Musicals – Sunset Boulevard – Completion Of The Script lyrics

JOE
In December, the rains came. One great big package, over-sized,
Just like everything else in California;
And it came right through the roof of my room above the garage.
So she had me moved into the main house.
Into what Max called “the room of the husbands”.
And on a clear day, the theory was, you could see Catalina.
And little by little I worked through to the end of the script.
At which point I might have left:
Only by then those two boys from the finance company had traced my car and towed it away,
And I hadn’t seen one single dollar of cash money since I arrived.

NORMA
Stop that!
Today’s the day.

JOE
What do you mean?

NORMA
Max is going to deliver the script to Paramount.

JOE
You’re really going to give it to DeMille?

NORMA
I’ve just spoken with my astrologer. She read DeMille’s horoscope; she read mine.

JOE
Did she read the script?

NORMA
DeMille is Leo; I’m Scorpio.
Mars is transiting Jupiter and today is the day of closest conjunction.

JOE
Oh well, that’s all right, then.

NORMA
Max.

MAX
Yes, Madame.

NORMA
Make sure it goes to Mr. DeMille in person.

JOE
Well…

NORMA
Great day.

JOE
It’s been real interesting.

NORMA
Yes…hasn’t it?

JOE
I want to thank you for trusting me with your baby.

NORMA
Not at all, it is I who should thank you.

JOE
Will you call and let me know as soon as you have some news?

NORMA
Call? Where?

JOE
My apartment.

NORMA
Oh, but you couldn’t possibly think of leaving now, Joe.

JOE
Norma, the script is finished.

NORMA
No, Joe. No. It’s just the beginning, it’s just the firt draft.
I couldn’t dream of letting you go, I need your support.

JOE
Well, I can’t stay.

NORMA
You’ll stay on with full salary, of course…

JOE
Oh, Norma, it’s not the money
Yes, of course, I’ll stay until we get some sort of news back from Paramount.

NORMA
Thank you. Thank you, Joe.

JOE
So, Max wheeled out that foreign bus
Brushed the leopardskin upholstery
He trundled along to Paramount
To hand Cecil B. our hopeless opus
My work was over
I was feeling no pain
Locked up like John the Baptist

Musicals – Sunset Boulevard – Betty’s Office At Paramount lyrics

It is night on the Paramount lot and BETTY is once again at her typewriter,
But this time there is some light on the standing New York street set,
Which is being dressed for action the following day. JOE watches as BETTY finishes typing.

BETTY
T-H-E E-N-D! I can’t believe it, I’ve finished my first script!

JOE
Stop it, you’re making me feel old.

BETTY
It’s exciting, though, isn’t it?

JOE
How old are you, anyway?

BETTY
Twenty-two.

JOE
Smart girl.

BETTY
Shouldn’t we open some champagne?

JOE
Best I can offer is a stroll to the water cooler at the end of the lot.

BETTY
Sounds good to me.

(Pause)

I love the back lot here. All cardboard, all hollow, all phoney, all done with mirrors;
I think I love it better than any street in the world. I spent my childhood here.

JOE
What were you, a child actress?

BETTY
No, but my family always expected me to become a great star.
I had ten years of dramatic lessons, diction, dancing, everything you can think of;
Then the studio made a test.

JOE (Laughing)
That’s the saddest story I ever heard.

BETTY
Not at all. Come on.

(Pause)

BETTY
I was born two blocks from here. My father was head electrician at the studio until he died,
And Mother still works in wardrobe.

JOE
Second generation, huh?

BETTY
Third. Grandma did stunt work for Pearl White.

(As THEY walk down the Manhattan street, the stage begins to revolve slowly,
So that THEY end up walking Downstage;
And the flimsy struts holding up the substantial sets are gradually revealed.

JOE and BETTY walk in silence for a while; BETTY’s expression is deeply preoccupied.
They come to a halt in front of the water cooler.)

JOE
I guess it is kind of exciting, at that, finishing a script.

(HE fixes a couple of paper cups of water, and hands one to BETTY,
Who’s miles away and comes to with a start when he touches her arm.)

BETTY
What?

JOE
Are you all right?

BETTY
Sure.

JOE
Something’s the matter, isn’t it?

(Pause. Then BETTY blurts out.)

BETTY
I had a telegram from Artie.

JOE
Is something wrong?

BETTY

He wants me to come out to Tennessee.
He says it would only cost 2 dollars to get married in Clinch.

JOE
Well, what’s stopping you! Now we’ve finished the script…

(He breaks off, amazed to see that SHE’s crying.)

JOE
Why are you crying? You’re getting married, isn’t that what you wanted?

BETTY
Not any more.

JOE
Don’t you love Artie?

BETTY
Of course I do. I’m just not in love with him any more, that’s all.

JOE
Why not? What happened?

BETTY
You did.

(Suddenly, THEY’re in each other’s arms. A long kiss.)

BETTY
When I was a kid,
I played on this street,
I always loved illusion.
I thought make-believe
Was truer than life
But now it’s all confusion.

Please can you tell me what’s happening?
I just don’t know any more.
If this is real,
How should I feel?
What should I look for?

JOE
If you were smart,
You would keep on walking
Out of my life,
As fast as you can.

I’m not the one
You should pin your hopes on,
You’re falling for
The wrong kind of man.

This is crazy.
You know we should call it a day.
Sound advice, great advice,
Let’s throw it away.

I can’t control
All the things I’m feeling,
I haven’t got a prayer.

If I’m a fool,
Well, I’m too much in love to care.
I knew where I was,
I’d given up hope,
Made friends with disillusion.

No one in my life,
But I look at you,
And now it’s all confusion.

BETTY
Please can you tell me what’s happening?
I just don’t know any more.
If this is real,
How should I feel?
What should I look for?

I thought I had
Everything I needed.
My life was set,
My dreams were in place.
My heart could see
Way into the future.
All of that goes
When I see your face.

I should hate you,
There I was, the world in my hand.
Can one kiss kiss away
Everything I planned?

I can’t control
All the things I’m feeling,
I’m floating in mid-air.
I know it’s wrong,
But I’m too much in love to care.

JOE AND BETTY
I thought I had
Everything I needed.
My life was set,
My dreams were in place.
My heart could see
Way into the future.
All of that goes
When I see your face.
This is crazy.
You know we should call it a day.

JOE
Sound advice

BETTY
Great advice

JOE AND BETTY
Let’s throw it away.
I can’t control
All the things I’m feeling.
We’re floating in mid-air.
If we are fools,
Well, we’re too much in love to care.
If we are fools,
Well, we’re too much in love to care!

(They fall into each other’s arms and embrace passionately.
Then JOE leads BETTY by the hand back into the office.
They kiss again and it is obvious that THEY’re about to make love.)

Musicals – Sunset Boulevard – At The House On Sunset lyrics

The sound of heavy rain. It’s day-time but dull enough to need the lights on.
JOE’s typewriter is no longer on the table, but closed and standing on end on the floor.
HE’s alone in the great room, playing solitaire.
MAX is at the organ, wearing his white gloves, playing.
HE looks up at the audience, breaks off from his game.

JOE
In December, the rains came.
One great big package, over-sized, like everything else in California;
And it came right through the roof of my room above the garage.
So she had me moved into the main house.
Into what Max called ” The room of the husbands.”
And on a clear day, the theory was, you could see Catalina.
And little by little I worked through to the end of the script.
At which point I might have left;
Only by then those two boys from the finance company had traced my car and towed it away;
And I hadn’t seen one single dollar of cash money since I arrived.

