:28:05
I thought if I got going
I could finish it in a couple of weeks.
:28:09
But it wasn't so simple getting
coherence into her wild hallucinations.
:28:15
It was made tougher with her
around all the time, hovering over me,
:28:20
afraid I'd do injury
to that precious brainchild of hers.
:28:29
What's that?
:28:32
- Just a scene I threw out.
- Which scene?
:28:35
The slave market.
It's better to cut directly to...
:28:38
Cut away from me?
:28:40
It's too much of you.
They don't want you in every scene.
:28:44
Then why do they still write me fan
letters and beg for my photographs?
:28:49
Because they want to see me -
me, Norma Desmond.
:28:53
Put it back.
:28:55
OK.
:29:10
I didn't argue with her.
:29:12
You don't yell at a sleepwalker.
He may fall and break his neck.
:29:16
That's it. She was still sleepwalking
along the giddy heights of a lost career.
:29:21
Plain crazy when it came
to that one subject: Her celluloid self.
:29:26
The great Norma Desmond.
:29:29
How could she breathe in that house
so crowded with Norma Desmonds?
:29:33
More Norma Desmonds
and still more Norma Desmonds.
:29:41
It wasn't all work, of course.
:29:43
Three times a week,
Max hauled up that painting
:29:47
presented to her by some
Nevada chamber of commerce.
:29:50
And we'd see a movie,
right in her living room.
:29:54
So much nicer than going out,
she'd say.
:29:58
The plain fact was
she was afraid of that world outside,