1:04:00
- Sorry, Mr DeMille.
- It must be about her awful script.
1:04:05
What can I tell her?
1:04:08
I can tell her you're in the projection
room, give her the brush.
1:04:12
Thirty million fans gave her
the brush. Isn't that enough?
1:04:15
- I didn't mean...
- Of course not.
1:04:18
You didn't know Norma Desmond
as a lovely girl of 17,
1:04:22
with more courage and wit and heart
than ever in one youngster.
1:04:27
- I hear she was a terror to work with.
- Only toward the end.
1:04:31
A dozen press agents
working overtime
1:04:35
can do terrible things
to the human spirit.
1:04:39
Hold it.
1:04:47
- Don't you want to come along?
- It's your script, your show.
1:04:51
- Good luck.
- Thank you, dearest.
1:04:56
Well, hello, young fellow.
1:04:59
- Hello, Mr DeMille.
- Good to see you.
1:05:02
I saw you last someplace very gay.
1:05:04
I remember I was dancing on a table.
1:05:07
A lot of people were. Lindbergh
had just landed in Paris. Come on in.
1:05:14
Norma, I must apologise
for not calling you.
1:05:18
You'd better, I'm very angry.
1:05:19
- You can see I'm terribly busy.
- That's no excuse.
1:05:23
- You read the script, of course?
- Yes.
1:05:26
You could've called me yourself,
instead of leaving it to an assistant.
1:05:31
- What assistant?
- Don't play innocent. Gordon Cole.
1:05:36
Gordon Cole?
1:05:37
If you hadn't been pretty interested,
1:05:40
he wouldn't have tried to get me
on the telephone ten times.
1:05:45
I'm in the middle of a rehearsal.
1:05:48
Why don't you sit in my chair
and make yourself comfortable?
1:05:52
- Thank you.
- That's the girl. I won't be a moment.
1:05:57
Bring me a telephone
and get me Gordon Cole.