(HE resumes his game;
All of a sudden NORMA sweeps out of her room and down the stairs.
SHE’s holding a fat typescript in her hand. SHE snaps at MAX.)

NORMA
Stop that!

(MAX stops playing.)

Today’s the day.

JOE
What do you mean?

NORMA
Max is going to deliver the script to Paramount.

JOE
You’re really going to give it to De Mille?

NORMA
I’ve just spoken with my astrologer.
She read De Millle’s horoscope; she read mine.

JOE
Did she read the script?

NORMA
De Mille is Leo; I’m Scorpio.
Mars is transiting Jupiter, and today is the day of closest conjunction.

JOE
Oh, well, that’s all right, then.

NORMA
Max

MAX
Yes, Madame

(SHE hands the typescript to MAX.)

NORMA
Make sure it goes to Mr. De Mille in person.

(HE leaves the house by the front door. There’s a silence;
NORMA moves up and down in a state of heightened emotion;
JOE is steeling himself to broach a difficult subject.)

JOE
Well….

NORMA
Great day.

JOE
It’s been real interesting.

NORMA
Yes… hasn’t it?

JOE
I want to thank you for trusting me with your baby.

NORMA
Not at all, it is I who should thank you.

JOE
Will you call and let me know as soon as you have some news?

(NORMA frowns; SHE turns to him, her expression bewildered.)

NORMA
Call? Where?

JOE
My apartment.

NORMA
Oh, but, you couldn’t possibly think of leaving now, Joe.

JOE
Norma, the script is finished.

NORMA
No, Joe. No. It’s just the beginning,
It’s just the first draft: I couldn’t dream of letting you go, I need your support.

JOE
Well, I can’t stay.

NORMA
You’ll stay on with full salary, of course…

JOE
Oh, Norma, it’s not the money.

(NORMA now has a look of genuine panic on her face,
And JOE sees that some reassurance is essential.)

Yes, of course, I’ll stay until we get some sort of news back from Paramount.

(HE’s on his feet now, and NORMA grips his hand tightly for a moment.)

NORMA
Thank you, thank you, Joe.

(SHE releases his hand and moves off leaving him a little shaken by this turn of events,
His expression rueful. HE turns to the audience.)

JOE
So, Max wheeled out that foreign bus
Brushed the leopardskin upholstery.
He trundled along to Paramount
To hand Cecil B. our hopeless opus.
My work was over
I was feeling no pain
Locked up like John the Baptist.
Last Update: December, 24th 2013

Musicals – Sunset Boulevard – New Ways To Dream lyrics

NORMA
This was dawn
There were no rules
We were so young
Movies were born
So many songs
Yet to be sung
So many roads
Still unexplored
We gave the world
New ways to dream
Somehow we found
New ways to dream

Joan of Arc:
Look at my face
Isn’t it strong?
There in the dark
Up on the screen
Where I belong

We’ll show them all
Nothing has changed
We’ll give the world
New ways to dream
Everyone needs
New ways to dream

JOE
I didn’t argue, why hurt her?
You don’t yell at a sleepwalker
Or she could fall and break her neck
She smelled of faded roses
It made me sad to watch her
As she relived her glory
Poor Norma
So happy
Lost in her silver heaven

NORMA
Nothing has changed
We’ll give the world
New ways to dream
Everyone needs
New ways to dream
Last Update: December, 24th 2013

Musicals – Sunset Boulevard – Let’s Have Lunch lyrics

JOE
Hi there, Myron

MYRON
How’s it hanging?

JOE
I’ve got a date with Sheldrake

MYRON
I’m shooting a Western down at Fox

JOE
How can you work with Darryl?

MYRON
We should talk

JOE
Gotta run

BOTH
Let’s have lunch

MARY
Hi, Mr. Gillis

JOE
You look great!

MARY
I’m up for an audition

JOE
Sheldrake is driving me insane

MARY
Don’t forget me when you’re casting

JOE
We should talk

MARY
Gotta run

BOTH
Let’s have lunch

JOE MARY
Morning, Joanna Hi there, Myron

JOANNA MYRON
Who are you meeting? You look great

JOE MARY
Sheldrake, but do I need it? I’ve spent the last month fasting

JOANNA MYRON
I’m handing in my second draft I’m shooting a Western down at Fox

JOE MARY
I’d really love to read it Don’t forget me when you’re casting

JOANNA MYRON
We should talk We should talk

JOE MARY
Gotta run Gotta run

BOTH BOTH
Let’s have lunch Let’s have lunch

JOE
Yeah, I have an appointment with Mr. Sheldrake.

JONES
Name?

JOE
Gillis. Joseph Gillis.

JONES
All right, sir, you know your way?

JOE
Yeah.

1ST FINANCEMAN
We want the keys to your car

2ND FINANCEMAN
You’re way behind with the payments

1ST FINANCEMAN
Don’t give us any fancy footwork…

2ND FINANCEMAN
Give us the keys.

JOE
I only wish I could help
I loaned it to my accountant
He has an important client down in Palm Springs
Felt like shooting the breeze

1ST FINANCEMAN
Are you telling us you walked here?

JOE
I believe in self-denial
I’m in training for the priesthood

2ND FINANCEMAN
O.K., wise guy, three hundred bucks.

1ST FINANCEMAN
Or we’re taking the car.

2ND FINANCEMAN
We have a court order.

JOE
I love it when you talk dirty.

SAMMY
Bless you, Joseph

JOE
That you, Sammy?

SAMMY
How do you like my harem?

JOE
How come you get such lousy breaks?

SAMMY
One learns to grin and bear ’em

GIRLS
This is the biggest film ever made.

JOE
What’re you playing?

ANITA
Temple virgin

DAWN
Handmaiden to Delilah

JOE
Let’s have lunch
Gotta run

You’ve got to find me a job
I’m way behind with my payments
I thought you were meant to be my agent
I need some work

MORINO
I only wish I could help
This town is dead at the moment
There’s been this slowdown in production…

JOE
Who is this jerk?

MORINO
He’s my wunderkid from Broadway
Every major studio wants him

YOUNGER MAN
Playing one against the other…

JOE
What I need is three hundred bucks

MORINO
Maybe what you need is a new agent.

JOE
Hello, Artie

ARTIE
Joe, you bastard!

JOE
You never call me any more

ARTIE
Found a cuter dancing partner
How are things?

JOE
Not so great

ARTIE
Will this help?
Twenty bucks?

JOE
Thanks, you’re a pal.

ALL
Good morning, Mr. DeMille.

MYRON
Good morning, C.B.

SHELDRAKE
This is Sheldrake
Bring some water
Get me that shithead Nolan

Nolan, sweetheart
Great to talk
This draft is so much brighter
You’re the best
Even so
I’ve hired another writer

SECRETARY
Mr. Gillis.

SHELDRAKE
Joe! What the fuck brings you here?

JOE
You wanted to see me.

SHELDRAKE
I did? What about?

JOE
“Bases Loaded.” It’s an outline for a baseball picture.

SHELDRAKE
So, pitch.

JOE
It’s about a rookie shortstop. He’s batting .347.
The kid was once mixed up in a holdup. Now he’s trying to go straight.

SHELDRAKE
Wait a minute. Wait a minute. I think I have read this.
Somebody, bring in what we’ve got on…

JOE
“Bases Loaded.”

SHELDRAKE
…”Bases Loaded.”

JOE
They’re pretty hot for it over at Twentieth.

SHELDRAKE
Good!

JOE
But can you see Ty Power as a shortstop?

