins to open the gate himself.The car moves forward.)JONESStage 18, Miss Desmond.NORMAThank you, Jonesy. And teach your friend some manners.Tell him without me there wouldn't be any Paramount Studio.(As the car glides through the gates, JONES picks up his telephone.)JONESGet me Stage 18. I have a message for Mr. DeMille.(A scene-change reveals the cavernous exterior of Sound Stage 18,Where the STAND-INS for Victor Mature and Hedy Lamaar are in position, in a blaze of light,On the grandiose "Samson and Delilah" set. MR. DEMILLE,Recognizable from the parody version of Act I, confers with his DIRECTOR OF PHOTOGRAPHY.HE's interrupted by one of his assistants, HEATHER, who approaches with some trepidation.)HEATHERMr. DeMille?DEMILLEWhat is it?HEATHERNorma Desmond is here to see you, Mr. DeMille.DEMILLENorma Desmond?HEATHERShe's here at the studio.DEMILLEIt must be about that appalling script of hers. What shall I say?HEATHERMaybe I could give her the brush.DEMILLEThirty million fans have given her the brush. Isn't that enough? Give me a minute.(He turns towards the set.Meanwhile, NORMA has arrived outside the studio with MAX and JOE.She hesitates for a moment, gripping JOE's hand fiercely.)NORMAWon't you come along, darling?(JOE shakes his head.)JOEIt's your script. It's your show. Good luck.NORMAThank you, darling.(By this time, HEATHER has emerged from the studio. She comes over to greet NORMA.)HEATHERMiss Desmond.(She leads NORMA towards the studio. DE MILLE is waiting just inside; he envelops her in his arms.)DEMILLEWell, well, well.NORMAHello, Mr. DeMille.(A long embrace.)NORMALast time I saw you was some place terribly gay. I was dancing on a table.DEMILLEA lot of people were. Lindbergh had lust landed.(He starts to lead her into the studio.)NORMAYou read the script, of course.DEMILLEWell, yes...NORMAI know how busy you are when you're shooting,But I really think you could have picked up the phone yourself, instead of leaving it to some assistant.DEMILLEI don't know what you mean, Norma.NORMAYes, you do.DEMILLECome on in.(HE leads her into the studio, a bewildering chaos of sound and activity, which at first stuns her.HE shouts to be heard above the cacophony.He hurries off. Slowly, as NORMA looks around, the sound fades to nothing.She stands there, looking around the old familiar space. Suddenly, a VOICE rings out.)VOICEMiss Desmond! Hey, Miss Desmond!(NORMA looks around, unable to identify the source of the VOICE)HOG-EYEUp here, Miss Desmond; it's Hog-eye!(NORMA looks up. Up in the flies, balanced on the walkway, is a quite elderly ELECTRICIAN.)NORMAHog-eye! Well, hello!HOG-EYELet's get a look at you.(And so saying, HE swivels one of the big lamps until it finds her.SHE stands for a moment, isolated, bathed in the light.Then, from all over the studio, murmuring among themselves, TECHNICIANS, EXTRASAnd STAGEHANDS begin to converge on her.)NORMAI don't know why I'm frightened,I know my way around hereThe cardboard trees,The painted seas,The sound here.Yes, a world to rediscoverBut I'm not in any hurryAnd I need a moment.The whispered conversationsIn overcrowded hallways,The atmosphereAs thrilling hereAs always.Feel the early morning madnessFeel the magic in the makingWhy, everything's as if we never said goodbye.I've spent so many morningsJust trying to resist youI'm trembling nowYou can't know howI've missed you,Missed the fairy-tale adventuresIn this ever-spinning playground,We were young together.I'm coming out of make-upThe lights already burningNot long untilThe cameras willStart turning.Feel the early morning madnessFeel the magic in the makingYes, everything's as if we never said goodbye.I don't want to be aloneThat's all in the pastThis world's waited long enoughI've come home at last.And this time will be biggerAnd brighter than we knew itSo watch me flyWe all know ICan do it.Could I stop my hand from shaking?Has there ever been a momentWith so much to live for?The whispered conversationsIn overcrowded hallways,So much to sayNot just todayBut alwaysWe?ll have early morning madnessWe'll have magic in the makingYes, everything?s as if we never said goodbye.Yes, everything?s as if we never said goodbye.We taught the world new ways to dream.