ENSEMBLE
Let’s have lunch

BETTY
Here’s that “Bases Loaded” materical, Mr. Sheldrake.
I made a two-page synopsis for you, but I wouldn’t bother to read it.

SHELDRAKE
Why not?

BETTY
It’s just a rehash of something that wasn’t very good to begin with.

SHELDRAKE
Meet Mr. Gillis. He wrote it.

ENSEMBLE
We should talk

SHELDRAKE
This is Miss Kramer.

BETTY
Schaefer. Betty Schaefer. And right now, I’d like to crawl into a hole and pull it in after me.

JOE
If I could be of any help…

BETTY
I’m sorry, Mr. Gillis, I couldn’t see the point of it.

JOE
What sort of material do you suggest? James Joyce? Dostoyevsky?

BETTY
I think pictures should at least try to say a little something.

JOE
I see you’re one of the message kids.
I expect you’d have turned down “Gone With the Wind”.

SHELDRAKE
No, that was me.

ENSEMBLE
Gotta run

BETTY
And I guess I was disappointed.
I’ve read some of your other work and I thought you had some real talent.

JOE
Yeah, that was last year. This year I felt like eating.

BETTY
Well, I’m sorry, Mr. Gillis.

SHELDRAKE
Thank you, Miss Kramer.
Well, looks like Zanuck’s got himself a baseball picture.

ENSEMBLE
We should talk
Gotta run
Let’s have lunch

JOE
You’ve got to give me some work
I’ll take whatever’s on offer
There must be some shit that needs a rewrite
Throw it my way

SHELDRAKE
I only wish I could help
There’s no spare shit at the moment
Remember the greatest writers starved in Garrets
Didn’t care about pay

JOE
Are you trying to be funny?

SHELDRAKE
I believe in self-denial
Gives a man some moral backbone

JOE
Can you loan me three hundred bucks?

SHELDRAKE
I’m sorry, Gillis. Good-bye.

JOE
I just love Hollywood.

MYRON
Morning, Joanna CLIFF
Where’ve you been hiding? SAMMY
Hi there, Lisa MYRON
How’re you doing? KATHERINE

I hate this weather CLIFF
You look great LIZ
RKO are O.K.!

MARY
What’re you doing? JOANNA
You look great GIRLS
This is the biggest film ever made CLIFF
I’m trying to make my mind up MARY

Guess I was born to play her DAWN
What is my motivation?

JOANNA
You look great SAMMY
They’re talking nominations LIZ
You should go work for Warners’ MYRON
Is your new script with Sheldrake? MORINO

I’m very close to Sheldrake ARTIE
We shoot next month

SAMMY, SANDY, ARTIE, MORINO, MYRON
Gotta run

JOHN
Let’s drive to Vegas this weekend

KATHERINE, JOANNA
Let’s have lunch

ANITA
You look great JOANNA
I’m handing in my second draft MARY
It’s between me and Dietrich KATHERINE
I’ve landed a big Broadway show ADAM

I’m gonna work for Metro CLIFF
Let’s have lunch MARY
Let’s have lunch

GIRLS
Let’s have lunch, this is the biggest film ever made MYRON
I’d really love to read it CLIFF
I’d know just how to light you JOHN
Let’s have lunch JOHN/LISA

It won’t work MORINO
Let’s pencil Thursday morning

GROUP 1
We should talk

GROUP 2
Gotta run

CHORUS
Let’s have lunch!

Hi, good morning. Aren’t we lucky?
Going to work with Cukor
Paramount is paradise
Movies from A to Zukor
We should talk, gotta run

GROUP 1
Let’s have lunch

GROUP 2
We should talk

GROUP 1
Gotta run

GROUP 2
Gotta run

ALL
Let’s have lunch!
Last Update: December, 24th 2013

Musicals – Sunset Boulevard – Girl Meets Boy (Reprise) lyrics

JOE
How about
They don’t know each other
He works the night shift
And she takes clases all day?
Here’s the thing, they both share the same room
Sleep in the same bed
It works out cheaper that way

BETTY
I’ve a feeling you’re just kidding
But to me it sounds believable
Makes a better opening than that car chase scene
Girl find boy, borrowing her toothbrush
Or oversleeping
Or at her sewing machine

JOE
You know, it’s not bad, there are some real possibilities…

BETTY
Who’s Norma?

JOE
Who’s who?

BETTY
Sorry, I don’t usually read private cigarett cases.

JOE
Norma’s a friend of mine: middle-aged lady, very foolish, very generous.

BETTY
I’ll say: this is solid gold. “Mad about the boy”?

JOE
So how’s Artie?

BETTY
Stuck in Tennessee. It rains all the time, they’re weeks behind.
No one knows when they’ll be back.

JOE
Good.

BETTY
What’s good about it? I’m missing him something fierce.

JOE
No, I mean this idea we had. It’s really pretty good.
Back to work.

BETTY
What if he’s a teacher?

JOE
Where does that get us?
Don’t see what good it would do.

BETTY
No, it’s great
If they do the same job

JOE
So much in common
They fall in love, wouldn’t you?

BETTY
Yes, but if he’s just a teacher
Then we lose those scenes in the factory

JOE
Not if he’s a champion for the working man.
Girl likes boy, she respects his talent

BETTY
Working with someone can turn you into a fan

JOE
This is fun, writing with a partner

BETTY
Yes, and it could be…

JOE
A helluva movie

BETTY
Can we really do this?

BOTH
I know that we can!

Musicals – Sunset Boulevard – Girl Meet Boy lyrics

JOE
Girl meets boy
That’s a safe beginning

BETTY
It’s nearly closing
I thought you weren’t going to show

JOE
So did I
I felt it might be kinder

BETTY
What are you saying?

JOE
Come on, Miss Schaefer, you know

BETTY
What?

JOE
Every time I see some young kid
Dreaming they’ll produce a masterpiece
I just want to throw them on the next train home

BETTY
Never thought
You’d be so condescending

JOE
Sorry, Miss Schaefer
I didn’t come here to fight

BETTY
Girl meets boy
If that’s how you want it
She’s a young teacher
He’s a reporter
It’s hate at first sight

JOE
It won’t sell
These days they want glamour
Fabulous heiress meets handsome Hollywood heel
The problem is
She thinks he’s a burglar
Would you believe it?
A wedding in the last reel

BETTY
It doesn’t have to be so mindless
You should write from your experience
Give us something really moving;
Something true

JOE
Who wants true?
Who the hell wants moving?
Moving means starving
And true means holes in your shoe

BETTY
No, you’re wrong
They still make good pictures
Stick to your story
It’s a good story

JOE
O.K., Miss Schaefer:
I give it to you

BETTY
What do you mean?

JOE
Just what I said. I’ve given up writing myself. So you write it.

BETTY
Oh, I’m not good enough to do it on my own.
But I thought we could write it together.

JOE
I can’t. I’m all tied up.

BETTY
Couldn’t we work evenings? Six o’clock in the morning? I’d come to your place.

JOE
Look, Betty, it can’t be done. It’s out.
Let’s keep in touch through Artie.
That way if you get stuck, we can at least talk.

Write this down
I’ll give you some ground rules
Plenty of conflict
But nice guys don’t break the law
Girl meets boy
She gives herself completely
And though she loves him

JOE/BETTY
She keeps one foot on the floor

BETTY
No one dies except the best friend
No one ever mentions communists
No one takes a black friend to a restaurant

JOE
Very good.
Nothing I can teach you.
We could have had fun
Fighting the studio

BETTY
Yes, Mr. Gillis
That’s just what I want.

ARTIE
What a nightmare
Good to see you
Come to my new year’s party

JOE
Last year it got out of hand

ARTIE
Guaranteed bad behaviour

JOE
See you then

BETTY
Don’t give up
You’re too good

JOE
Thanks.

Musicals – Sunset Boulevard – Every Movie’s A Circus lyrics

JOE
Come to get your knife back?
It’s still right there, right between my shoulder blades.

BETTY
I read
One of your stories
Wasn’t it Scribner’s
Some magazine.
Title –
Something with windows.

JOE
It was “Blind Windows”
If that’s what you mean

BETTY
That’s right
I really liked it

JOE
I’m all warm and runny inside

BETTY
Let me pitch it to Sheldrake

JOE
I may be broke
But I still have my pride

BETTY
Come on.
Get off your high horse
Writers with pride don’t live in L.A.
Silence
Exile and cunning
Those are the only cards you can play

JOE
Sheldrake won’t buy this story
He likes trash with fairy lights
Jesus, think of the effort
Trying to get him to heighten his sights

BETTY
Every movie’s a circus
Can’t we discuss this
Schwab’s Thursday night?

JOE
What for?
Nothing will happen
I gotta go now
Fight the good fight

BETTY
What’s the rush?

JOE
See those gorillas?

BETTY
Yes, what about them?

JOE
Do me a terrific favour
Keep them amused while I escape

BETTY
If you’re at Schwab’s on Thursday

JOE
Done. Look, those guys are after my car.
If I lose that in this town, it’s like having my legs cut off.

BETTY
Let’s duck into the soundstage.

1ST FINANCEMAN
Come on, Gillis, give us the keys.

BETTY
Shhh! Please be quiet, Mr. DeMille is shooting right over there.

1ST FINANCEMAN
So what?

BETTY
He’s working on “Samson and Delilah”: they’re doing a red-hot scene with Hedy Lamarr.
You want to stay and watch?

1ST FINANCEMAN
No.

2ND FINANCEMAN
Relax, we got five minutes.

BOTH FINANCEMEN
Hey, hey, come back here…
Last Update: December, 24th 2013

Musicals – Sunset Boulevard – New Year’s Eve (Back At The House On Sunset) lyrics

NORMA
Go away.

JOE
What kind of a silly thing was that to do?

NORMA
I’ll do it again! I’ll do it again! I’ll do it again!

JOE
Attractive headline: “Great Star kills herself for Unknown Writer”.

NORMA
Great stars have great pride.
You must have some girl, why don’t you go to her?

JOE
I never meant to hurt you, Norma. You’ve been good to me.
You’re the only person in this stinking town that’s ever been good to me.

NORMA
Then why don’t you say thank you and go? Go, go! Go!

JOE
Happy New Year.

NORMA
Happy New Year, darling.

Musicals – Sunset Boulevard – New Year’s Eve lyrics

JOE
Max, you’ve pulled the stops out
It looks like Gala Night aboard S.S. Titanic
Will we play spot the actor?
As if we’re visiting a gallery of waxworks?

MAX
Would you rather I mix for you a dry martini
Or shall I open the champage

JOE
Max, don’t be so evasive
Who’s she invited to the ball?

MAX
Madame herself made every call

NORMA
Here. Happy New Year.

JOE
Norma, I can’t take this.

NORMA
Oh, shut up. Open it. Read what it says.

JOE
“Mad about the boy”.

NORMA
Yes; and you do look absolutely divine.

JOE
Well, thank you.

NORMA
I had these tiles put in, you know,
Because Rudy Valentino said to me, it takes tiles to tango. Come on.

JOE
No, no, not on the same floor as Valentino!

NORMA
Oh come on, come on, come on. Get up. Follow me.
And one, two… and one, two, one two, together. And one.
Don’t lean back like that.

JOE
Norma, it’s that thing. It tickles.

Musicals – Sunset Boulevard – New Ways To Dream (Reprise) lyrics

JOE
What’s the matter there, Max? You waiting to wash the car?

MAX
Please be careful when you cross the patio. Madame may be watching.

JOE
Suppose I tiptoe up the back stairs and get undressed in the dark, will that do it?

MAX
It’s just that I am greatly worried about Madame.

JOE
Well, we’re not helping any, feeling her lies, more lies.
What’s going to happen when she finds out they’re not going to make her picture?

MAX
She never will. That is my job.
I made her a star and I will never let her be destroyed.

JOE
You made her a star?

MAX
I directed all her early pictures. In those days,
There were three young directors who showed promise: D.W. Griffith, Cecil B. DeMille and —

JOE
Max von Mayerling.

MAX
That’s right.

When we met, she was a child
Barely sixteen
Awkward and yet, she had an air
I’ve never seen
I knew I’d found my perfect face
Deep in her eyes
New ways to dream
And we inspired
New ways to dream

Talkies came; I stayed with her, took up this life
Threw away fame
Please understand
She was my wife

We had achieved far more than most
We gave the world new ways to dream
Everyone needs new ways to dream

JOE
Are you saying you were married to her?

MAX
I was the first husband.

So I play this game
Keeper of the flame
Sharing with her one last dream
Don’t you think I knew it never could come true?
She’ll be the very last one to surrender
I will not allow her to surrender

Musicals – Sunset Boulevard – The Lady’s Paying lyrics

NORMA
Hurry up, the birthday boy is on his way
This is a surprise celebration
I hope you’ve remembered everything I’ve said
I want to see a total transformation

JOE
What’s all this?

NORMA
Happy birthday, darling. Did you think we’d forgotten?

JOE
Well, I … I don’t know.

NORMA
These people are from the best men’s shop in town. I had them close it down for the day.

JOE
Norma, now listen!

NORMA
I’ll leave you boys to it.

MANFRED
Happy birthday, welcome to your shopathon!

JOE
What’s going on?

MANFRED
Help yourself, it’s all been taken care of
Anyone who’s anyone is dressed by me

JOE
Well, golly gee

MANFRED
Pick out anything you’d like a pair of
You just point, I’ll do the rest
I’ve brought nothing but the best
You’re a very lucky writer
Come along now, get undressed
Unless I’m much mistaken
That’s a 42-inch chest

JOE
I don’t understand a word you’re saying

MANFRED
Well, all you need to know’s the lady’s paying
It’s nice to get your just reward this time of year

JOE
Get outta here!

MANFRED
And all my merchandise is strictly kosher
When you’ve thrown away all your old worn-out stuff

JOE
Hey, that’s enough

MANFRED
Perhaps you’d like to model for my brochure
I have just the thing for you
Chalk-stripe suits

SALESMAN 1
In black

SALESMAN 2
Or blue

SALESMAN 3
Glen plaid trousers

SALESMAN 4
Cashmere sweaters

SALESMAN 5
Bathing shorts for Malibu

SALESMAN 6
Here’s a patent leather lace-up

SALESMAN 7
It’s a virtuoso shoe

MANFRED
And a simply marvelous coat made of vicuna

JOE
You know what you can do with your vicuna

NORMA
Come on Joe, you haven’t even started yet

JOE
You wanna bet?

NORMA
I thought by now he’d look the height of fashion
He always takes forever making up his mind
Don’t be unkind
I thought you writers knew about compassion

I love flannel on a man

MANFRED
This will complement his tan

NORMA
We’ll take two of these and four of those

MANFRED
I’m still your greatest fan!
Very soon now we’ll have stopped him
Looking like an also-ran

JOE
You’re going to make me sorry that I’m staying

NORMA
Well, all right, I’ll choose, after all, I’m paying!

MANFRED
Evening clothes?