(The focus shifts to outside the studio, where JOE has moved off to lean against a wall,Smoke a cigarette, and enjoy the passing parade. Suddenly, HE sees BETTY hurrying past,A bundle of scripts under her arm. HE thinks about avoiding HER altogether,But she's seen him and bears down on him.)BETTYWell, hello,Mr. Gillis.Where have you beenKeeping yourself?JOESomeone'sBeen doing it for me.BETTYAnd meanwhile "Blind Windows"Is stuck on the shelf.You saidWe'd work together.JOENew Year's crisisWhat can I say?BETTYAlwaysFull of excuses.JOEPromise I'll call youLater today.(BETTY looks at HIM for a moment.)BETTYYou said that last time.JOEBetty, I won't let you down.BETTYI guess I'll just have to trust you.(BETTY smiles at him and hurries on.During this exchange, SHELDRAKE has entered. HE stops having caught sight of the Isotta.HE tries to catch MAX?s attention, but MAX deliberately ignores him. Finally,SHELDRAKE plants himself unavoidably in front of him.)SHELDRAKEYou're Miss Desmond?s German shepherd.I'm the one who's been calling.The name is Sheldrake, A couple of weeks ago, I was looking out of my office windowAnd I saw you driving on to the lot. And I said that's exactly the car I've been looking for.Great for my new Crosby picture. So, I made some inquiries and I've been calling for two weeks.Doesn?t she ever answer the phone? It's so perfect.You can't find that kind of quality outside of a museum.We?re willing to pay a hundred dollars a week...MAXIt's outrageous,You insult her,How can you be so cruel?I forbid you to approach her.SHELDRAKEYou're insane.MAXGo away.Go away!(SHELDRAKE hurries off. In the studio, DEMILLE has been attempting to set up his shot.Now, however, unable to ignore the kerfuffle surrounding NORMA,He steps down and approaches her; NORMA turns to him, radiant.)NORMADid you seeHow they all cameCrowding around?They still love meAnd soon we'll beBreaking new ground.Brave pioneers.DEMILLEThose were the days.NORMAJust like before.DEMILLEWe had such fun.NORMAWe gave the worldNew ways to dream.NORMA AND DEMILLEWe always foundNew ways to dream.(The red light goes on and the studio bell shrills.VICTOR MATURE and HEDY LAMARR arriveTo take the place of their identically costumed STAND-INS.)DEMILLELet's have a good long talk one day.NORMAThe old team will be back in business.DEMILLESorry, my next shot's ready.(He begins to walk her towards the studio door.Meanwhile, outside, JOE has moved over towards MAX and notices right away,From the LATTER's thunderous expression, that something disturbing has happened.)MAXMr. Gillis...JOEWhat's the matter, Max?MAXI just found out the reason for all those phone calls from Paramount.It's not Madame they want. It's her car.JOEOh, my God.(DEMILLE and NORMA have reached the doorway of the studio.)NORMANow, you remember, don't you? I don't work before 10 or after 4:30 in the afternoon.DEMILLEIt isn't entirely my decision, Norma, New York must be consulted.NORMAThat's fine. You ask any exhibitor in the country. I'm not forgotten.DEMILLEOf course you're not.(He embraces her.)DEMILLEGoodbye, young fellow. We'll see what we can do.NORMAI'm not worried. It's so wonderful to be back.(SHE turns and sweeps regally away towards her car, the door of which MAX is holding open.DEMILLE waves goodbye to her; then, as the Isotta drives off,HE shakes his head, disturbed, and moves, preoccupied, back towards the studio doorway.HEATHER is waiting for him. BETTY rushes out of the soundstage)BETTYWas that really Norma Desmond?DEMILLEIt was.HEATHERShe must be about a million years old.DEMILLEI hate to think where that puts me. I could be her father.HEATHEROh, I'm sorry, Mr. DeMille.(The shot is ready, and EVRYONE is waiting on DEMILLE's orders,But HE pauses for a moment, in pensive mood, his hand on the back of his chair.)DEMILLEIf you could have seenHer at seventeenWhen all of her dreams were new,Beautiful and strong,Before it all went wrong;She's never known the meaning ofSurrender;Never known the meaning ofSurrender.(Slow fade to black.)