NORMA
I want to see your most deluxe

JOE
Won’t wear a tux

NORMA
Of course not, dear, tuxedos are for waiters

MANFRED
What we need are tails, a white tie and top hat

JOE
I can’t wear that

NORMA
Joe, second-rate clothes are for second-raters

JOE
Norma, please…

NORMA
Shut up, I’m rich
Now some platinum blonde bitch
I own so many apartments
I’ve forgotten which is which

JOE
I don’t have to go to premieres
I’m never on display
You seem to forget that I’m a writer
Who cares what you wear when you’re a writer?

NORMA
I care, Joe, and please don’t be so mean to me.

JOE
O.K., all right.

NORMA
You can’t come to my New Year’s Eve party in that filling-station shirt.

JOE
I’ve been invited somewhere else on New Year’s Eve.

NORMA
Where?

JOE
Artie Green. He’s an old friend of mine.

NORMA
I can’t do without you, Joe, I need you.
I’ve sent out every single invitation

JOE
All right, Norma, I give in

NORMA
Of course you do
And when they’ve dressed you
You’ll cause a sensation

SALESMEN
We equip the chosen few of Movieland

MANFRED
(The latest cut)

SALESMEN
We dress every movie star and crooner
From their shiny toecaps to their hatband

MANFRED
(Conceal your gut)
You won’t regret selecting the vicuna

SALESMEN
If you need a hand to shake
If there’s a girl you want to make
If there’s a soul you’re out to capture
Or a heart you want to break
If you want the world to love you

MANFRED
You’ll have to learn to take

SALESMEN
And gracefully accept the role you’re playing

MANFRED
You will earn every cent the lady’s paying

SALESMEN
So why not have it all?

MANFRED
Now that didn’t hurt, did it?

SALESMEN
The lady’s paying!

Musicals – Sunset Boulevard – Surrender (Reprise) lyrics

BETTY
Well, Hello Mr. Gillis
Where have you been keeping yourself?

JOE
Someone’s been doing it for me

BETTY
And meanwhile “Blind Windows”
Is stuck on the shelf
You said we’d work together

JOE
New Year’s crisis, what can I say?

BETTY
Always full of excuses

JOE
Promise I’ll call you later today

BETTY
You said that last time.

JOE
Look, Betty, I won’t let you down.

BETTY
I guess I’ll just have to trust you.

SHELDRAKE
You’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 my office window, I saw you drive onto the lot.
And I said, that’s exactly the car I’ve been looking for.
Great for my new Crosby picture. So, I made a few inquiries. I’ve been calling for two weeks.
Doesn’t she ever pick up the phone? You know, outside a museum, you don’t see
That kind of quality anymore. We’re willing to pay, at least a hundred dollars a week…

MAX
It’s outrageous
You insult her
How can you be so cruel?
I forbid you to approach her

SHELDRAKE
You’re insane

MAX
Go away.
Go away!

NORMA
Did you see how they all came
Crowding around?
They still love me, and soon we’ll be
Breaking new ground
Brave pioneers

DEMILLE
Those were the days

NORMA
Just like before

DEMILLE
We had such fun

NORMA
We gave the world
New ways to dream

BOTH
We always found new ways to dream

DEMILLE
Let’s have a good long talk one day.

NORMA
The old team will be back in business

DEMILLE
Sorry, my next shot’s ready

MAX
Mr. Gillis…

JOE
What’s the matter, Max?

MAX
I just found out the reason for all those phone calls from Paramount.
It’s not Madame they want. It’s her car.

JOE
Oh, my God.

NORMA
Now, you remember, don’t you? I don’t work before 10 or after 4:30 in the afternoon.

DEMILLE
It isn’t entirely my decision, Norma. New York must be consulted.

NORMA
That’s fine. Ask any exhibitor in the country. I’m not forgotten.

DEMILLE
Of course you’re not.
Goodbye, young fellow. We’ll what we can do.

NORMA
I’m not worried. It’s so wonderful to be back.

BETTY
Was that really Norma Desmond?

DEMILLE
It was.

HEATHER
She must be about a million years old.

DEMILLE
I hate to think where that puts me. I could be her father.

HEATHER
Oh, I’m sorry, Mr. DeMille.

DEMILLE
If you could have seen
Her at seventeen
When all of her dreams were new
Beautiful and strong
Before it all went wrong
She’s never known the meaning of surrender
She’s never known the meaning of surrender

Musicals – Sunset Boulevard – Surrender lyrics

NORMA
No more wars to fight
White flags fly tonight
You are out of danger now
Battlefield is still
Wild poppies on the hill
Peace can only come when you surrender

Here the tracers fly
Lighting up the sky
But I’ll fight on to the end
Let them send their armies
I will never bend
I won’t see you now ’til I surrender
I’ll see you again when I surrender

Now don’t you give me a fancy price just because I’m rich.

JOE
Look, lady, you’ve got the wrong man.
I had some trouble with my car, I just pulled into your driveway.

NORMA
Get out.

JOE
O.K. And I’m sorry you lost your friend.

NORMA
Get out of here.

JOE
Haven’t I seen you somewhere before?

NORMA
Or shall I call my servant?

JOE
Aren’t you Norma Desmond? You used to be in pictures.
You used to be big.

NORMA
I am big. It’s the pictures that got small.

Once upon a time
Not long ago
The head of any studio
Knew how and when to play his aces
Now they put some
Talentless unknown
Beneath their sacred microphone
We didn’t need words
We had faces

Yes, they took all the idols and smashed them
The Fairbanks, the Gilberts, the Valentinos
They trampled on what was divine
They threw away the gold of silence
When all they needed was this face of mine

JOE
Hey! Don’t blame me, I’m just a writer.

Musicals – Sunset Boulevard – Salome lyrics

NORMA
Now go.

JOE
Next time I’ll bring my autograph album.

NORMA
Just a minute, you.
Did you say you were a writer?

JOE
That’s what it says on my guild card.

NORMA
And you’re written pictures?

JOE
Sure have. Would you like to see my credits?

NORMA
Come over here. I want to ask you something.
Just what sort of length is a movie script these days?

JOE
Depends.

NORMA
I wrote this. It’s a very important picture.

JOE
Look like six very important pictures.

NORMA
It’s for DeMille to direct.

JOE
Oh, yeah? And will you be in it?

NORMA
Of course. What do you think?

JOE
Just asking. I didn’t know you were planning a comeback.

NORMA
I hate that word. It’s a return.

JOE
Well…fair enough.

NORMA
I want you to read it.

JOE
You shouldn’t let another writer read your stuff. He may steal it.

NORMA
I’m not afraid. Sit down. Max!
Bring something to drink.

MAX
Yes, Madame.

NORMA
I said sit down!
It’s about Salome.
Salome: the story of a woman. The woman who was all women.

Salome, what a woman, what a part!
Innocent body and a sinful heart
Inflaming Herod’s lust
But secretly loving a holy man
No one could play her like I can

JOE
Well, I had nothing urgent coming up
I thought I might as well skim it
It’s fun to see how bad bad writing can be
This promised to go to the limit

NORMA
There’s so many great scenes, I can’t wait
A boiling cauldron of love and hate
She toys with Herod
‘Til he’s putty in her hands
He reels tormented through the desert sands

JOE
It sure was a real cheery set-up
The wind wheezing through that organ
Max shuffling around and a dead ape dumped on a shelf
And her staring like a gorgon

NORMA
They drag the Baptist up from the jails
She dances the dance of the seven veils
Herod says: I’ll give you anything

JOE
Now it was time for some comedy relief
The guy with the baby casket
Must have seen a thing or two, that chimp
Shame it was too late to ask it

NORMA
Have you got to the scene where asks for his head?
If she can’t have him living
She’ll take him dead
They bring in his head on a silver tray
She kisses his mouth. It’s a great screenplay!

JOE
It got to be eleven, I was feeling ill
What the hell was I doing?
Melodrama and sweet champagne
And a garbled plot from a scrambled brain
But I had my own plot brewing

Just how old is Salome?

NORMA
Sixteen.

JOE
I see.

NORMA
Well?

JOE
It’s fascinating.

NORMA
Of course it is.

JOE
Could be it’s a little long
Maybe the opening’s wrong
But it’s extremely good for a beginner

NORMA
No, it’s a perfect start
I wrote that with my heart
The river-bank, the baptist and the sinner

JOE
Shouldn’t there be some dialogue?

NORMA
I can say anything I want with my eyes

JOE
It could use a few cuts

NORMA
I will not have it butchered!

JOE
I’m not talking limb from limb
I just mean a little trim
All you need is someone who can edit

NORMA
I want someone with a knack
Not just any studio hack
And don’t think for a moment I’d share credit!

When were you born?

JOE
December 21st, why?

NORMA
I like Sagittarians. You can trust them.

JOE
Thanks.

NORMA
I want you to do this work.

JOE
Me? Gee, I don’t know, I’m busy. I just finished one script and I’m about to start a new assignment.

NORMA
I don’t care.

JOE
I’m pretty expensive. I get five hundred a week.

NORMA
Don’t you worry about money. I’ll make it worth your while.

JOE
Well, it’s getting kind of late.

NORMA
Are you married, Mr…?

JOE
The name is Gillis. Single.

NORMA
Where do you live?

JOE
Hollywood. Alto Nido Apartments.

NORMA
You’ll stay here.

JOE
I’ll come back early tomorrow.

NORMA
Nonsense, there’s a room over the garage. Max will take you there. Max!

MAX
Yes, Madame.

NORMA
Take Mr. Gillis to the guest room.
We’ll begin a nine sharp.

JOE
Now this is more like it.

MAX
I made up the bed this afternoon.

JOE
Thanks.
How did you know I was going to stay?

MAX
There’s soap and a toothbrush in the bathroom.

JOE
She’s quite a character, isn’t she, that Norma Desmond?

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.)

MAX
If you will pardon me, Madame, the shadow over the left eye is not quite balanced.

NORMA
Thank you, Max.

(She attends to it, using a handkerchief. Meanwhile, MAX sounds the horn impatiently.
A young STUDIO GUARD breaks off a conversation
HE’s been having with an EXTRA dressed as an indian brave.)

GUARD
Hey, that’s enough of that.

MAX
To see Mr. DeMille. Open the gate.

GUARD
Mr. DeMille is shooting. You need an appointment.

MAX
This is Norma Desmond. No appointment is necessary.

GUARD
Norma who?

(Meanwhile, however, NORMA has recognized JONES,
Who is sifting on a wooden chair, reading a newspaper. She rolls down the window.)

NORMA
Jonesy!

(JONES looks up, frowning; then his expression clears and he approaches the car.)

JONES
Why, if it isn’t Miss Desmond. How have you been, Miss Desmond?

NORMA
Fine, Jonesy. Open the gate.

(JONES turns tohis young COLLEAGUE.)

]ONES
You heard Miss Desmond.

GUARD
They don’t have a pass.

(JONES shakes his head, exasperated, and begins to open the gate himself.
The car moves forward.)

JONES
Stage 18, Miss Desmond.

NORMA
Thank 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.)

JONES
Get 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.)

HEATHER
Mr. DeMille?

DEMILLE
What is it?

HEATHER
Norma Desmond is here to see you, Mr. DeMille.

DEMILLE
Norma Desmond?

HEATHER
She’s here at the studio.

DEMILLE
It must be about that appalling script of hers. What shall I say?

HEATHER
Maybe I could give her the brush.

DEMILLE
Thirty 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.)

NORMA
Won’t you come along, darling?

(JOE shakes his head.)

JOE
It’s your script. It’s your show. Good luck.

NORMA

Thank you, darling.

(By this time, HEATHER has emerged from the studio. She comes over to greet NORMA.)

HEATHER
Miss Desmond.

(She leads NORMA towards the studio. DE MILLE is waiting just inside; he envelops her in his arms.)

DEMILLE
Well, well, well.

NORMA
Hello, Mr. DeMille.

(A long embrace.)

NORMA
Last time I saw you was some place terribly gay. I was dancing on a table.

DEMILLE
A lot of people were. Lindbergh had lust landed.

(He starts to lead her into the studio.)

NORMA
You read the script, of course.

DEMILLE
Well, yes…

NORMA
I 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.

DEMILLE
I don’t know what you mean, Norma.

NORMA
Yes, you do.

DEMILLE
Come 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.)

VOICE
Miss Desmond! Hey, Miss Desmond!

(NORMA looks around, unable to identify the source of the VOICE)

HOG-EYE
Up here, Miss Desmond; it’s Hog-eye!

(NORMA looks up. Up in the flies, balanced on the walkway, is a quite elderly ELECTRICIAN.)

NORMA
Hog-eye! Well, hello!

HOG-EYE
Let’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, EXTRAS
And STAGEHANDS begin to converge on her.)

NORMA
I don’t know why I’m frightened,
I know my way around here
The cardboard trees,
The painted seas,
The sound here.

Yes, a world to rediscover
But I’m not in any hurry
And I need a moment.

The whispered conversations
In overcrowded hallways,
The atmosphere
As thrilling here
As always.

Feel the early morning madness
Feel the magic in the making
Why, everything’s as if we never said goodbye.

I’ve spent so many mornings
Just trying to resist you
I’m trembling now
You can’t know how
I’ve missed you,

Missed the fairy-tale adventures
In this ever-spinning playground,
We were young together.

I’m coming out of make-up
The lights already burning
Not long until
The cameras will
Start turning.

Feel the early morning madness
Feel the magic in the making
Yes, everything’s as if we never said goodbye.

I don’t want to be alone
That’s all in the past
This world’s waited long enough
I’ve come home at last.

And this time will be bigger
And brighter than we knew it
So watch me fly
We all know I
Can do it.

Could I stop my hand from shaking?
Has there ever been a moment
With so much to live for?

The whispered conversations
In overcrowded hallways,
So much to say
Not just today
But always

We?ll have early morning madness
We’ll have magic in the making
Yes, 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.)

BETTY
Well, hello,
Mr. Gillis.
Where have you been
Keeping yourself?

JOE
Someone’s
Been doing it for me.

BETTY
And meanwhile “Blind Windows”
Is stuck on the shelf.
You said
We’d work together.

JOE
New Year’s crisis
What can I say?

BETTY
Always
Full of excuses.

JOE
Promise I’ll call you
Later today.

(BETTY looks at HIM for a moment.)

BETTY
You said that last time.

JOE
Betty, I won’t let you down.

BETTY
I 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.)

SHELDRAKE
You’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 window
And 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…

MAX
It’s outrageous,
You insult her,
How can you be so cruel?
I forbid you to approach her.

SHELDRAKE
You’re insane.

MAX
Go 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.)

NORMA
Did you see
How they all came
Crowding around?
They still love me
And soon we’ll be
Breaking new ground.
Brave pioneers.

DEMILLE
Those were the days.

NORMA
Just like before.

DEMILLE
We had such fun.

NORMA
We gave the world
New ways to dream.

NORMA AND DEMILLE
We always found
New ways to dream.

(The red light goes on and the studio bell shrills.
VICTOR MATURE and HEDY LAMARR arrive
To take the place of their identically costumed STAND-INS.)

DEMILLE
Let’s have a good long talk one day.

NORMA
The old team will be back in business.

DEMILLE
Sorry, 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.)

MAX
Mr. Gillis…

JOE
What’s the matter, Max?

MAX
I just found out the reason for all those phone calls from Paramount.
It’s not Madame they want. It’s her car.

JOE
Oh, my God.

(DEMILLE and NORMA have reached the doorway of the studio.)

NORMA
Now, you remember, don’t you? I don’t work before 10 or after 4:30 in the afternoon.

DEMILLE
It isn’t entirely my decision, Norma, New York must be consulted.

NORMA
That’s fine. You ask any exhibitor in the country. I’m not forgotten.

DEMILLE
Of course you’re not.

(He embraces her.)

DEMILLE
Goodbye, young fellow. We’ll see what we can do.

NORMA
I’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)

BETTY
Was that really Norma Desmond?

DEMILLE
It was.

HEATHER
She must be about a million years old.

DEMILLE
I hate to think where that puts me. I could be her father.

HEATHER
Oh, 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.)

DEMILLE
If you could have seen
Her at seventeen
When all of her dreams were new,
Beautiful and strong,
Before it all went wrong;
She’s never known the meaning of
Surrender;
Never known the meaning of
Surrender.

(Slow fade to black.)

Musicals – Sunset Boulevard – Who’s Betty Schaefer? lyrics

NORMA
Is this what you’re looking for, by any chance?

JOE
Why, yes.

NORMA
Whose phone number is this?
I’ve been worried about the line of my throat.
I think this woman has done wonders with it.

JOE
Good.

NORMA
And I’ve lost half a pound since Tuesday.

JOE
Very good.

NORMA
Now it’s after nine. I’d better get to bed.

JOE
You had.

NORMA
Are you coming up?

JOE
I think I’ll read a while longer.

NORMA
You went out last night, didn’t you, Joe?

JOE
I went for a walk.

NORMA
You took the car.

JOE
I drove to the beach.

NORMA
Who’s Betty Schaefer?

JOE
Surely, you don’t want me to feel as if I’m a prisoner in this house?

NORMA
You don’t understand, Joe. I’m under such a terrible strain.
It’s been so hard I even got myself a revolver.
The only thing that stopped me from killing myself was the
Thought of all those people, waiting to see me back on the screen.
How could I disappoint them? All I ask is a little patience, a little understanding.

JOE
Norma, there’s nothing to worry about. I haven’t done anything.

NORMA
Of course you haven’t. Good night, my darling.

JOE
I should have stayed there
Poor Norma
So desperate to be ready
For what would never happen
But Betty would be waiting
We had a script to finish
One unexpected love scene
Two people, both risking
A kind of happy ending

Musicals – Sunset Boulevard – Too Much In Love To Care lyrics

BETTY
When I was a kid, I played on this street
I always loved illusion
I thought make-believe was truer than life
But now it’s all confusion
Please, can you tell me what’s happening?
I just don’t know anymore
If this is real, how should I feel?
What should I look for?

JOE
If you were smart, you would keep on walking
Out of my life as fast as you can
I’m not the one you should pin your hopes on
You’re falling for the wrong kind of man
This is crazy! You know we should call it a day
Sound advice, great advice
Let’s throw it away

I can’t control all the things I’m feeling
I haven’t got a prayer
If I’m a fool, well
I’m too much in love to care

I knew where I was, I’d given up hope
Made friends with disillusion
No one in my life, but I look at you
And now it’s all confusion

BETTY
Please, can you tell me what’s happening?
I just don’t know anymore
If this is real, how should I feel?
What should I look for?

I thought I had everything I needed
My life was set, my dreams were in place
My heart could see way into the future
All of that goes when I see your face

I should hate you
There I was, the world in my hand
Can one kiss, kiss away
Everything I planned?

I can’t control all the things I’m feeling
I’m floating in mid-air
I know it’s wrong, but,
I’m too much in love to care

JOE & BETTY
I thought I had everything I needed
My life was set, my dreams were in place
My heart could see way into the future
All of that goes when I see your face
This is crazy! You know we should call it a day

JOE
Sound advice

BETTY
Great advice

JOE & BETTY
Let’s throw it away…
I can’t control all the things I’m feeling
We’re floating in mid-air
If we are fools, well,
We’re too much in love to care
If we are fools, well,
We’re too much in love to care!

Musicals – Sunset Boulevard – This Time Next Year lyrics

ARTIE
Hey, Gillis! We’d give you up.
Let me take your coat
Jesus, Joe, what’s this made of? Mink?
Who did you borrow this from? Adolphe Menjou?

JOE
Close, but no cigar.
Hey! It’s quite a crowd

ARTIE
I invited all the kids doing walk-ons in “Samson and Delilah”.

BETTY
Where have you been hiding? I called your apartment.
I called your ex-agent. I was about to call the Bureau of Missing Persons.

JOE
Well, they always know where to find me.

RICHARD A
Hey, Sammy!
You gotta say your New Year’s resolution out loud
Jean!

JEAN
By this time next year
I’ll have landed a juicy part

STEVE
Nineteen fifty will be my start

RICHARD T
No more carrying spears

MARY
I’ll be discovered
My life won’t ever be the same
Billy Wilder will know my name
And he’ll call all the time

KATHERINE
‘Til he does, can one of you guys lend her a dime?

ALISA
Just an apartment
With no roaches and no dry rot

ANITA
Where the hot water comes out hot

BOTH
That’s my Hollywood dream

RICHARD A
Your resolution

JOANNA
Is to write something that gets shot
With approximately the plot
I first had in my head

MYRON
But you’ll get rewritten even after you’re dead

RICHARD A
Artie!

ARTIE
It’s the year to begin a new life
Buy a place somewhere quiet, somewhere pretty
When you have a young kid and a wife
Then you need somewhere green, far from the city
It’s a rambling old house with a big apple tree
With a swing for the kid and a hammock for me

SAMMY
Behold, my children
It is I, Cecil B. DeMille
Meeting me must be quite a thrill

ADAM
But there’s no need to kneel

SAMMY
I guarantee you
Every girl in my chorus line
Is a genuine Philistine

SANDY
They don’t come off the shelf

SAMMY
I flew every one in from Philistia myself

BETTY
I have some good news
It’s “Blind Windows”

JOE
You don’t let go

BETTY
I gave Sheldrake an outline, Joe
And he swallowed the bait

JOE
Well, hallelujah!

BETTY
While you’ve been buying vicuna coats
I’ve been making a lot of notes
Now there’s work we should do…

JOE
Betty, you’re forgetting that I gave it to you
You remind me of me long ago
Off the bus, full of ignorant ambition
Thought I’d waltz into some studio
And achieve overnight recognition
I’ve seen too many optimists sinking like stones
Felt them suck all the marrow clean out of my bones

BETTY
I love “Blind Windows”
But I can’t write it on my own
Can’t we speak on the telephone?
All my evenings are free

ARTIE
Hey, just a minute
I’m the fellow who bought the ring

BETTY
Artie, this is a business thing
It’s important to me
You’ll be on location in Clinch, Tennessee
Please make this your New Year’s resolution for me

ALL
By this time next year
I will get my foot in the door
Next year I know I’m going to score
An amazing success

Cut to the moment
When they open the envelope
Pass the statuette to Bob Hope
And it’s my name you hear

We’ll be down on our knees
Outside Grauman’s Chinese
Palm prints there on the street
Immortality’s neat!
This time next year
This time next year

We’ll have nothing to fear
Contracts all signed
Three-picture deal
Yellow brick road career
Hope we’re not still saying these things
This time next year

JOE
You know, I think I will be available in the New Year. In fact, I’m available right now.

BETTY
Joe, that’s great!

JOE
Hey, Artie, where’s your phone?

ARTIE
Under the bar.

JOE
Hey, Artie. You think you could put me up for a couple of weeks?

ARTIE
It just so happens we’ve got a vacancy on the couch.

JOE
I’ll take it.

MAX
Yes?

JOE
Max, it’s Mr. Gillis. I want you to do me a favour.

MAX
I’m sorry, Mr. Gillis. I can’t talk right now.

JOE
Listen, I want you to take my old suitcases…

MAX
I’m sorry, I am attending to Madame.

JOE
What do you mean?

MAX
Madame found the razor in your room. And she’s cut her wrists.

ALL
Three, two, one, Happy New Year!

Should auld acquiantance be forgot
And never brought to mind
Should auld acquiantance be forgot
And days of auld lang syne
For auld lang syne, my dear
For auld lang syne
We’ll take a cup of kindness yet
For the sake of auld lang syne

Musicals – Sunset Boulevard – There’s Been A Call lyrics

NORMA
There’s been a call
What did I say
They want to see me right away
Joe, Paramount, they love our child
Mr. DeMille is going wild

JOE
Well, that’s wonderful, Norma.

NORMA
But it was some fool assistant
Not acceptable at all
It he wants me, then Cecil B.
Himself must call

JOE
I don’t know if this is the time to stand on ceremony.

NORMA
I’ve been waiting twenty years now
What’s a few more days, my dear?
It’s happened, Joe
I told you so
The perfect year

Musicals – Sunset Boulevard – The Phone Call lyrics

NORMA
Hello, is this Gladstone 9281? Miss Schaefer?…
Hello, Miss Schaefer, you must forgive me for calling so late, but I really feel it’s my duty.
It’s about Mr. Gillis…you do know a Mr. Gillis?
Well, exactly how much do you know about him?
Do you know where he lives? Do you know what he lives on?

I want to spare you a lot of sadness
I don’t know what he’s told you
But I can guarantee you
He doesn’t live with mother
Or what you’d call a roommate
He’s just a … I can’t say it
Poor Betty
You ask him
I’d love to hear his answer…

…Joe…

JOE
That’s right, Betty, why don’t you ask me?…

NORMA
Don’t.

JOE
…Or better yet, come over and see for yourself. Yes, right now.
The address is ten thousand eighty-six, Sunset Boulevard.

NORMA
Don’t hate me, Joe. I did it because I need you. Look at me. Look at my hands.
Look at my face. Look under my eyes. How can I go back to work if I’m wasting
Away?
No! Don’t stand there hating me, Joe. Shout at me, strike me, but say you don’t hate me…Joe, Joe.

JOE
Come on in.

BETTY
What’s going on, Joe?
Why am I so scared?
What was that woman saying?
She sounded so weird
I don’t understand…

Please, can you tell me what’s happening?
You said you loved me tonight
Shall I just go?
Say something, Joe

JOE
Have some pink champage and caviar
When you go visit with a star
The hospitality is stellar

BETTY
So this is where you’re living?

JOE
Yes, it’s quite a place, sleeps seventeen
Eight sunken tubs, a movie screen
A bowling alley in the cellar

BETTY
I didn’t come to see a house, Joe

JOE
Sunset Boulevard
Cruise the Boulevard
Win yourself a Hollywood palazzo
Sunset Boulevard
Mythic Boulevard
Valentino danced on that terrazzo

BETTY
Who’s it belong to?

JOE
Just look around you

BETTY
That’s Norma Desmond.

JOE
Right on the money
That’s Norma Desmond
That’s Norma Desmond
That’s Norma Desmond
That’s Norma Desmond

BETTY
Why did she call me?

JOE
Give you three guesses

It’s the oldest story in the book
Come see the taker being took
The world is full of Joes and Normas
Older woman, very well-to-do
Meets younger man, the standard cue
For two mechanical performers

BETTY
Just pack your things and let’s go.

JOE
You mean all my things?
Have you gone mad?
Leave all these things I’ve never had?
Leave this luxurious existence?

You want me to face that one-room hell
That murphy bed, that rancid smell
Go back to living on subsistence?

It’s no time to begin a new life
Now I’ve finally made a perfect landing
I’m afraid there’s no room for a wife
Not unless she’s uniquely understanding
You should go back to Artie and marry the fool
And you’ll always be welcome to swim in my pool

BETTY
I can’t look at you any more, Joe.

NORMA
Thank you, thank you, Joe, thank you…thank you.

What are you doing, Joe?
You’re not leavine me?

JOE
Yes, I am, Norma.

NORMA
You can’t! Max!

JOE
It’s been a bundle of laughs
And thanks for the use of the trinkets
A little ritzy for the copy desk back in Dayton

And there’s something you ought to know
I want to do you this favour
They’ll never shoot that hopeless script of yours
They only wanted your car

NORMA
That’s a lie! They still want me!
What about all my fan-mail?

JOE
It’s Max who writes you letters
Your audience has vanished
They left when you weren’t looking
Nothing’s wrong with being fifty
Unless you’re acting twenty

NORMA
I am the greatest star of them all.

JOE
Goodbye, Norma.

NORMA
No one ever leaves a star

REPORTER
And as dawn breaks over hte murder house, Norma Desmond, famed star of yesteryear,
Is in a state of complete mental shock.

Musicals – Sunset Boulevard – The Perfect Year lyrics

NORMA
Ring out the old
Ring in the new
A midnight wish
To share with you
Your lips are warm
My head is light
Were we alive before tonight?

I don’t need a crowded ballroom
Everything I want is here
If you’re with me
Next year will be
The perfect year

JOE
Before we play
Some dangerous game
Before we fan
Some harmless flame
We have to ask if this is wise
And if the game is worth the prize

With this wine and with this music
How can anything be clear?
Let’s wait and see
It may just be
The perfect year

NORMA
It’s New Year’s Eve
And hopes are high
Dance one year in
Kiss one goodbye
Another chance, another start
So many dreams to tease the heart

We don’t need a crowded ballroom
Everything we want is here
And face to face
We will embrace
The perfect year

We don’t need a crowded ballroom
Everything we want is here
And face to face
We will embrace
The perfect year

JOE
So, what time are they supposed to get here?

NORMA
Who?

JOE
The other guests.

NORMA
There are no other guests. Just you and me.
I’m in love with you. Surely you know that

JOE
Norma…

NORMA
We’ll have a wonderful time next year. I’ll have the pool filled up for you.
I’ll open up my house in Malibu, and you can have the whole ocean.
I have enough money to buy us anything we want.

JOE
Cut out that “us” business.

NORMA
What’s the matter with you?

JOE
What right do you have to take me for granted?

NORMA
What right? Do you want me to tell you?

JOE
Norma, what I am trying to say is that I am the wrong guy for you.
You need a big shot, someone with polo ponies, a Valentino…

NORMA
What you’re trying to say is, you don’t want me to love you. Say it! Say it!

JOE
Max. Get me a taxi.

I had to get out
I needed to be with people my own age
To hear the sound of laughter
And mix with hungry actors
Underemployed composers
Nicotine-poisoned writers
Real people
Real problems
Having a really good time